Kneecap at Leeds Irish Centre: an explosive night of party and protest

The Belfast hip-hop trio bring a raucous, riotous, rowdy night of infectious energy to Leeds Irish Centre. 

Pint of gorgeously creamy Guinness in hand, I weave through a sea of GAA jerseys and tricolour flags. A melodic mosaic of different Irish accents hang in the air, bubbling in anticipation of what we are about to witness. There is no venue in this city more appropriate for a Kneecap gig than Leeds Irish Centre. 

DJ Provai, sporting his trademark tricolour balaclava and custom boilersuit, is the first to emerge onto stage and take his place behind the decks amidst the atmospheric ‘3CAG’ – the opening track to the group’s latest album Fine Art. Hushed excitement simmers throughout the room, fizzing with expectation and then erupting into boiling point when the throbbing beat of ‘Its Been Ages’ explodes through the soundsystem. Mo Chara and Moglai Bap bounce onto stage and jump straight into a confident flow. The final night of a sold out two-night stand is off to a strong start.  

A high energy riot ensues as the trio bulldoze through banger after banger. ‘Sick in the Head’ sees a pit half the size of the venue open up and subsequently implode under the weight of fervent moshing. The intensity of ‘I bhFiacha Linne’ and unrelenting throb of ‘Your Sniffer Dogs are Shite’ have the crowd leaping with unbounded energy, ‘Fenian Cunts’ obliges the audience to sway and sing as one, and ‘C.E.A.R.T.A’ sees friends, lovers, and strangers on each other’s shoulders shouting along in unison. 

A deeply political atmosphere of resistance permeates the crowd and stage alike: most notably in support for Palestine. Amongst the fans are Palestine flags, T-shirts, and frequent impassioned chants of “Free Free Palestine”. The show itself starts with a graphic on the screen behind the stage stating “Israel is committing a genocide against Palestine” followed by a series of harrowing facts and figures. The Palestinian cause is important to the group: Moglai Bap has been running 10km everyday of the tour to raise funds for Food Parcels for Gaza – a feat he encourages the audience to join in with, donate to, and be impressed by given the extra challenge of “the hangovers and the cocaine”. 

This is unsurprising given the political nature of Kneecap. Their lyrics blend both Irish with English and the sharply political with the deeply funny. Vocal in their support for a united Ireland, and of course advocates for the Irish language, they are simultaneously thoughtfully unapologetic and hedonistically fun: rapping as much about civil rights as about drugs. Throughout the show they encourage the crowd to sing the anti-Thatcher tune “In a box, in a box, Maggie’s in a box!” – a task we take up enthusiastically. On brand for a Kneecap audience I spot a fan wearing a Che Guevara t-shirt, and one man even shouts out for an independent Yorkshire (Moglai Bap responds by admitting the band know shit all about British geography). Kneecap are divisive and offensive in the most inclusive and loving way. Their track ‘Parful’ celebrates how nightlife culture brings together historically divided Catholic and Protestant communities in the North of Ireland. Such an atmosphere of protest and party is in full force tonight. The colourful strobe lighting, contagious energy, pulsating bass, and hypnotic beats, elicit the euphoria of a really fucking good rave, and something else too.

The gig hurtles on at breakneck speed. Fans barely have time to catch their breath before launching back into the mosh pit to ‘Rhino Ket’ – a song Mo Chara declares is his granny’s favourite (anyone else’s nan love to yell “I’m k-holed off my head, this shit puts rhinos to bed”?). It certainly seems a favourite of the crowd who threaten to blow the roof when the end of the track crescendos into chaos. My personal favourite ‘I’m Flush’ does not disappoint; I’m actively giddy from the stellar performance and surprisingly lush sound system which does the blaring bassline justice. There is not a soul in sight who does not dance to ‘Get Your Brits Out’ – the punchy tune featuring the BBC news theme song and tongue in cheek lyrics that envision a messy night out with the DUP. By the time Kneecap reach their final song, the electrifying ‘H.O.O.D’, the room is dripping with enough sweat to fill the Irish Sea. 

Each person lucky enough to be here will undoubtedly look back with gratitude at experiencing Kneecap perform in such an intimate setting: the band are already snowballing to mainstream fame and balance on the precipice of commercial success. Their self-titled semi-fictionalised biopic, which was met with both critical acclaim and a triumphant theatre release earlier this year, is now available on Amazon Prime (Mo Chara encourages the audience to watch it on dodgy boxes or illegal websites – “fuck Jeff Bezos”). The band already have their sights set on some immense performances, having booked international festival appearances including Coachella and a headline slot at Wide Awake, as well as supporting fellow Irishmen Fontaines DC at their huge Finsbury Park show next summer. There is no denying that Kneecap are on the upside of the see-saw. They will not be coming down anytime soon. 

