KNEECAP - "FENIAN" (2026)

I, like many others, was put onto KNEECAP in late 2024 following the UK's government at the time attempting to pull an arts grant the group won in response to their activism and criticism of the UK's support for Israel's genocide in Gaza. The band took the government to court and won, raising their profile (and notoriety) significantly. Their debut album, Fine Art, came out earlier that year and when I listened through after catching wind of the group, I thought had some real highlights on it that showcased the groups unique and in-your-face personality, but they had some room to grow on the instrumental side of things. The heavy 90's dance influence on the beats suited the group's attitude well, but the individual instrumentals themselves didn't really grab me in the way the vocals and politically charged lyricism did.

During 2025, their presence in public culture only grew as their continued activism for Palestine resulted in their US visas being revoked (and forcing them to cancel a tour), and Mo Chara was charged for terrorism offences after a video of him emerged holding a Hezbollah flag at a gig in 2024 (these charges were similarly dropped). So everyone has been eagerly awaiting what would entail with the bands follow-up FENIAN. Fenian is a term given originally to medieval Irish warriors that then become reappropriated to be used for Irish republicans and later a slur for Irish Catholics. So unsurprisingly, given the title and the band's recent controversies, FENIAN is an even more politically charged and pointed record than the debut. Fine Art had plenty of overt political moments, but there was just as much focus on humour, drugs and the groups party-boy lifestyle (there's literally a track called Rhino Ket that's about k-holing on some really strong ketamine on it). FENIAN does away with most of the more ridiculous moments, and the trio bring on producer Dan Carey to enhance the more serious and poignant tone.

Off the bat Dan's production style is noticeable. The beats are grimier and more sinister, with some tracks such as Carnival and Occupied 6 having a nocturnal trip-hoppy feel to them. Carnival is a scything takedown of the British authorities for the complicity in the genocide in Gaza and the targeting of Mo Chara for his on stage antics. The post chorus features catchy group chanting of "Free Mo Chara, Free free Mo Chara". The following song, Palestine is a gnarly grime track with a guest feature from Palestinian rapper Fawzi. The song is not only striking for its sinister instrumental, but also for being performed entirely in Gaelic and Arabic. I think it takes some real bollocks to put a song on the record that the vast majority of the group's English speaking audience would not understand. But it also shows how the universal struggle against oppression transcends borders and language. Lairs Tale takes on Keir Starmer specifically - calling him "Netanyahu's bitch and a genocide armer" against a storming party-rap beat.

The manic party vibes continue into the middle of the record with the title track and Big Bad Mo. FENIAN is electric with the chanted 'spell it out' hook and dance-punk groove. The song also also samples Casiokids' Fot i Hose which is most commonly known as the transition music in the comedy series Friday Night Dinner - which just amuses me. Big Bad Mo's techno beat is less of my thing, but the propulsive beat keep the track moving at a speedy pace. I do like the little instrumental breaks that feature some hazy synths and house-y, staccato piano passages. The jungle bassline of Headcase is similarly breakneck, but the catchy hook and bouncy rhythm keep me engaged.

The back end of the record once again returns to the darker, more sinister sound of the first few songs. Occupied 6, mentioned earlier, has this chugging post-industrial beat that perfectly pairs with the lyrical content about growing up in Northern Ireland during the troubles. Gael Phonics has an off-kilter, lopsided beat that really draws me in. The song sounds like it's about to stumble over itself with the wonky syncopated piano stabs and funky bassline. Cocaine Hill has washes of woozy psychedelic guitars smeared across a scratchy trip hop beat. The song feels so tense and uneasy, a perfect reflection of the lyrical content focusing on the struggle of addiction. The closer, Irish Goodbye, similarly feels like the musical equivalent of the concept of an 'Irish Goodbye'. The song is a relatively lowkey and spacious tune that sneakily winds down the album - there's no big all-out finale for FENIAN and I think that it really works to be honest.

I will say the record starts a little slowly, with the opener Éire de Geo basically being an atmospheric intro, and the grime beat on Smugglers & Scholars being fairly standard (and grime is a genre that doesn't always click for me, so the lack of flair here only compounds the fact that it doesn't draw me in that much). An Ra and Cold at the Top, on the second half of the album, are both also fine enough but I'm not really gravitating towards them compared to some of the more in your face songs that precede them.

