
Kneecap to headline London festival as planned after other gig cancellations
Kneecap's
headline set at
London's
Wide Awake festival is to go ahead as planned after a number of the group's concerts were cancelled by organisers.
The group has seen gigs including a performance at the Eden Project in Cornwall on July 4th cancelled after
old concert footage
appeared to show a member of the group shouting 'up
Hamas
, up
Hizbullah
', and another video allegedly showing one saying 'The only good Tory is a dead Tory. Kill your local MP'.
In a statement confirming their performance in Brixton's Brockwell Park would go ahead as planned, Wide Awake said: 'After positive discussions with key stakeholders, Wide Awake festival can confirm that, as planned, Kneecap will be performing at this year's festival on Friday, May 23rd at Brockwell Park.
'Wide Awake Festival has a proud history of supporting the alternative music scene and we look forward to staging another unforgettable event showcasing the very best emerging and established talent.'
READ MORE
Comprised of Liam Óg Ó Hannaidh, Naoise Ó Cairealláin and JJ Ó Dochartaigh, the group has faced an
investigation by counter-terrorism police
in Britain after the videos, filmed in 2023 and 2024, became public.
The Wide Awake performance will be the band's first
UK
gig since the investigation was launched.
Kneecap shows at Plymouth Pavilions and a number of German events, including Hurricane and Southside festivals, have also been cancelled.
In a
post on X
following the announcement, the group said: 'Well well London, we'll be seeing you for a headline show in Brockwell Park next Friday.
'Some tickets remain – this one is going to be very special.'
Well well London 🔥
We'll be seeing you for a headline show in Brockwell Park next Friday🌳
Some tickets remain - this one is gonna be very special ❤️
🎟️
— KNEECAP (@KNEECAPCEOL)
Kneecap apologised to the families of murdered MPs, but claimed the old footage had been 'exploited and weaponised', while they also said they have 'never supported' Hamas or Hizbullah, which are both banned organisations in the UK.
UK Conservative leader
Kemi Badenoch
has called for Kneecap to be banned while other politicians have pushed for the group to be dropped from the
Glastonbury Festival
line-up.
Last week, Self Esteem, real name Rebecca Lucy Taylor, told Times Radio she would be 'comfortable' sharing a stage with the trio at Glastonbury and added she felt it would be 'a problem (for) culture, art, freedom of speech' if they did not perform.
Artists including
CMAT
, Massive Attack, The Pogues,
Brian Eno
, Pulp,
Paul Weller
, former
BBC Radio 1 DJ Annie Mac
and
Primal Scream
have defended the band following the furore.
They
signed a statement
saying there is a 'clear, concerted attempt to censor and ultimately deplatform' Kneecap while claiming that politicians are 'strategically concocting moral outrage over the stage utterings of a young punk band' while ignoring a 'genocide' in
Gaza
.
[
Kneecap and Boris Johnson have a lot in common
Opens in new window
]
Formed in 2017, the group are known for their provocative lyrics and merchandise as well as their championing of the Irish language, their best known tracks include Get Your Brits Out, Better Way To Live and 3Cag.
Alongside Kneecap, the Wide Awake one-day festival will also see performances from the likes of CMAT, English Teacher and Peaches. – PA
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Irish Times
2 hours ago
- Irish Times
‘We want to stop in our prime': Saint Etienne on their final album and why pop is a dying art
In St Etienne , it is usually Bob Stanley who suggests the band's tightly defined album concepts. What if you graft folk melodies to dance music ? Make vaporwave about early New Labour? While finishing ambient pop album The Night, released in the dark of last winter, Stanley pitched an even starker one for its successor: the end of their band. 'I didn't think I was saying anything uncomfortable or shocking,' says Stanley, affable and understated, in a park near his Bradford home. 'When you've known each other for so long you have a psychic thing anyway. It felt like we would all agree.' I meet Pete Wiggs and Sarah Cracknell in a London bar, separate from Stanley – no falling out, they assure me, simply living as they do across Yorkshire, East Sussex and Oxfordshire is a scheduling nightmare. Wiggs couches his thoughts about Stanley's proposition carefully. 'Once I got used to it, I thought it was a great idea. We've not split up acrimoniously, and have some control over it.' International, out in September, will be the final St Etienne album. Bringing together collaborators including Nick Heyward, Xenomania, Erol Alkan and the Chemical Brothers – who appear on the fizzing and life-affirming new single Glad – the album is a strictly-bangers leaving party for one of the most singular bands in British indie. Few albums are likely to contain rave hedonists Confidence Man and severe cult broadcaster Jonathan Meades, who provides text for the album's sleeve. 