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Kneecap lead Glastonbury chants of 'F*** Keir Starmer' and urge crowds to riot in Westminster court when one of the Irish rappers next appears on Hezbollah flag charge

Kneecap lead Glastonbury chants of 'F*** Keir Starmer' and urge crowds to riot in Westminster court when one of the Irish rappers next appears on Hezbollah flag charge

Daily Mail​13 hours ago

Controversial Irish band, Kneecap, led chants of 'F*** Keir Starmer' and urged crowds to riot in the Westminster courts during their headline set at Glastonbury Festival yesterday.
The group's lead rapper, Liam O'Hanna, 27, whose stage name is Mo Chara, is on unconditional bail after being charged with terrorism for supporting Hezbollah, a proscribed terrorist organisation.
Addressing the charges to more than 30,000 revellers at Worthy Farm, his band mate Naoise Ó Cairealláin, known as Moglai Bap, said: 'Mo Chara is back in court for a trumped up terrorism charge.
'It's not the first time there has been a miscarriage of justice for an Irish person in the British justice system. So now you know he's available on the 20th August at Westminster, support Mo Chara and let's start a riot in the courts.'
Later on in the hour long set, Mo Chara said: 'The Prime Minister of your country, not mine, said he didn't want us to play so f*** Keir Starmer,' before leading a chant against him.
The band's third member DJ Provai, whose real name is J. J. Ó Dochartaigh, removed a red boiler suit to reveal a Palestine Action t-shirt - a group the government are preparing to ban under UK anti-terrorism laws.
The controversial Irish language band took to social media an hour before their performance and posted a photo of DJ Provai wearing the shirt which read 'We are all Palestine Action' after the government moved to proscribe the organisation, making it a criminal offence to belong to or support Palestine Action.
Tensions had already been running high before the set began as they were preceded by the hip hop duo, Bob Vylan, who led chants of 'Death to the IDF' the Israel Defence Force.
As the trio walked onto the stage they played a compilation of their critics' voices over the speakers starting with a BBC broadcast announcing the terrorism charges against Mo Charah.
It was followed by the former DUP leader, Arlene Foster, when she infamously said, 'I live rent free in their head' as she features on their posters and lyrics after she expressed they had 'overstepped the mark' with their comments about Hamas and Hezbollah.
On their Instagram, the band put out a statement which read: 'The crowd expected today is far greater than West Holts capacity so 'You'll need to be very early to catch us father… very early.'
The stage, which has a capacity for 30,000 people, was shut 47 minutes before the trio were due to perform to avoid severe overcrowding in the area.
They also hit out at the BBC in the same statement calling it 'the propaganda wing of the regime'.
It comes as Glastonbury bosses closed the stage where the controversial Irish language rap group performed yesterday amid crowd crush fears.
The rap trio took to the West Holts stage at 4pm on Saturday, just over a week after one of their members appeared in court on terror charges.
To finish their set, the group led chants of 'Free, Free Palestine' and 'f*** Keir Starmer' as the crowd was filled with flags supporting Gaza.
Mo Chara, wearing a keffiyeh, said 'Glastonbury, I'm a free man' as the Irish rap trio took to the West Holts Stage. The group thanked the Eavis family for their support and attacked the British justice system for his arrest.
Moglai Bap said: 'It's not the first time there has been a miscarriage of justice for an Irish in the British justice system. So now you know he's available on the 20th August at Westminster, support Mo Chara and let's start a riot in the Westminster courts.'
Coming back shortly after he added: 'Just to clarify, I don't want anybody to start a riot.'
The group has defended their previous provocative performances as 'satirical' ahead of performing at Glastonbury, as the BBC said it would not be livestreaming their set. Instead, thousands tuned into a stream of the show on TikTok by a middle-aged woman called Helen.
Speaking to the packed-out crowd, the group said: ' Israel are war criminals. It's a genocide.
'I can see so many Palestine flags, the BBC editing, they are going to have some f***ing problems.
'Glastonbury I am so f***ing proud of you guys.'
But some 45 minutes before their set was to start organisers were forced to shut off entry to the area surrounding the stage as it was already rammed with festivalgoers, many waving Irish or Palestinian flags.
Despite organisers deploying extra precautions to prevent crowd crushing, insiders have told MailOnline Glastonbury bosses are concerned about instances of dangerous overcrowding.
To tackle the festival-wide problem of overcrowding at stages, daughter of the co-founder Emily Eavis said they had sold 'a few thousand fewer tickets' and expanded the capacity of the stages.
But a source close to the festival has told MailOnline: 'Crowd crushing is still a massive concern at Glastonbury, over the weekend there are several warnings that have been issued to workers to watch out for certain areas.