FENIAN is an improvement on Fine Art in pretty much every way. It's lyrically more pointed and focused, and features way more interesting and varied instrumentals to boot. There's a couple of songs I could take or leave, but on the whole it's a really well rounded record. I was already excited to see KNEECAP at Primavera, and now I am even more so.

Top Tracks: Carnival, Palestine, Liars Tale, FENIAN, Occupied 6, Gael Phonics, Cocaine Hill, Irish Goodbye

7/10

Little Simz - "Drop 7" (2024)

 

Little Simz is back with another EP in her Drop series, which sporadically intersperse her main LPs and are generally used as a place for her to experiment a little without the perfectionism and burden of expectation that is a common theme within her music. This one comprises of 7 tracks that incorporate techno, trap and grime with a bit of Latin and afrobeat rhythms - a stark contrast to the soul and funk instrumentals of her past few main albums. 

These tracks are all pretty short, with much less attention to detail than the lush instrumentals of SIMBI and NO THANK YOU. They're repetitive and somewhat hypnotic, and Simz' vocals and lyrics feel much more off the cuff and frankly background-y than the commanding presence she usually has. It's all a bit vibey and unfinished. I've had the pleasure of seeing Simz live a couple of times now, and I just can't see any of these tracks penetrating her live set the same way a couple of the tracks off Drop 6 did.

The opener, Mood Swings is definitely the most complete song on the EP, and midpoint SOS is quite a nice Latin meets deep house track that I can vibe to. The closer, Far Away, brings back some of the jazz and soul that Simz is more known for and I vibe with that also, even if its a lot more lightweight that I'd expect from a Simz track. 

Drop 7 is perfectly listenable but on the whole it just doesn't leave much of an impression. I would have rather this had spent a bit longer in the oven and had more of its own identity, because it is a significant step below everything Simz has put out since 2018 and I'm definitely going to forget about it within a few weeks.

Top Tracks: Mood Swings, SOS, Far Away

5/10

Slowthai - "TYRON" (2021)

 

Slowthai burst onto the scene a couple of years ago with his manic, DIY and punk style of grime and hip hop. He leaned into his background, growing up on the council estates of Northampton, to create this persona of a wild, unpredictable, standoffish kid of the streets; but paired it up with incredibly poignant and powerful socially and politically conscious lyrics. This made his debut record really stand out against the usual grime bluster and posturing. Fast forward two years, where Slowthai got 'cancelled' for being drunk, inappropriate towards the host Katherine Ryan, and starting fights at an awards ceremony; immediately before a global pandemic locked him inside, forcing him to reflect on himself, his persona, and his actions. What results is TYRON, a 35 minute record where Slowthai separates his manic and aggressive, and thoughtful and emotional sides onto two distinct halves.

While I understand the artistic motivations behind this, it does mean the record runs more like two very separate EPs rather than one cohesive listen. The tracks are also short, some so short that they feel like vignettes or motifs rather than a complete song. This mainly affects the first, more aggressive half, which could've done with a bit more depth as the disassociation of Slowthai's emotions leaves this half feeling a bit lightweight, despite how hard hitting and in-your-face it sounds to the ear. This side feels very much like Slowthai playing into his leery-lad character, acting like he owns the place and doesn't care about people's opinions and criticisms. You can tell it's supposed to be a bit tongue in cheek, but there isn't much beyond that for the entire half. CANCELLED is literally about being 'too big to be cancelled'. Both that track and MAZZA have really kinetic and propulsive beats, and Slowthai's performance on both is inflected and charismatic. Skepta's feature on CANCELLED is fairly run of the mill but the beat and Slowthai carry the song. The side as a whole has a punky, trap flair which makes it very listenable despite not every track standing out.

The second half is where the record really shines. Slowthai shows much more of his emotions and vulnerability, against some really lush and detailed instrumentation. i tried opens up this half with a jazzy and low-key beat, which Tyron raps detailed and heavy lyrics dealing with his torn identity adn imposter syndrome, feeling that he's only famous for his manic antics rather than the quality of his work. The intro of the track literally states that 'I tried to die', like he feels that much of an imposter that he's contemplating suicide. Following this is focus, which focuses on the themes of mindfulness and self-improvement. This is backed by a stripped back trap beat and a simple bass riff, giving it a really relaxed vibe.

