A full quarter of an hour prior to the on-stage emergence of Kneecap at the Electric Picnic, the crowd started displaying manifestations of excitement. Torches appeared amongst the crowd, sprouting up like mushrooms in a field, along with totem poles. Hushed voices exchanged predictions of impending chaos and declarations of diving right into it. A man donning a genie’s hat claimed the spotlight, held high and admired by a woman wearing a flamboyantly green St. Patrick’s bishop’s hat.
Everything around was a riot of colours – a testament to the partisan fervour of the Kneecap fanbase. This included a mix of tricolours and Palestinian flags, mullets and balaclavas, and Irish football jerseys bearing eircom’s emblem. The throng inside the tent got denser as The Saw Doctors wrapped up their gig at the primary stage, triggering a flood of fans towards the Electric Arena.
Their appearance on stage was introduced by a hard-hitting message onscreen declaring, “Genocide is being perpetrated against the Palestinian people by Israel,” followed by a call-to-action to stop US forces and aircraft from using Shannon Airport.
Lankum’s Radie Peat initiates the event like she does on Kneecap’s latest album Fine Art. Her stirring vocals on the song 3CAG, which is a sample of Joe O’Donnell’s 1977 violin masterpiece Caravan, rightly introduce a Celtic flavour.
As if summoned by the genie from earlier, Móglaí Bap and Mo Chara sprint onto the stage amid a haze of smoke, armed with wireless microphones and a bottle of Buckfast. After declaring Peat the Queen of Ireland, they announce to the crowd, “Without a doubt, this is the largest gathering we have ever performed in front of.”
As the smoke clears, Fine Art is allowed to unfold. The Kneecap performance, always high-energy, shifts to a level that is daring, stirring and thoughtful – the tent stretching against backdrop visuals that flit between My Bloody Valentine and Aertel teletext.
The skill set of the group has clearly evolved in the wake of their album and debut film – chosen to represent Ireland in the International Feature Film sector of the forthcoming Oscars.
They seemingly hit their stride during performances of ‘Better Way to Live’, ‘Sick in the Head’ and ‘Love Making’. An additional appearance is made by Nino, a Limerick-born artist and a member of Absolute Lilt as well as the traditional music supergroup BIIRD.
Móglaí Bap commences his musical arrangement. The tracks ‘Guilty Conscience’ and ‘I bhFiacha Linne’ are introduced with an invite to create multiple mosh pits, five in total, extending from the front to the rear of the shelter.
The climax appears rushed, unfortunately, as a 45-minute allotment was destined to feel hurried. Amid a rare lull, cries of ‘Olé’ echo throughout the venue, setting the stage for a grand finale calling for audience participation.
Mo Chara, Móglaí Bap, and DJ Próvaí command the stage, much like professional snooker players, with critical responses to ‘Get Your Brits Out’ and ‘H.O.O.D’. The crowd resembles their movements in the intervals, with an array of jubilant entertainers making the most of the arena.
The night’s final interpretation, ‘C.E.A.R.T.A’, serves as a tribute to Cork-born musician and songwriter Eoin French, alias Talos, who passed last week at just 36 years, following a brief ailment.
Much like all of Kneecap’s endeavours, the tribute is infused with passion, vigour, and heart.