'The Woodsies stage is the biggest headache because they've misjudged acts like Lola Young and Lorde so it definitely was a bit touch and go on Friday.'
The controversial Irish band, Kneecap, told fans to get to their set early on their Instagram because 'The crowd expected today is far greater than West Holts capacity.'
Mo Chara, along with bandmates Naoise Ó Caireallain (Móglaí Bap), and JJ Ó Dochartaigh (DJ Próvaí), have repeatedly argued controversy surrounding their performances is a distraction from the horrors endured by Palestinians amid Israel's war in Gaza.
They said they are happy to lose income and clout in order to be 'on the right side of history', and said they hoped that 'being vocal and being unafraid' would encourage other bands to speak up on Palestine.
As the trio took to the stage, they displayed a huge 'Free Palestine' message on the screen behind them.
Mo Chara said: 'We understand how important it is to show solidarity. The Irish suffered 800 years of colonialism at the hand of the British state, boo.
'But guys we were never bombed from the skies with nowhere to go, the Palestinians have nowhere to f***ing go. Not only are they being bombed from the skies, they are now being starved to death.
'Kids are being starved to death in this day and age. I don't have the luxury of you people watching, we all have a phone, there's no f***ing hiding it - Israel are war criminals. And it's important I know sometimes, I'm seeing a lot of Palestinian flags here and it's what we're saying.
'The BBC are going to rescind you all. So sometimes we feel helpless and that we're not doing enough and that's probably true sometimes but the difference it makes for the people of Palestine when they see people from the other side of the world, this many people, screaming free Palestine. '
Their performance will not be live-streamed but is likely to be made available later on iPlayer, the BBC has said. The set list for performances on the stage aired on iPlayer does not acknowledge the band are playing - leaping from Bob Vylan at 14.30 straight to Yussef Dayes at 17.30.
Senior Westminster politicians have criticised their participation in the popular music festival and called for them to be removed from the line-up, but festival bosses refused to do so.
British Prime Minister Sir Keir Starmer has said he does not think it is 'appropriate' for Kneecap to perform at Glastonbury, while Conservative Party leader Kemi Badenoch said she thought the BBC 'should not be showing' Kneecap's performance.
Kneecap member Liam Óg Ó hAnnaidh, 27, appeared in court last week after being charged for allegedly displaying a flag in support of proscribed terrorist organisation Hezbollah while saying 'up Hamas, up Hezbollah' at a gig in November last year.
Glastonbury organisers were forced to shut access to the stage 45 minutes before the set was due to begin due to overcrowding
On June 18 the rapper was cheered by hundreds of supporters as he arrived with bandmates Westminster Magistrates' Court in Free Mo Chara T-shirts.
The band were also criticised following footage of a November 2023 gig allegedly showing a member saying: 'The only good Tory is a dead Tory. Kill your local MP.'
He was released on unconditional bail until the next hearing at the same court on August 20.
Ó hAnnaidh, who performs under the stage name Mo Chara, said the videos only resurfaced after Kneecap performed at Coachella in April, where they said 'F*** Israel. Free Palestine '.
Immediately before the set at Glastonbury on Saturday, artist Bob Vylan displayed a Palestine flag as he walked on stage.
During the set, the singer led chants of 'free free Palestine', and 'death death to the IDF' in a show livestreamed on the BBC.
A BBC spokesperson said: 'As the broadcast partner, the BBC is bringing audiences extensive music coverage from Glastonbury, with artists booked by the festival organisers.
'While the BBC doesn't ban artists, our plans ensure that our programming meets our editorial guidelines. We don't always live-stream every act from the main stages and look to make an on-demand version of Kneecap's performance available on our digital platforms, alongside more than 90 other sets.'
Kemi Badenoch retweeted a post on X on Saturday criticising the BBC for saying it would likely put Kneecap's set on iPlayer
It is understood the BBC needs to consider the performance before making a final decision.
The band said on Instagram: 'The propaganda wing of the regime has just contacted us....
'They WILL put our set from Glastonbury today on the iPlayer later this evening for your viewing pleasure.'
But the group's loyal fanbase was left fuming by the news the performance would not be livestreamed.
One said: 'Kneecap not going to be broadcast live from the BBC today, Jesus wept.'
A second added: 'If the BBC can't broadcast #Glastonbury2025 live, as the licence fee paying public expect, then it's time to give the broadcasting rights to a provider who will. #Kneecap.'
