Come out ye black and tans lyrics
With this is another callback: rap as a voice of opposition and in opposition to the perceived establishment, the powers that be, and the controlling forces of a micro-society or community they exist within. Kneecap’s approach is almost old-fashioned, reneging on the borderless lyrical collage some contemporary rappers lean into, and instead rooting lyrics in storytelling, specificity, slang, geography, territory, representation and identity. “White America! I could be one of your kids,” was Eminem’s 2002 clarion call.įrom downer Soundcloud emo-tinged rap to the meandering stream of consciousness of mumble rap, and the staccato declarations of trap, rap lyrics in 2019 can often feel like games of exquisite corpse. Whether it’s Skepta lampooning the aversion to “young men all dressed in black dancing extremely aggressively” on Shutdown, or Kojaque saying “Just one more knacker up off the streets, that’s what they say, right?” on White Noise, the art of pre-emptive strike against the dismissal of young men that emanates from certain quarters – who say the art is distasteful when really they mean the people making it are – is central to the rapper as jester, always one step ahead. Kneecap’s latest track, H.O.O.D., qualifies one of its mid-song rallying calls (“Tiocfaidh ár lá, get the Brits out, lad”) with the chorus, “I’m a hood, double-O-D, low-life scum that’s what they say about me.” The results are dizzying, funny, surprising, cutting. It is not unusual for tunes to be laced with stories of drug-fuelled nights out, but for these to be articulated in the Irish language is central to Kneecap’s artistry. He replied Kinky Boots by the Irish Brigade, a send-up of the British army. His love for NWA morphed into a grá for the Stone Roses: “I never left the house without a bucket hat when I was 15.” When Móglaí Bap was six, his brother asked him what his favourite song was.
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As a kid, Mo Chara listened to old-school hip hop with his uncle as they drove to Donegal. Over afternoon pints of Guinness in Grogan’s pub in Dublin (“Do youse ever leave this place?” a passing barman asks when he spots them), Kneecap recount their musical beginnings. Nothing is safe from having the piss taken out of it. They were taken off stage during a gig at UCD, and when Christopher Stalford of the DUP criticised Kneecap’s performance at the Empire in Belfast “literally the day after the Duke and Duchess of Cambridge were there”, Kneecap responded by uploading an “official statement” video responding to Stalford’s comments, a slo-mo of Mo Chara raising his middle finger to the soundtrack of a dance remix of Come Out Ye Black and Tans. Luckily people enjoyed it, so we’re still at it.”
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“Stick the feelers out and see how it would go down.
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The incident inspired their song C.E.A.R.T.A, which they intended to release “just for the craic. Their friend refused to speak English to the police, and ended up spending a night in the cells awaiting a translator. He had written “Cearta” on a bus stop when the police arrived and lifted his friend. The west Belfast group began when Móglaí Bap was out spray-painting with a friend on the eve of an Irish Language Act march in Belfast.
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Kneecap are two MCs, Móglaí Bap and Mo Chara, along with DJ Provaí, who have become an underground hit, earning praise from fellow rappers within the exhilarating Irish hip-hop scene.