KNEECAP - Fenian

It seems like a long time has passed since Ireland's Kneecap claimed the title of OndaRock's album of the month. In truth, only two years separate “Fine Art” from the new project “Fenian”, but what's happened in the meantime has changed the band's fortunes: they've been voted by the public as one of the most interesting acts of recent times, above all for the powerful social and political charge of their lyrics, but also for their original fusion of hip-hop and Irish musical tradition.

Charged after displaying a flag in support of Hezbollah at a London show, the Northern Irish trio found themselves at the centre of controversy and gratuitous attacks. With the charges dropped (the flag had been thrown onstage by someone in the crowd), Kneecap went on to play Coachella and Glastonbury in 2025, despite attempts by some politicians to block their performances.

With explicit tones and no hesitation, the musicians reiterated their stance, stating that what is happening in Palestine is a genocide, unreservedly pointing out that many Jews are themselves outraged by the assault on the Palestinian people. At the same time, they didn't hold back their criticism of the British government for its underhanded complicity in the brutal massacre, while also condemning Palestinian terrorists.

Pulling the plug for a moment and focusing on the music was an almost necessary choice for Kneecap: the risk was that the public's attention would be drawn more to the controversies sparked by their performances than to the real artistic merits of "Fine Art", tied both to the scornful irony of the lyrics and to the musical distinctiveness of their output — qualities that "Fenian" confirms and amplifies with an even more biting edge.

Produced by the ever-reliable Dan Carey, Kneecap's new album stays true to British rap, alternating driving Beastie Boys/Eminem-style rhythms with the sinuous moves of trip-hop in the vein of Massive Attack/Portishead.

The barricade-storming tone of the synth-rap track "Liars Tale" (complete with a T-Rex sample) and the dark groove of "Carnival" are the two most direct and gripping examples of what's been outlined above. At the center of the invective are the British prime minister and a judge from Mo Chara's trial (one of the group's three members).

While never losing sight of the importance of its content, "Fenian" delivers on quality as expected: the acid-house scratch of "Big Bad Mo" and the cutting drum'n'bass of "Headcase" evoke the best of Prodigy, while the hip-hop of "Smugglers & Scholars" is powerful and raw. The anguished punk-rap of "Palestine", on which the group interacts with one of the leading figures of the Arab hip-hop scene, Fawzi, cuts like a sharp blade leaving a deep mark.

Móglaí Bap, Mo Chara and DJ Próvaí press on without hesitation in their personal reworking of Irish rap, digging into more introspective yet equally aching thematic and sonic territory. The historic conflict between Catholics and Protestants sits at the heart of the most hushed, reflective passage on "Occupied 6", while over the swaying, psychedelic sounds of "Cocaine Hill" (featuring Radie Peat of Lankum) Kneecap ponder a contemporary society gripped by unrestrained hedonistic urges.

Out of this more intimate phase comes the unexpected melancholy of the splendid duet with Kae Tempest on "Irish Goodbye": a pained reflection on the suicide of Móglaí Bap's mother, a track that further elevates the quality of "Fenian", underlining the trio's ability to push past both musical and thematic boundaries.

The exuberant, ironic gangsta-rap-style invective against England on "An Ra" and the driving rhythm of the title track, which blends rap language with folk songs of rebellion (the Fenians being a mythical Irish warrior figure), will surely rank among the most engaging moments of the group's future live shows. But the true merit of "Fenian" lies in restoring to rap, much like Public Enemy or Eminem once did, an expressive dignity that this time will win over even those who aren't fans of the genre.

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05/05/2026