Another fan said: 'So the same BBC that gives a platform for genocide apologists every week, unchallenged by their pathetic 'reporters' will heavily edit KNEECAP'S set today and only show you what they think is relevant.'
A fourth said: 'By trying to ban Kneecap all people are doing is highlighting their message. I dont like Kneecap but this Glasto/BBC charade has been pathetic.'
In an interview with The Guardian newspaper ahead of Glastonbury, Ó hAnnaidh defended their performances as 'satirical'.
'It's a joke. I'm a character. Shit is thrown on stage all the time. If I'm supposed to know every f****** thing that's thrown on stage I'd be in Mensa,' he said.
'I don't know every proscribed organisation - I've got enough s**t to worry about up there. I'm thinking about my next lyric, my next joke, the next drop of a beat.'
Asked about the 'dead Tory' comments, he said it was 'a joke' and 'we're playing characters'.
'It's satirical, it's a f****** joke. And that's not the point,' he said.
'The point is, that (video) wasn't an issue until we said 'Free Palestine' at Coachella. That stuff happened 18 months ago, and nobody batted an eyelid.
'Everybody agreed it was a f****** joke, even people that may have been in the room that didn't agree - it's a laugh, we're all having a bit of craic.
'The point is, and the context is, it all (resurfaced) because of Coachella. That's what we should be questioning, not whether I regret things.'
Ó hAnnaidh added: 'If you believe that what a satirical band who play characters on stage do is more outrageous than the murdering of innocent Palestinians, then you need to give your head a f****** wobble.'
Conservative Party leader Ms Badenoch previously said she thought the BBC 'should not be showing' Kneecap's performance at the festival.
She wrote in a post on X: 'The BBC should not be showing Kneecap propaganda.
'One Kneecap band member is currently on bail, charged under the Terrorism Act.
'As a publicly funded platform, the BBC should not be rewarding extremism.'
Meanwhile in an interview with The Sun, Sir Keir was asked if he thought the trio should perform at Glastonbury, to which he replied: 'No, I don't, and I think we need to come down really clearly on this.
'This is about the threats that shouldn't be made, I won't say too much because there's a court case on, but I don't think that's appropriate.'
Glastonbury founder Sir Michael Eavis this week defended the decision to keep Kneecap in the line-up.
Asked if the festival still stands for something, Sir Michael told Glastonbury Free Press, the festival's resident newspaper: 'Oh heaven's above, yes, of course it does.
'And I think the people that come here are into all those things. People that don't agree with the politics of the event can go somewhere else!'
Formed in 2017, the group are known for their provocative lyrics in both Irish and English.
Their best-known tracks include Get Your Brits Out, Better Way To Live, featuring Grian Chatten from Fontaines DC, and 3Cag.
Elsewhere at the festival crowds were also a concern. Charli XCX tonight is expected to pull in a bigger crowd at the Other Stage which will exceed capacity after she was forced to play on the smaller stage than the Pyramid because her often provocative performances were unable to be broadcast on the BBC.
The Woodsies stage was shut in advance of Lorde's surprise set on Friday morning with festival bosses urging people to stand up off the floor to make room while others were squeezed out.
It comes after the Mail on Sunday published an account from a whistleblower at Glastonbury who raised the alarm on the overcrowding at the festival and said: 'It's a disaster waiting to happen.
'It's got to be a mixture of luck and a mixture of goodwill, the jewel in the UK's crown is actually something of a ticking time bomb.'
Last year saw Sugababes shut down West Holts while secret set Kasabian caused chaos at Woodsies – then there was Avril Lavigne whose fans flooded the Other Stage area.
'Worst-case scenario, people are going to die, I think we are going to have some massive issues this year.'
Glastonbury Festival responded and told Mailonline: 'As always, Glastonbury 2025 will have a robust, dynamic crowd management plan in place, with crowd safety paramount at the Festival.
'Our team works year-round on crowd management, which is at the forefront of all decisions and planning for the site and artist bookings.
'Our proactive crowd management team monitors data (including from the official Glastonbury app line-up planner) for information on potential act popularity for weeks in advance of the Festival and develops a comprehensive crowd management plan accordingly.
'At the Festival, our dedicated, 500-strong crowd management team is overseen by a team of world-leading experts and works closely with all relevant agencies and authorities, establishing plans and procedures against all possible outcomes, with detailed plans developed for certain areas and scenarios, even if the likelihood of them being used is very low.'
They added that their team 'utilises state-of-the-art crowd monitoring systems to ensure that at all times of day and night crowd safety is at the forefront of everyone's minds, with a far greater capacity to respond to issues than might be found in the rest of the sector.'

