Kneecap sell out Scots show in 30 seconds after TRNSMT axe as fans beg for more dates
KNEECAP'S Glasgow gig sold out in less than 30 seconds just days after their TRNSMT show was cancelled.
The Irish hip-hop trio were dropped from the Glasgow Green festival lineup on July 11 due to "safety concerns."
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Kneecap were this week dropped from the TRNSMT lineup
Credit: Getty
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They were set to perform on July 11
Credit: Roddy Scott
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They've since scheduled a new show at the O2 Academy - with tickets selling out in seconds
Credit: Alamy
Earlier this week, they announced a new performance at Glasgow's O2 Academy on July 8 in a bid to "make up for it".
Pre-sale tickets for the new event were quickly snapped up by eager fans in just over a minute on Thursday morning.
But general sale tickets smashed previous records when they went live at 10am today - selling out in less than 30 seconds, leaving those who missed out begging for more dates to be added.
Kneecap wrote on X (formerly Twitter)": Glasgow - 30 seconds of general sale and Sin é."
Fans flocked to the comments, desperately pleading for more Scots shows to be added.
One wrote: "Was one of the unlucky ones. We need more gigs! Glasgow! Edinburgh!"
Another added: "Another date, bigger venue please."
It comes after Kneecap, made up of Liam Óg Ó hAnnaidh (Mo Chara), Naoise Ó Cairealláin (Moglai Bap) and J. J. Ó Dochartaigh (DJ Provai), sparked controversy during their Coachella set where they projected anti-Israel messages on stage.
More backlash followed when videos dating back to November 2023 surfaced of them urging audience members to "kill your local MP" and claiming that "the only good Tory is a dead Tory".
And last week, one member of the Belfast-based band was charged by the Metropolitan Police with terror offences.
'It just makes me happy', says legendary singer Elton John as he praises 'brave' Irish musicians
Liam Óg Ó hAnnaidh, 27, who performs under the moniker Mo Chara, was charged with allegedly displaying a flag in support of the terrorist organisation Hezbollah.
Calls for Kneecap to be removed from the TRNSNT lineup grew - with First Minister John Swinney chiming in, saying it would be "unacceptable" for them to take the stage in Glasgow.
And on Wednesday, the band was dropped from TRNSMT.
They released a statement on social media saying they could no longer perform at the event "due to concerns expressed by the police about safety at the event".
A Police Scotland spokesperson said: 'Any decision on the line up at TRNSMT is for the organisers and there was no prior consultation with Police Scotland before acts were booked.
'Officers have highlighted the potential reaction of such a large audience to this band would require a significant policing operation in order to support the delivery of a safe event.
'We have also passed on information from the public around safety concerns to allow organisers to make an informed decision on the running of the festival.'
We told previously how Glasgow politicians blasted Police Scotland's stance on Kneecap's TRNSMT performance - branding the decision questionable.
A spokesperson for TRNSMT said: 'Due to concerns expressed by the Police about safety at the event, Kneecap will no longer perform at TRNSMT on Friday, 11 July. We thank fans for their understanding."
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34 minutes ago
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The epic of James Joyce
To attempt a biography of a biography is a fresh venture. James Joyce, a life of the innovative Irish novelist who died in 1941, was published to international acclaim in 1959. The validity of its findings, and the prestige of its author, Richard Ellmann, have lasted. In Ellmann's Joyce, Zachary Leader follows the making of James Joyce with empathy for Ellmann, as well as his book and its subject. Above all, Leader, himself the biographer of Saul Bellow, does justice to Ellmann's feats of research, most strikingly by persuading a Joyce contact, Maria Jolas, not to divulge her suitcase of papers to Joyce's son, Giorgio, who would have taken possession and shut the door. Leader devotes the second half of the book to the 'masterpiece' itself, with chapters on tracking material, the trials of publication, and rivals who raced Ellmann to his finish line. The first half of the book is the run-up: the life of the biographer up to the time he took on Joyce. 'Dick' was born in 1918 in Highland Park, Michigan, north of Detroit, to Jewish immigrants. His father, James, from Romania, was a successful lawyer. His wife, Jean Barsook, came from Kyiv. She loved books and learning, and was a prolific writer of reviews and talks for Jewish organisations. Leader captures Ellmann's personal qualities, his gentleness and unassertive tact, especially in his relations with Mrs Yeats, while gathering vital material for an earlier book on an Irish writer, Yeats: The Man and the Masks. As a biographer, Leader is as unobtrusive and faithful as Ellmann himself, moving step by step through Ellmann's awards as a student at Yale, his wartime naval service in Charleston, South Carolina, his academic rise at Northwestern in Chicago, and in 1949 his elopement to Paris to marry Mary Donahue, a highly intelligent woman from an Irish-American background. They settled in Evanston, Illinois. Ellmann said that he first became keen on writing a biography of Joyce in 1952 when invited by a local lawyer, James F Spoerri, to look at his collection of 900 Joyce items. At that time, the only biography available was a lifeless one by Herbert Gorman from 1939, with restricted access to material. It was Mary Ellmann's lot to mind small children at home while her husband prolonged his weeks in Europe, chasing up Joyce papers and numerous contacts. Her touching letters cry out that her life has shut down. Pregnant with a third child in April 1956, she writes, 'I live in a constant horrified contemplation of my own life… alone and burdened with stupid, monotonous work.' For the seven years between 1952 and 1959, there's the research Ellmann put first. His success ensured the dominance of monumental biography for the rest of the century and well into ours. The most intriguing aspect of writers' lives is the link between life and work: to what extent are sources in what might appear a mundane life changed by the imagination? In Ulysses (1922), Joyce transforms an ordinary Dublin Jew into a modern-day hero, conferring on Leopold Bloom something of himself: his tolerance for weakness, vulgarity, obscenity and lust. Nothing the body does – guzzling, smelling, defecating – is too gross to include in the novel's 'yes' to the human condition. Ellmann, in turn, draws out in Joyce something of his own siding with the life of the mind against violence and prejudice. Joyce felt an affinity for Jews as thinkers, fathers, wanderers, outsiders, people of the Word. In the 'Aeolus' episode of Ulysses, Leopold Bloom visits a newspaper office, filled with inflated verbiage and literal 'windbags'. But then comes notice of an orator whose voice lifts above the headlines to speak for Joyce himself. In a torrent of inspired words, Moses comes down from Sinai, radiant from his encounter with the Eternal, and in his hands, the tablets of the law 'graven in the language of the outlaw'. Joyce, too, is devising a language of his own, delivered to readers from on high. In some ways, Ellmann was different from Joyce: not a drinker nor a cadger of loans and, as Leader puts it, 'emollient' – not given to confrontation. All the more curious, then, to find three scenes in Leader's biography which bring out unwonted heat. One happened during the war when Ellmann had an administrative post in the US Navy. 'Where's that Jew?' a senior officer asked. Ellmann, enraged, grabbed him and had to be pulled away with a warning that he could be court-marshalled. Subscribe to The New Statesman today from only £8.99 per month Subscribe Another drama was Ellmann's attraction to non-Jewish women. Furious letters from his father had pressed him in vain not to marry outside the faith. 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