'I wanted to finish our album journey on a high,' says Cracknell. 'Do something really special and stop in our prime.' READ MORE Saint Etienne: Bob Stanley, Sarah Cracknell and Pete Wiggs. Photograph: Paul Kelly Stanley remembers a time in pop when most groups did finish, powering pop's forward motion. He argues that it has slowed, pointing to the decade it took for the hyperpop music on the PC Music record label – which he adored – to reach the mainstream on Charli XCX 's Brat last year. That type of underground-to-overground travel 'used to happen all the time, and it would take 18 months', says Stanley. Pop is 'clearly nowhere near as important as it used to be – we might as well be talking about jazz or modern classical, where there's great music but it's not really adding much [to culture]. But music wasn't that important before the 1920s, either.' Like St Etienne themselves, 'these things don't last forever'. What about the current crop of exciting women pop stars? Stanley praises 'the look, the sound, the artwork' of the 'properly great' Charli, Lana Del Rey and Sabrina Carpenter . But he maintains that 'music's just not as central to people's identities' as it was. If that sounds like a controversial position, he has others. 'I hate Glastonbury ,' he says. 'Can't stand it. A single setting for all kinds of music feels entirely wrong to me.' Stanley has always been opinionated about music. 'I loved Grease,' remembers Wiggs of his early teens growing up alongside Stanley in Croydon. 'Even then, Bob was telling me it was nothing on the original 50s stuff.' Later, the pair set up fanzines Pop Avalanche and Caff, but the indie music they covered became 'very dreary', Stanley says. 'When house and techno came along it was like, 'Oh, this is it.'' [ Forbidden Fruit 2025: daily line-ups, stage times, ticket information, weather forecast and more Opens in new window ] Neither of them were musicians, but radical, sample-heavy singles by UK producers Bomb the Bass and S'Express convinced them they didn't need to be. Though Wiggs later studied for a film music degree, Stanley wears his inability to play an instrument as 'an asset' – if he could play Chopin, he argues, his instincts as a pop fan might have diminished. Composer and orchestrator David Whitaker, who worked on their 1994 album Tiger Bay, saw his potential and offered him piano lessons. 'Lovely bloke,' remembers Stanley, 'but I was like, I really actually think I don't want to learn.' Besides, 'nobody ever asks Pet Shop Boys if they can play the piano'. Sarah Cracknell of St Etienne performing in London in 2016. Photograph: Robin Little/Redferns Learning songwriting on the job meant that their first single was a cover. Only Love Can Break Your Heart was a thrilling land-grab of Neil Young 's 1970 original, at once faster and slower with brisk house pianos and languid dub reggae. The pair's plan was to have rotating singers, in that case indie singer Moira Lambert, and down the pub they casually signed to friend Jeff Barrett's new Heavenly Recordings, who released the single in May 1990. Cracknell heard the single and loved it. Born to a showbiz Windsor family (her mother, Julie Samuel, was an Avengers star, her father, Derek Cracknell, Kubrick's recurring first assistant director), teenage Cracknell was galvanised by indie band Felt's shambling melancholy and spent the 1980s 'getting close to a record deal' with various bands. But she had given up, and was enrolled in drama school when Stanley's girlfriend suggested her for a featured vocal. 'I liked that she didn't sing with an American accent,' says Stanley of his first impressions, 'which then was unusual.' The producer who mixed the track, Brian Higgins, offered them a demo that they turned down: it became Believe by Cher. 'We'd probably be living in solid gold houses now,' says Stanley. But what attracted Cracknell to them? 'They had the 1960s, dance music and melancholy,' she smiles. Stanley and Wiggs asked Cracknell to become the group's sole, permanent singer, and the newly minted trio recorded debut Foxbase Alpha in the Mitcham council house of producer Ian Catt's parents. Using samples from bygone British pop and TV – there were too many legal challenges to US samples at the time – the album was powered by a tension between pop's past and present that would become a very St Etienne mix, packed with shout-outs to the city they had just moved to. 'I was always scared of London, growing up in Croydon,' says Stanley, who remembers marvelling over exotic neighbourhood names such as Shacklewell and Haggerston. 