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Glastonbury Festival 2025 ends after weekend of controversy and surprises
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Glastonbury 2025: Sunday with Olivia Rodrigo's headline set plus the Prodigy, Rod Stewart and more
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Glastonbury 2025: Sunday with Olivia Rodrigo's headline set plus the Prodigy, Rod Stewart and more

Update: Date: 2025-06-30T00:28:15.000Z Title: Woodsies', ' Content: The festival reached its final day with standout sets from Wolf Alice, Turnstile, Joy Crookes and more Ben Beaumont-Thomas (now); Shaad D'Souza and Elle Hunt (earlier) Mon 30 Jun 2025 01.04 BST First published on Sun 29 Jun 2025 12.13 BST 1.04am BST 01:04 Ben Beaumont-Thomas Alexis was rightly and totally blown away by Olivia Rodrigo, calling her set the best big one of the festival. Here's his five-star rave: That is everything for tonight, and indeed this year – thanks so much for following all of our nonsense here. Devastated to report that it's a fallow year next year, so we'll see you in 2027? Updated at 1.28am BST 11.58pm BST 23:58 Gwilym Mumford This is the Prodigy's fourth appearance at Glastonbury, but as Maxim says in a brief respite from the pummelling blast beats of Voodoo People, it should be their fifth. On the eve of their 2019 booking Keith Flint was found dead at his home in Essex. 'Six years ago we lost our brother. This is his night,' Maxim declares. Flint looms large at this year's festival – head over to Joe Rush's Carhenge and you'll see his menacing grin adorning the bonnet of an upturned muscle car. But in tonight's set he is positioned as a very visible absence: a silhouette, instantly recognisable by the two devilish points above the temples, is pinned to the giant screens by green lasers. On a reimagined Firestarter his vocals are winnowed down to a single repeated 'I'm a firestarter', Flint haunting the track rather than dominating it as he once did. And on Breathe his vocals in the chorus are omitted, with the crowd stepping in instead. Flint's absence is counterbalanced by a whole lot more Maxim, here playing the role of MC, compere and chief cajoler, shepherding crowds through the different eras of the band's 35 year career, from the saucer-eyed hardcore techno of Jilted Generation to the rocky EDM of Invaders Must Die. A word for the Other stage. 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Bravo! 11.33pm BST 23:33 Jason Okundaye WoodsiesJorja Smith is welcomed on with an orchestral flourish – rhythmic percussion and escalating strings as the visuals conjure a stage on fire. Last month, the singer began her first UK tour since 2018. Back then she was 21, and riding high off her debut album's Brit awards gong, Mercury nomination and Grammy nomination for best new artist. But she has switched down the gears towards a slower pace of life, moving from London back to her birthplace Walsall in 2023. Here, at one of the last sets of Glastonbury, she can flex how she's developed and progressed away from the flashing lights. Smith has won fans for a smoky, honeyed voice that has remained agile, elegant and restrained – though sometimes that restraint is to a fault. On the opening number, Try Me, she is drowned out by her band and, with a vocal style that is often legato, it can be hard to hear what she's saying. There is a fine line, after all, between vocal elegance and repression. Yet this issue quickly melts away, particularly when the familiar hits come out – Blue Lights and Addicted are such phenomenal tracks, sexy and subtle and bringing out gorgeous moments of vocal layering with her backing singer which provide more lyrical clarity and a fitting sense of ensemble. Her male backing singer comes out for a duet on Feelings – Smith is so adoring of him and they sound fantastic together, but it also feels like a humble and mature embrace of how introducing different, distinct vocal tones can accentuate a performance. Initially, you do wonder if this set might become dull, and how she can maintain the audience for an hour and 15 minutes of slower, mellow tones that might not be the vibe for a Sunday late-night billing. Yet Smith is adaptable. Go Go Go reaches for Afropop, while Popcaan collaboration Come Over embraces dancehall. 