Kneecap, often described as the Rage Against The Machine (RATM) of the 21st century, embodies anger against the system and an activism that raps against British colonialism and the failures of Western democracies, including wars and genocides. Their music advocates for individual freedom and the liberation of their country.

After facing trials and censorship, the group returns with Fenian, a more eclectic and forceful album released by Heavenly Recordings. This work follows their previous album, Fine Art, which expanded their message from smaller venues to stadiums and festivals. Their concert at Bilbao BBK Live last year was a celebration of freedom of expression.

The Belfast-Derry trio, consisting of DJ Próvai and MCs Mo Chara and Móglai Bap, was one of the most controversial groups in 2025 according to conservative media. Blending elements of Public Enemy, The Chemical Brothers, Prodigy, The Pogues, and RATM, they overcame numerous obstacles, including censorship and legal battles, all of which they won.

Fenian was produced in collaboration with Dan Carey, known for his work with artists like Wet Leg, Fontaines D.C., and Kae Tempest. The group's name, meaning “kneecap,” originates from the old times of conflict between the UK and the IRA. The band proudly highlights the struggle to keep the Irish language and culture alive.

The album offers more darkness and confrontation, alongside increased fun and energy. Embracing Nina Simone's motto, “freedom is the absence of fear,” the album opens with “Éire go Deo” (Ireland forever). The first hit, “Smugglers & Scholars,” is a powerful industrial hip-hop track that explores the government's obsession with control and its connection to violence.

“Carnival” recounts Mo Chara's trial for denouncing the genocide in Gaza, describing it as “the new attraction of the circus of distractions.” In “Palestine,” featuring Palestinian rapper Fawzi, they denounce the genocide, switching between Irish and Arabic, showcasing clear transnational solidarity.