'This was when all the districts were very different from each other.' The trio explored London through its Irish pubs and Portuguese cafes, 'pie and mash shops, old London things'. That geography was all over their 1993 masterpiece So Tough, with trip-hop and wide-eyed symphonic pop bathed in bright echo – as if recalling a radio show from last night's dream. [ The Music Quiz: Which Queen song recently broke one billion streams on Spotify? Opens in new window ] They argue that they used success to do what pop fans, rather than what Stanley views as their more tribal indie peers, would prioritise, like releasing a Christmas single or wearing gold lamé suits on the telly. 'We were all quite hedonistic,' Cracknell says of those years, 'but maybe that's why we stayed together? We used to go out to clubs a lot.' This led to remixes by Andrew Weatherall and Autechre. 'We went to watch Bonfire Night fireworks in Highbury with Aphex Twin,' remembers Stanley, after visiting the elusive producer at his flat to commission a remix. Despite inviting a nascent Oasis to support them – Stanley had met Noel Gallagher as a roadie, and they all loved the band's Live Forever demo – they avoided being dubbed Britpop, which Stanley today terms 'nationalistic' and 'the absolute antithesis' of their project. The pounding Eurodance of 1995's He's On the Phone protested against that era's guitars, and became their biggest hit. The producer who mixed the track, Brian Higgins, offered them a demo that they turned down: it became Believe by Cher . 'We'd probably be living in solid gold houses now,' says Stanley. Recording International was low on drama – 'because we're English', says Stanley – until final song The Last Time, written as a farewell to each other and their loyal audience Reinventing for Y2K, they decamped to Berlin with glitchy electronic trio To Rococo Rot, who teased them about indulgences such as changing chords. They dialled down the bleeps and thuds of the city's club scene, resulting in their subtle and slept-on album Sound of Water. Its second single, Heart Failed, bitterly surveyed New Labour Britain and its market-driven urban regeneration: 'Sold the ground to a PLC / Moved the club out to Newbury / Sod the fans and their families.' That flattened culture was explored again in the 2005 documentary St Etienne made with film-maker Paul Kelly about East London's desolate Lower Lea Valley before it disappeared to Olympic development. Throughout their career, Stanley is proud that St Etienne got 'no bigger or smaller' in the size of venues they played, and cites Bob Dylan and Prince as role models for staying true to oneself. They all credit their decision to swear off long tours as key to longevity. 'How the hell do people do this?' Stanley remembers thinking after even a relatively brisk jaunt. 'That, and we've all got complimentary personalities,' says Wiggs. 'No horrific egos,' agrees Cracknell. More recently, 2021's I've Been Trying to Tell You used the melancholic vaporwave genre to examine late-90s nostalgia (they were disappointed that no one worked out that its track names were all horses that won on the day of Labour's 1997 landslide). By the time of The Night, Stanley was suffering sleepless nights raising a small child while Wiggs and Cracknell were fretting about older children leaving home. The drizzly, downbeat album contained spoken word from Cracknell mourning the 'energy and belief' of their 20s and was provisionally titled Tired Dad. They were 'talking to people of a similar vintage to us, and being honest about it', says Wiggs. Recording International was low on drama – 'because we're English', says Stanley – until final song The Last Time, written as a farewell to each other and their loyal audience. 'I found it very difficult to get through singing it without crying,' says Cracknell, whose confiding and soulful vocals have arguably been St Etienne's greatest asset. 'It was the last song we recorded for the album, and the realisation really hit me.' Outside the project that has consumed them for three decades, Wiggs is working on a film soundtrack, Stanley is writing more books (he has already written two door-stopping histories of pop music), and the two will continue their celebrated archival pop compilations for reissue label Ace Records. Cracknell winces that she has 'not thought past the end of 2025', which makes her anxious. Is there a risk their end might not be permanent? 'I don't think there is,' says Stanley, who is looking forward to meeting his bandmates and their families without talking shop. Wiggs and Cracknell's kids are, they tell me proudly, 'like cousins'. Cracknell, an only child, was 'always collecting siblings' – until St Etienne. Asked what she is most proud of, it is not their 13 albums or Top of the Pops appearances, but their friendship. 'That we have such a bond between the three of us,' she says, looking out now to the bar's exit. 'And that will never go.' – The Guardian International by St Etienne will be released by Heavenly Recordings in September.