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At one point, the band acknowledge that they – and likely most of tonight's audience – are now a decade older, so they ask them to jump along, but only if they want to. Of course, they do. The boisterous excitement from the crowd of thirtysomethings doesn't waver, through the urgent, full-bodied end of their discography (Latchmere, X-Ray, Marks to Prove It, etc) to the more quaint moments, like the sweetheart ditty Toothpaste Kisses, which is met with a rapturous singalong. As with any reunion, it's a shamelessly indulgent trip down memory lane – to the band's heyday, yes, but also to a significant time in British indie music more generally. Special guest Florence Welch joins them on stage for Love You Better and a rowdy performance of Dog Days Are Over. After closing with the punchy fan favourite Pelican, the band hug one another on stage. When they say that this show means the world to them, you can tell they mean it. Updated at 11.33pm BST 11.03pm BST 23:03 Ben Beaumont-Thomas To court us a little more, Olivia's cracked out her Union Jack pants for – paradoxically – All-American Bitch. She's also done the Flaming Lips thing of chucking out loads of massive white balls into the audience. Then it's into the second-best Olivia song: Good 4 U. This song features such a good actorly performance: the proper bunny boiler pressing her face against the double glazing to tell her ex about how she's really totally fine about their breakup. It's cartoonishly heightened and silly – but also there's real venom, and this is a definitely a story with two sides: what's this guy done? Then it's Get Him Back! and a ton of fireworks crackling over a wonderfully overwrought guitar solo. 'This is a dream come true,' she tells this jubilant crowd. 'Goodnight!' But it's not goodnight from us just yet – stick around for a load more reviews, pics and more. Updated at 11.13pm BST 11.00pm BST 23:00 Our photographer Alicia Canter has been down in the pit for Olivia Rodrigo and come back with some killer shots. 10.55pm BST 22:55 Ben Beaumont-Thomas Ooh, it's my fave Olivia song, Deja Vu. It sits right in the heart of the Venn diagram of her songwriting – bit of bruised heartbreak, bit of guitar bite, bit of dream-pop – and it's about such a specific horrifying situation: seeing your ex playing through the same cute things you did together, this time with a new partner. Which has the effect of retroactively cancelling them out for you and making you think: wait, who had they already done them with before me? And it's a dilemma that you might not have come across pre social media, but now romances are played out in public, these new weird horrors seep into culture. It's an example of how Rodrigo, not even out of her teens when she recorded this, is so perceptive about affairs of the heart. 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'It's bands like the Cure that first got me acquainted with England … I have so many things I love about England, I love pop culture, I love how nobody judges you for having a pint at noon, it's the best. I love English sweets, all the sweets from M&S, Colin the Caterpillar specifically.' Invoking Colin genuinely makes English people giddy. Pray continue. 'True story: I have had three sticky toffee puddings since coming to Glastonbury. And as luck would have it, I love English boys.' It's all teeing up So American, made from the inside jokes she had with an English lover. Updated at 10.45pm BST 10.29pm BST 22:29 Ben Beaumont-Thomas The special guests are coming out. With the Maccabees up on the Park – which I'm basically ignoring because life is too short – it's Florence Welch. AJ Tracey has come back out to join Jorja Smith. And with Olivia Rodrigo, it's Robert Smith from the Cure. 'He is perhaps the best songwriter to come out of England, he is a Glastonbury legend and a personal hero of mine,' she says. They launch into a sweet-natured and extra-melancholy duet of Friday I'm in Love, trading lines back and forth. Then they join together in a wonderful pairing for the climactic chorus, their voices so totally different and yet chiming together. 'The dads chaperoning 13 year old daughters properly doing their nut near us hahahaha', Alexis Petridis texts to me. Robert sticks around for another one: Just Like Heaven, in which he takes the lead on verse one, with Olivia taking verse two – she's more doleful and wary than the more romantic and caution-throwing Robert. The way they bring out new and different shades to these songs is one of the greatest treats of this year's festival. Updated at 10.37pm BST 10.28pm BST 22:28 Ben Beaumont-Thomas Olivia Rodrigo is just 22 years old, by the way – which puts her way up the league table of youngest headliners. Billie Eilish was just 20 when she did her own set in 2022, though as Ash reminded us during their set this weekend, actually it was them who were the very youngest when they were drafted in to replace Steve Winwood in 1997. Updated at 10.48pm BST