Words by Ruby Smith

From Greasy Boy to Number One: FEET’s Unforgettable Night at Brudenell

On Tuesday 12th November I was lucky enough to go down to Leeds’ best music venue, the Brudenell Social Club to see FEET on their UK tour. As soon as I walked in and saw the venue packed with the typical Leeds indie kid musos, I knew it was going to be a good night. The gig promised a stellar lineup and I was particularly excited to catch local bands Gravy and L’objectif on the support slots.

Gravy kicked things off with an energetic set that had the crowd hooked from the instant. As a young band they already show remarkable energy and promise. Their latest single ‘Five to One’ translated well live, brimming with raw energy and a contagious groove. It’s clear this band has a bright future ahead of them. Lead singer Harrison stood out not just for his vocals, but also for the way he worked the crowd. As a local band, his banter and connection with the audience made their set feel especially personal. His confidence and wit gave their performance an extra spark, turning curious attendees into instant fans – also have to mention, I rate the Stella themed merch idea too lads. 

Next up was L’Objectif, another Leeds-based band that has steadily been building momentum, especially since the release of their March 2024 EP, The Left Side. Their tight musicianship and blend of post-punk, synth pop and indie influences had the audience swaying along. I first saw these guys supporting Alfie Templeman back in 2022 at Beckett’s Student Union and had been a fan ever since. Tracks from their EP such as ‘The Dance You Sell’ and ‘ITSA’ stood out for their emotional depth and strong vocal hooks which paired with the heavier side of some of their older material such as Drive in Mind – my personal favourite – proved why they’ve become one of the city’s standout acts. There’s something special about seeing a local band play on home turf, and L’Objectif delivered a performance that felt equal parts captivating and polished.

Then came FEET, the band I’d been waiting to see live for years. I’ve been a fan since their quirky, genre-blending debut album, What’s Inside is More Than Just Ham (2019). Their humor, energy, and unique take on guitar music hooked me back then, and with the release of their second album, Make It Up, in June 2024, they’ve only grown more dynamic and interesting. Finally witnessing them in person felt like a long-time coming event for me. FEET launched into the night with Good Richard’s Crash Landing, the opening track from their debut album. It was a perfect start, full of the chaotic, psychedelic charm that defines the band’s sound, and the crowd erupted. Without missing a beat, they dove straight into Changing My Mind Again, a personal favourite of mine. Hearing it live brought a whole new energy to the track—it was raw, infectious, and irresistibly fun. The band’s ability to seamlessly blend nostalgic nods to their early material with the evolution of their newer work was impressive, making their set both a journey through their discography and a celebration of their growth.

From there, they expertly balanced their setlist, weaving together old fan favourites and standout tracks from Make It Up. High-energy numbers like Greasy Boy had the crowd bouncing and shouting along, their anthemic quality proving they were made for live performance. But it wasn’t all fast-paced indie rock chaos. Tracks like Why Would I Lie and Dog Walking offered a welcome pause, showcasing the band’s more introspective side. The slower pace and poignant lyrics highlighted FEET’s lyrical depth and musicianship, providing a refreshing contrast to the more frantic moments. These quieter interludes gave the set an added layer of sophistication, proving that FEET can do more than just get a crowd moving. 

FEET’s recently released single, Number One, which dropped earlier this month, was a standout moment of the set. Its infectious synth hook had the crowd grooving from the first note, and hearing it live added an extra layer of energy and excitement. The track’s polished production translated perfectly on stage, blending seamlessly with their newer and older material. Near the end of the set, they pulled out fan-favourite Petty Thieving, a moment of pure chaos. Frontman George took it to the next level by diving into the crowd, surfing over a sea of moshing fans while belting out the lyrics—a fitting climax to an unforgettable performance.

FEET closed the night with Chalet 47, a perfect finale that captured their inherent energy and left the crowd on a high. The song’s infectious rhythm and singalong vibe had everyone dancing as the set came to an end. It was the ideal way to wrap up an evening of class bands, with FEET once again proving why they’re such an exciting and versatile group. From start to finish, the night at Brude was a celebration of live music at its best whilst showcasing the talent from local bands here in the Leeds scene too.

Words by George Bolger