The record ends on its best run, nhs into feel away, then adhd. nhs is such a bittersweet tune, as Slowthai lists off good and bad opposites in life; reminding us and himself that bad things happen in life, and you've got to acknowledge that or you'll never enjoy the good parts. The track is built on this pitched up vocal loop which also acts as the hook and combined with the lush piano notes makes it sound very sweet and refreshed. feel away is the most overtly soulful song on the record, thanks to James Blake's smooth croon on the hook. The track is revolves around a crumbled relationship, but references to pregnancy and car accidents make it feel far more traumatic and catastrophic. The chopped up, reverb-y piano sample adds to the haunting nature of the song. adhd has a more prominent drum beat, and Slowthai's rapping is much less enigmatic and more monotone, sounding almost defeated. The track is about him growing up with adhd and how people didn't really understand how it affected him or understood him. It's a very downer note for the record to end on, but fits with the record's themes as whole, that Tyron is still working out who he is and how he feels.

Some of TYRON is fantastic, introspective and engaging hip hop; but it still doesn't feel like Slowthai has reached is full potential yet. The distillation and segmentation of his different moods leaves the record feeling a bit choppy; and out of the heavier, more manic tracks, nothing bangs as hard as Doorman or gets as lyrically heavy as Northampton's Child from the first record. I am really looking forward to what he does next, because an entire record similar to the second half of TYRON could be really up my street.

Top Tracks: CANCELLED, MAZZA, i tried, focus, nhs, feel away, adhd

7/10

Slowthai - "Nothing Great About Britain" (2019)

2019 was really Slowthai's year. He broke into the mainstream with his debut record, which was then nominated for the Mercury Prize; dropped co-labs all over the place and toured with the American super-group Brockhampton. And it's really not hard to see why he has made such a splash, as he is such an attention-grabbing character with an incredible presence on the stage and on these tracks.

Slowthai instantly grabs you with his very unique rapping style. It's not the most technical or flashy, but Tyron brings a punkish, DIY attitude to it which sets him apart from any other rapper I've heard. He has weird vocal inflections, and a rough aggressive tone throughout the majority of the record, although there are a few softer moments in the tracklist.

It's hard not to be sucked in by the lyrical content either. Slowthai raps about growing up in on council estate with his single mother, and some tragic childhood trauma, including the death of his younger brother and Tyrone's poor relationship with his step-father. The tracks are also stuffed full of commentary on class inequality and politics, as well as references to British pop-culture and stereotypes.

The opening track is the title track, which serves as a tone setter for the rest of the record. Slowthai lists off social injustices and ends with brash pot-shots at the Royal Family. Following this is the Mura Masa assisted Doorman, a manic, dance-able banger about going out and the related alcohol and drug abuse. It has a certain post-punk/dance punk quality to it, despite having electronic instrumentation. It is the cream of the crop of the album's tracks, I've been listening to it for months and it never gets old. Gorgeous is more organic, built around a loop of a little piano riff, with additional strings and manipulated vocals in the background. Tyrone raps more nostalgically about his youth here, despite the challenges he faced during it.

Some of the more grime-styled tracks in the middle of the record don't do much for me, I just struggle to connect of become invested in those types of instrumentals. Slowthai and his features (Jaykae and Skepta) still perform well on top. The record picks up again towards the end though, starting with Peace Of Mind. Slowthai is particularly driven and swaggering on this one, with the hook "I feel peace of mind when I'm dreaming of a life I ain't living". You really feel the anguish and anger in his voice here. Missing has a weird, creepy, warped synth-line. Similar effects smother Slowthai's voice, creating a dark, dangerous atmosphere to the track. Northampton's Child closes the record much as Nothing Great About Britain opens it, however with a more autobiographic slant about has family life growing up. It's incredibly touching, especially considering Tyrone's adoration of his mum despite everything they went through.

The lyrical side of this record is top-notch, and it is worth listening just for that. The instrumentals don't always hit the mark for me, and the ones that I do vibe with aren't exactly the most complex or intriguing. This makes the album feel slightly lopsided, but again, the lyrics carry it for the most part.

Top Tracks: Doorman, Gorgeous, Peace Of Mind, Missing, Northampton's Child

7/10