Irish Times
2 hours ago
- Irish Times
Aunts fictional and real matter more to us than they may know
In a curious case of art imitating life (or vice versa), aunts are a big part of my literary and personal life right now. It was nearly three years ago that I first had the idea to write the story of Dorothy's aunt Em from The Wizard of Oz. I wonder if my fascination with exploring Aunt Em's backstory comes from the five fabulous aunties and a significant great-aunt who have been such a big part of my life. My sister and I were particularly close to my mum's three sisters. Family gatherings at Christmas and Easter were held, in rotation, at one of the sister's houses. There was always too much food, plenty of laughter and more than a touch of chaos. Auntie Margaret's homemade scotch eggs became the stuff of legend. Auntie Dallas's trifle got bigger and boozier each year (she was named after an American GI from Dallas who lived in the village during the war – I knew you were wondering). When everyone had stuffed themselves at the buffet tea, the aunties set to washing and drying the dishes and wrapping up leftovers with terrifying efficiency. The pride in hosting was so great that we arrived to my aunt's house in Hull one St Stephen's Day to be told that my uncle had suffered a stroke that morning. She didn't want to cancel, so on the show went! Yorkshire women are made of strong stuff and none more so than four sisters raised by their mother, grandmother and several 'aunties' after their father left them. Relationships with our aunts can be as significant as our relationships with our mothers. In some cases, even more so. Many of us become aunts before we become mothers, learning how to hold and mind a baby, before gladly returning them to their parents. Many women I know who aren't mothers absolutely treasure their role of auntie, finding seemingly endless ways to corrupt their nieces and nephews. And we all have women in our lives who aren't technically our aunties, but who have always been there for us. In Little Women, Aunt March is a rich widow who disapproves of Marmee's parenting, yet ultimately has a lasting influence on two of her great-nieces When my mum died at the age of 48, it was her sisters – our aunts – who stepped up to try to fill the void she'd left behind. I still get birthday and Christmas cards from the two surviving aunties and, yes, there's always a bit of money tucked inside (I'm 54!). In recent months, I've seen my aunties more often as I make regular trips from Kildare back to Yorkshire to visit my elderly dad. Only last month, I spent the night at my auntie's. I slept in my cousin's old bedroom, where I'd once played Scalextric and Subbuteo with him. Core memories unlocked and held tight. READ MORE Several fictional aunties have also stayed with me. From the kind and caring to the strict and unlikeable, literary aunts are often childless, unmarried or widowed. They can lend a delicious sense of unconventionality to a novel. Jane Austen (herself an aunt) gave us several memorable aunts, not least in Pride and Prejudice with Lizzie Bennet's Aunt Gardiner, and Darcy's aunt, Lady Catherine de Bourgh, a woman with all the worst traits of the stereotypical awful auntie. In David Copperfield , Charles Dickens gives us the marvellous Betsey Trotwood, the classic hardened Victorian widow and yet a woman who cares deeply for her nephew. In Oliver Twist, Rose Maylie, the young woman who cares for young Oliver when he is sick, is later revealed to be his aunt. In Little Women, Aunt March is a rich widow who disapproves of Marmee's parenting, yet ultimately has a lasting influence on two of her great-nieces. Paddington's Aunt Lucy also deserves an honourable mention as the little bear's north star and his connection to home. [ Ripeness by Sarah Moss: A captivating novel about the unwritten codes of Irish social interaction Opens in new window ] Significantly less loveable are Roald Dahl 's terrible Aunt Sponge and Aunt Spiker in James and the Giant Peach; aunts with no redeeming features at all who are eventually crushed to death by the enormous fruit, much to the delight of young readers. JK Rowling gives Harry Potter a particularly horrible aunt/wicked stepmother in Aunt Petunia, and who wasn't traumatised by Jane Eyre's experiences in the red room, sent there by her Aunt Reed in Charlotte Brontë 's Jane Eyre. Whether fictional women who raised some of our most beloved literary nieces and nephews, or those in our real lives who have helped to raise us, here's to the aunties But one literary aunt who often gets overlooked is L Frank Baum's Aunt Em from The Wonderful Wizard of Oz . Left behind in Kansas while Dorothy sets off on her adventures along the Yellow Brick Road, it isn't surprising that Em isn't as prominent as other literary aunts, yet she is pivotal in Dorothy's longing to return home. Most of us know Aunt Em from the 1939 movie starring Judy Garland, with Clara Blandick playing the role of Dorothy's rather stern and brusque aunt. But it was from Baum's original book that I discovered a tantalising hint of a different woman. 'When Aunt Em came there to live, she was a young, pretty wife. The sun and wind had changed her, too... She was thin and gaunt, and never smiled now.' [ Girl with a Fork in a World of Soup by Rosita Sweetman: A short, lively and fast-paced memoir Opens in new window ] In imagining what had happened to change her so dramatically, I saw Emily as a hopeful young woman - the daughter of Irish immigrants - embarking on a new life as a farmer's wife on the Kansas prairies when tragedy strikes and she takes in her orphaned niece. Aunt Em's love for Dorothy is evident in the final - short - chapter of the book when Dorothy returns home: ''My darling child,' she cried, folding the little girl in her arms and covering her face with kisses; 'where in the world did you come from?'' Whether fictional women who raised some of our most beloved literary nieces and nephews, or those in our real lives who have helped to raise us, here's to the aunties. You matter more than you'll ever know. Hazel Gaynor is the author of The Lighthouse Keeper's Daughter. Her latest book, Before Dorothy, will be published by HarperCollins on June 19th


