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Words: Fin Harrison / Photo: Press

Wikipedia tells us that “a Fenian is a member of a 19th-century Irish republican movement that sought independence from British rule, or a person who supports these goals.” It was also once used as a derogatory sectarian term that was weaponised against Irish Catholics and nationalists in the North. I say that in the past tense, because on their second album, Irish rap trio KNEECAP reclaim the term in a bold, triumphant, and slick fashion.

Many of us questioned the musical longevity of KNEECAP when their constant portrayal as figures of controversy in the mainstream media increased their already consistent global reach by a hundredfold. It turns out that you can rapidly gain a pretty massive fan base when you’re artists who continuously clash with politicians such as, but not limited to, the PM, the leader of the opposition, the Trump administration, and the Israeli lobby. All of this has kept KNEECAP pretty busy since the release of 2024’s Fine Art, and it would be naive not to question how the rappers would evolve musically amid this exponential rise in media attention and public speculation. Thankfully, these reasonable doubts are put to rest thanks to the work of producer Dan Carey (Black Midi, Fontaines D.C., Geese).

The interplay between Mo Chara and Móglaí Bap is cemented in a way that better reflects their dynamic roles as the vocal force of the group. They’re saying a lot more on this record and giving each other more room to do so. The message is more serious and contains a lot of carefully considered political messaging, focusing less on (but not totally abandoning) the drug- and partying-related lyrics that were prominent on the first record.

Fenian also plays host to a diverse range of collaborations, resulting in a project that feels fresh. This is a good thing for the band, as there was definitely a chance they could have done the easy thing and filled the record with mosh pit-inducing drum and bass tracks like H.O.O.D. and The Recap, which have commanded huge crowds at major festivals across the world. This more open approach from the group and Carey sees them team up with Kae Tempest, whose 2025 album Self Titled was by far their most groundbreaking. The track Irish Goodbye is a mature, introspective ode to Móglaí’s late mother — activist and trad musician Aoife Ní Riain, who died by suicide in 2020.

The group further reinforces their unwavering solidarity with the Palestinian cause by working with native rapper Fwazi on Palestine. On Smugglers and Scholars, the lyrics are reminiscent of revolutionary periods and moments of unity within Irish working-class history, while a steady beat pulsates and oozes with tension and menace.

For a group that many once scoffed at and rolled their eyes at, it is the outstanding and critically considered execution of Fenian that now makes them impossible for the turtlenecks and suits to turn their noses up at. They could have made a dozen raucous party anthems, as they’ve done successfully in the past. Instead, they deliver a mature, globally minded project with lessons in revolutionary history embedded into every bar.

‘Fenian’ is out on May 1st via Heavenly Recordings.