2024 was a huge year for Kneecap. It saw the Northern Irish hip-hop group release their critically acclaimed second album, High Art, in June and their equally well-received, self-titled biopic in August. Now, they embark on a sold-out tour of Australia, playing The Triffid in Brisbane on Wednesday, March 12th, with First Nations rapper Miss Kaninna providing support.

Originally booked to play The Brightside, unprecedented demand resulted in the show being moved to the roomier —although it still felt cramped— confines of The Triffid. This meant that far more punters were able to witness the spectacle of Kneecap in full force; live, unfettered and uncensored. Adding to the Irishness of the evening was a pop-up Guinness bar with a barman who, no matter how busy, always delivered a perfectly timed pour.

Not content to merely warm the stage, Lutruwita-born, Naarm-based rapper Miss Kaninna, proceeded instead to set it ablaze. Her fierce persona, pull-no-punches lyricism and infectious beats generated a rapturous response from the crowd; who she had moving in no time. Throughout the course of her half-hour set, she performed several lesser-known and unreleased songs alongside her —well-known— singles Blak Britney and Pinnacle Bitch.

Miss Kaninna speaks openly and honestly about the issues affecting First Nations people and women in modern, so-called Australia. Hot on the tail of her recent Meanjin shows supporting Amyl And The Sniffers, she clearly has a soft spot for this town and family in nearby Ipswich. She needs no assistance in making herself heard, but these high-profile support slots will surely further the career of this proud Blak Woman; who deserves all the success she has coming to her.

Kneecap’s roots lie in West Belfast, an area of the city with a long history of colonial resistance and revolutionary activity. As one of the epicentres of The Troubles, West Belfast and its populace suffered through some of the worst of the violence and oppression associated with the (continued) struggle for Irish independence. Today it is a hotspot for tourism due to the presence of colourful murals celebrating the lives of various martyrs to the Republican cause.

Whilst Kneecap are generally described as hip-hop, their sound also infuses elements of punk, folk and protest. This melting pot of musical styles most commonly associated with oppression, revolution and free expression gives them a sound that is wholly and uniquely their own. Their choice to sing in both English and Gaelige (Irish) language has led to the members, Móglaí Bap, Mo Chara and DJ Próvaí, being labelled as “language activists,” a term that they have indicated they are more than comfortable with.

Walking on to the sounds of 3CAG, the group’s presence was immediately preceded by the crowd chanting “Free, Free Palestine.” Kneecap have long expressed their solidarity with the Palestinian cause, knowing only too well the impacts of colonial violence, with the group’s social and political opinions being regularly expressed throughout the evening. Songs such as Get Your Brits Out, C. E. A. R. T. A and Fenian Cunts, all of which were included in tonight’s set, make clear reference to the band’s political affiliation; albeit with a healthy dose of humour and social commentary. Later the group would demonstrate their understanding of —and support for— Indigenous Sovereignty by jointly displaying the Aboriginal and Irish flags on stage for the duration of the encore.

Never before have I experienced such a packed show at The Triffid, metaphors involving sardine tins can’t even begin to describe how cramped the venue felt during Kneecap’s set. Despite the numbers, the Guinness and the high level of rowdy enthusiasm, the crowd was remarkably well-behaved and respectful. Even during the songs that generated the biggest response, namely Your Sniffer Dogs Are Shite, High Art and H. O. O. D, nobody was acting like an obvious dickhead, being content to just let loose and enjoy themselves in the company of like-minded individuals.

Kneecap are a unique phenomenon in the music world and no one is more baffled by their success than the band members themselves, with Bap stating in a recent interview, “Initially when we started off, we just wanted to do it for fun. We had no intention that anyone outside of Belfast would even listen to the music.” People are listening though —and resonating— with the group’s potent political and socially conscious message, something that is equally heartening and inspiring. After all, if a group of young men from an occupied territory, who sing in traditional language, can make this much of an impact on the world, maybe there is hope for humanity yet.

 

Words by Nick Stephan

Photo Courtesy of Kneecap.ie