Irish Times
3 hours ago
- Irish Times
Sam Tallent's Running the Light: Tale of a god-gifted comedian masquerading as joker and joke
Running the Light Author : Sam Tallent ISBN-13 : 978-1399632898 Publisher : White Rabbit Guideline Price : £20 Writing tutors call it subcultural insider information. Anthony Bourdain blew the lid off the psychic cesspit of restaurant back rooms with Kitchen Confidential. FX Toole exposed all the dirty tricks employed by fight corner cut-men in his short story collection Rope Burns. Now we have comedian Sam Tallent's fictional tell-all Running the Light. If Bourdain's first readers and champions were fellow line cooks, Tallent's original audience was his peers. Running the Light's original incarnation was as an online venture, self-published in May 2020, as Covid snuffed out the last lights of the live circuit. Five years later, White Rabbit are publishing it in physical form. The lag is fortunate. Half a decade ago, the culture was still too censorious and self-righteous to tolerate such a spiritually rotten protagonist as Billy Ray Schafer. We're not talking Richard Pryor or Bill Hicks here. This is the tale of a god-gifted but ageing, violent, alcoholic, drug-addicted comedian masquerading as joker and joke, running on a misery wheel of airport bars, rental cars and cheap hotel rooms for 200 days of the year, solitary but always in service, numbing the ghosts with coke, smokes and booze. Schafer's existence is a netherworld of strip mall Bud bars, of one-nighters spent acting as dancing monkey for good old boys in the secret sanctums of country club back rooms, slouching onstage after terminal cancer testifiers and geek show hucksters peddling duck shit bingo. READ MORE All this would be pointless degradation without the redemptive factor of the craft. Tallent writes exceptionally well about the grind, yes, but also the reason for the grind, the daylong gravitational pull towards showtime, the controlled ordeal of the gig, the large adrenaline spike followed by hours drinking with anyone who'll stand your company, squalid episodes in public restrooms, the desperate lengths the solitary comedian will go to in order to avoid the hollow comedown of returning to an empty hotel room, snorting alone, drinking alone, afraid to face the phantoms of betrayed ex-wives and the contempt of estranged sons. Tallent writes: 'When he was young he could take off on a premise running only to catch up to his own flight of imagination sixty minutes later, his clothes soaked and the air itself crackling with the urgency of what he'd done. Those days were gone, but even drunk and coked and spun and pilled, he still killed harder than the reductive drivel being peddled in theaters and arenas by the skeletons he envied. Despite his failures with sobriety, monogamy, business and fatherhood, he was still funny, and funny is the hardest thing to be.' But this flimsy bravado is laced with toxic self-disgust. This is not Bukowski-lite. The performer's psyche is conveyed here as a volatile cocktail of ego and fragility, a queasy bipolar roundabout of gut-level sadness balanced by resilience: Schafer's kindred are Bad Blake in Thomas Cobb's Crazy Heart or Mickey Rourke in The Wrestler, the modern day equivalents of washed-up pugs looking for one last pay-day, or the old pro too old to rock 'n' roll and too young to die. The only deliverance to be found is in love or family, but it's too late for that. Billy Ray's sins are not too grievous to be forgiven by others, but by himself. As he drives across the southwest over the course of the week that maps this book's plunging narrative arc, he penetrates deeper into America's Heart of Darkness, yes, but also an internal wasteland. He's done hard time for the worst of crimes, but he's too institutionalised to leave the prison of his soul, choking on his own one-liners, the smile becomes a rictus grin. The bottom-out, when it comes, is horrific. Thrown down among the transients, wandering the streets of Denver, he witnesses the entropic pageantry of the 5th Annual Zombie Crawl: 'He had never heard of such a thing but it made sense. As a species, humankind was bored and increasingly bullshit passed for fun. Their mirth disgusted him. Their happiness was ostracizing. Numb to inorganic novelty, he pitied them their false calamity. Their lives – staid, monotonous – were so safe and predictable these people were forced to organise chaos and pretend they were dead. It was disappointing, For a moment he thought he'd made it to Armageddon.' Running the Light is Dante as gag-artist, trapped in a Diabolical Comedy. Or maybe, in the end, a disgraced Odysseus searching for a way back home to contrition and forgiveness. Read it and weep. I did, through my fingers. Peter Murphy is a writer, journalist and spoken word artist. He records and performs under the name Cursed Murphy