Words: Alice McCloskey (she/her)
For many, the musical triad, Kneecap featuring Móglái Bap, Mo Chara, and DJ Próvaí are no more than a rowdy rap group from West Belfast; self-proclaimed ‘Republican Hoods’, who have consistently courted controversy with their anti-British sentiments. However, for many, both inside and outside Ireland, Kneecap has become a symbol of what it means to have an Irish identity in modern society, forged from the violent flames of the past.
For younger generations, Kneecap has rebranded and modernised the Irish language, saving it from the grave that colonial erasure and, speaking from personal experience, a lacklustre and outdated Irish curriculum had buried it in. With their coupling of identity and language, Kneecap has instilled pride in an identity that has so often caused violence and friction in its state of existence, particularly living in the North of Ireland and identifying as Irish. Unfortunately, with the ongoing genocide in Palestine, we are all too familiar with the brutal violence used by colonial forces to target the identity of a people.
The parallelism of the Irish and Palestinian struggles for freedom has historic roots. For example, Palestine was consistently outspoken in its support for Irish Independence and the removal of British authority in the North during the Troubles, while Ireland was the first state in the European Union to give recognition to the Palestinian Liberation Organisation in the 1980s. This has forged what some have termed ‘Paddystinian’ solidarity. Kneecap has continued this tradition as a consistent voice opposing the ongoing genocide in Palestine, recognising the parallels in the diminishing and attacking of identity, which has reached incomprehensible levels of heinous violence in Palestine. To exist as a Palestinian is to be met with war crimes, genocide, and death. Over 55,000 Palestinians have been killed since 2023. More than 15,000 of whom are children. These figures need no explanation or exaggeration.
During a Coachella performance this April, Kneecap displayed three screens, two of which stated, ‘Israel is committing genocide against the Palestinian people,’ and ‘It is being enabled by the US government, who arm and funds Israel despite their war crimes.’ Following this, condemnation of their statements by Sharon Osbourne as ‘projections of anti-Israel messages and hate speech’ has led to cancelled concerts and, on Sharon Osbourne’s recommendation (as a powerful political voice??), the revoking of their work visas in the US.
This has culminated in a torrent of online and governmental debate, with videos surfacing of Kneecap’s statements against Tory MPs at a concert in 2023. Various Conservative MPs have since called for Kneecap to be dropped from Glastonbury, TRNSMT, and other concerts whilst they are being investigated by counter-terrorism police. In response, Kneecap has apologised to the families of murdered MPs Joe Cox and Sir David Amess but has remained firm that their video was taken out of context to wage a ‘coordinated smear campaign’ against them. Not because of their words against Tory MPs, but because of their unwavering stance on Palestine and public opposition to Israel.
This has called into question the debate over censorship and free speech in the media and the music world. In her article Revisioning Journalism in a Genocide, Ana Maria Monjardino questions the disturbing pattern in Western media’s coverage of the genocide that she argues is often through a ‘Zionist lens.’ She discusses the problematic patterns of media outlets that, whilst maintaining their ‘impartiality’, refuse to refer to the violence as a genocide whilst perpetuating Zionist ideas and colonial frameworks. Now, even within the music world– a place that has historically been one for activism, subversion, and standing up against oppression–it seems that censorship is a distinct possibility.
Whilst the British government, which gives both financial and diplomatic support to Israel, masquerades its complicity with threats of police investigation and calls for Kneecap to be dropped from Glastonbury, tens of thousands of Gazan children have become severely malnourished. The threat of starvation increases daily. How many more Palestinians have to die for the media and the government to call what is happening a genocide, to end arms funding, to hold Israel accountable for its endless barbaric war crimes? The British government continues to fund this genocide, but Kneecap is the problem, right?
For Kneecap, as their Grammy win, BAFTA nominations (ironic, I know), and victory against the British court over discrimination in funding have shown, controversy has been a celebrated cornerstone of their brand from the very start. With new music on the way and unwavering support for Palestine, Kneecap are a marker of enduring resilience in an otherwise ‘impartial’ media. Their music career will survive. The same cannot be said for the thousands in Palestine starving to death. The thousands who have lost their families, their homes, whilst courageously holding onto their Palestinian identity.
Kneecap continues to stand in solidarity with Palestine, as should everyone with a shred of empathy or conscience. Is it not time that the real questions of accountability are asked? In times like these, silence is complicity.
Saoirse don Phalaistín.
Freedom to Palestine.
Why The Media Won’t Call It Genocide – by THE POLIS PROJECT
UN says 9,000 Gaza children ‘acutely malnourished’ as aid blockade passes two months
Revisioning Journalism During a Genocide | Al Jazeera Media Institute
UK and Irish governments condemn alleged Kneecap comments – BBC News
Coachella statement ‘not aggressive’, says Kneecap – BBC News
Ireland and Palestine: A Historical Solidarity – LIMERICK VOICE
The Rise of Kneecap – LetsLearnIrish.com
Kneecap are no strangers to controversy – but is this time different? – BBC News
amazing article!! free palestine 🇵🇸