Debut Kneecap album explores 'working class and republican identities through Irish language'

Since their inception in 2017, wherever Kneecap have gone, the headlines have followed. Whether it be for their bold live performances, their controversial murals in West Belfast or the upcoming film releasing this year dramatising their rise to fame.

It’s clear that the Belfast band — made up of trio Mo Chara, Moglaí Bap and DJ Provaí — has never been one to back down from speaking their minds, whether it be in the Irish language or English. The album has been a long time coming, as it's been seven years since the release of their debut single ‘C.E.A.R.T.A’, a catchy throwback to a '90s hip hop sound, asserting the Irish speaking threesome as an emerging unique voice in the Belfast music scene.

With their controversies away from the recording studio, it can be easy to forget that Kneecap are a rap trio first and foremost, and one which uses its music as a way to express their working class and republican identities through the Irish language. Their debut album arrives on June 14, and it may be a reminder for listeners of just how talented they can be.

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‘Fine Art’ can be seen as a concept album, as the trio has conjured up ‘The Rutz’ as a premise for their songs to be born from - a pub that doesn’t exist as a way to encapsulate their way of living, evident from the brilliant first single, ‘Better Way To Live’. Fontaines D.C singer Grian Chatten sings on the hook, “I think all day but when I drink I’m okay/ Gets further away everytime I try grab it”.

The release of the single was a statement back in November - marking a growing maturity in the band's sound with its terrific bass line and production. That’s not to say that there isn’t a place on the album for the riotous sound they’re known for, with the titular track featuring a drill-inspired beat and even a soundbite from The Nolan Show referencing their mural.

If anyone has listened to Kneecap’s music before, it’s easy to understand why they’re divisive. People will argue that their satire and wit may sometimes come off deeper than what they intend and there will be a choice of songs off of ‘Fine Art’ for potential controversies.

But often beneath their humour lies lyrics and songwriting that can strike a chord with the younger generation, often delivered with performances that sound like they come straight from the heart. ‘Sick In The Head’ is one of the strongest tracks from the bunch, an explosive outpouring of rage and anxiety, with Moglaí Bap rapping on the hook: “Sitting too long, getting mouldy on the shelf/ Because I’m too far gone when it comes to mental health”.

The tracks continue to race past, interrupted by brief interludes of the rappers in their imagined bar, in which they complain about a friend never buying a round, or entertain an Englishman looking to profit off of their music, all of which only add to the atmosphere and setting they’ve created.

As last orders are called in ‘The Rutz’ it’s time for the emotional album closer, with ‘Way Too Much’ detailing personal growth and having confidence in who you are. It’s the most musically rich song off the album, almost resembling a choir with its beautiful backing vocals and fluttering piano chords.

As much as it may sometimes appear, Kneecap aren’t writing songs purely about Northern Irish identity politics. There’s a reason why their music has struck a chord with the younger generation, as it describes working class living and youth culture in a way that feels fresh and tangible.

‘Fine Art’ is bold in every way possible, from the contents of its songs to the performances and concept. They may not get the plaudits from every one of their listeners but there is one thing for certain; Kneecap are a brave and unapologetic voice emerging in their scene, and as their music continues to evolve and fan base grows, the headlines will continue to write themselves.

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