Doechii at Glastonbury review – an education in rap from the greatest teacher in the game
Doechii at Glastonbury review – an education in rap from the greatest teacher in the game

The Guardian

time41 minutes ago

  • The Guardian

Doechii at Glastonbury review – an education in rap from the greatest teacher in the game

When Doechii takes the stage at West Holts on Saturday night, she is introduced to us as Doechii the don, the dean, the supreme. Before the hour is out, no one in the audience will be left in doubt as to the Grammy winner's mastery of her craft, or how much work she has put in to achieve it. But at the same time as flaunting her natural ability, Doechii is also eager to show her working and the paths she used – and her debut UK festival appearance is all the more mesmerising for it. The 26-year-old performer's schoolgirlish styling – giant lockers, rows of desks, Doechii's long braids and exceedingly brief kilt – is immediately obvious as a feint: she may be a relative newcomer to the scene, but she is no rookie. The videos playing either side of the stage bring the set's concept into focus: Doechii (real name Jaylah Ji'mya Hickmon) is leading us, step by step, through the steps necessary to become a hip-hop master – from how to distinguish between 'good bars and GREAT bars', to understanding 'the aspect of flow' and the importance of genre. The overarching suggestion is that Doechii is the total package, and she makes it hard to argue with: she is pure power, head-to-toe sinew, as tightly coiled as a snake and just as hard to tear your eyes off. Doechii spits, she lunges, she sprints the length of the stage and seems to hardly pause for breath throughout the entire show. Should you catch yourself wondering where this force of nature sprung from, she's eager to tell you, peppering her set between snippets of Wu-Tang Clan, Nas, Missy Elliott and even Daft Punk. It not only adds richness to the show but also places Doechii within a musical lineage, identifying her as an artist who swotted up on the greats, then found a spin uniquely her own. After Bullfrog, the screens switch from black-and-white to vivid colour, and Doechii launches into Boiled Peanuts, defined by its irresistible, cackling refrain – the crowing 'ha ha ha' of a victor who knows herself to be head and shoulders above the competition. That triumphant glee extends into Nissan Altima: Doechii is held aloft by her posse of backing dancers, swinging her braids like the imperious head cheerleader. The show's pace is so relentless, the choreography so precise and the Doechii's flow so airtight that all the crowd can do is hold on and hope for dear life to be carried along. With her freestyle over America Has a Problem, from Beyoncé's Renaissance, Doechii challenges anyone who dares fancy themselves her competition to step up: 'I see a lotta bitches, I don't see a lotta stars / I hear a lot of rappers, I don't hear a lot of bars.' The follow-up nod, in that song, to the Barbz – Nicki Minaj's famously fanatical fanbase – makes Doechii's most obvious comparison explicit, but not only does she match Nicki's impeccable flow, she also bests her stage presence. Nicki's never been known as much of a performer, whereas Doechii runs the length of the stage in heels and throws her body around like it's another special effect at her disposal. Through Alter Ego, she's flirtatious, casting coy glances over her shoulder, then antagonistic, spitting fire from a low squat position. Doechii's association with alligators, appearing on the cover of her album Alligator Bites Never Heal, is apt: they share the same implacable ferocity, bared teeth and glint to the eye. A dance break involving umbrellas adds to the spectacle, but slightly obscures the school of hip-hop through-line. The show restores equilibrium with Persuasive, Doechii's track with SZA – obviously performed tonight without her, but with such force that you don't feel the absence. Doechii's back and forth with her DJ/hype woman Miss Milan adds to the party atmosphere; by the time she launches into Nosebleeds from atop of a giant pair of speakers with her dance troupe way below, the crowd is hanging on her every word. From that apparent peak, the highs only continue with an X-rated performance of Crazy and a rendition of her hit Anxiety that blasts the sample, Gotye's Somebody That I Used to Know, with heavy distortion. For all her immense technical ability and precision, there's actually something quite metal about Doechii in her commitment to spectacle. On top of all that, she has a strong, clear voice, capable of acrobatics but not inclined to launch into them just for show. On GTFO, she spars with her dancers, then the camera; for Catfish, she shows off her vocal timbre, descending into a guttural, bristling growl. It is brilliant, but unrelenting; a reprieve from all that intensity arrives with Denial is a River – Doechii's Salt-N-Pepa-esque, gossipy hit about a cheating partner and the narrator's own self-deception. It's presented within the educational framework of tonight's set as an exemplar of 'the art of storytelling', and more than delivers on that promise: Doechii is relaxed, self-deprecating and conversational with Miss Milan. You could happily watch her riff in this register for hours. As it is, Doechii concludes her 'school of hip-hop' with a rousing rendition of Boom Bap, then skips off stage. It might seem anticlimactic – West Holts seems to be left slightly reverberating by her sudden absence – but it's in fact one last lesson: a true master knows to always leave the crowd wanting more.

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