Hi everyone, Big Thinny Chop Tano here, the internet’s busiest music nerd, and it’s time for a review of the new Kneecap album, Fenient. This is the second full-length studio album from the Irish hip-hop trio, Kneecap, produced by Dan Kerry, known for his work with Black Midi and Black Country New Road. Following their breakout album Fine Art in 2024 and a BAFTA-winning biopic, Kneecap’s new album should be a celebration of their progress. However, their momentum has faced significant hurdles.
In 2025, they lost their US visa sponsor after a controversial Coachella performance, where they displayed images protesting the genocide in Gaza. Additionally, one member, Macara, faced terrorism charges in the UK, which were dropped last September. Known for their radical politics and Irish nationalist sentiments, Kneecap has consistently stirred controversy, and their message has become even more intense with rising exposure.
As they prepared for this new album, the group canceled a North American tour and instead focused on reinventing their sound. After scrapping an entire record due to similarities with Fine Art, they retained a few tracks from those sessions, including “Occupied 6” and “Gale Phonics,” while introducing new material. With Fenient, Kneecap aims to expand their sound, showcasing a broader array of influences. The album opens with “Smugglers and Scholars,” which contrasts sharply with the punchy rave-inspired grooves of their previous work.
While the new dynamics are refreshing, some beats felt sluggish and underwhelming, leaving the sound smaller than intended within such a grand sonic space. The following track, “Carnival,” does a better job, featuring lively textures and powerful messaging, including chants of “Free Mahara” while addressing the now-dropped terrorism charges. The collaboration with Palestinian rapper Fousy on the track “Palestine” serves as a moment of cross-cultural solidarity, though it too suffers from a somewhat middle-of-the-road execution.
As the album progresses, Kneecap returns to their signature style of rowdy, politically charged raps, with tracks like “Liars’s Tale” and “Anthem” taking aim at figures like Netanyahu and Kier Starmer, exposing their imperialist ambitions. The title track features a catchy spelling hook while referencing revolutionary figures, blending humor and historical context in a tongue-in-cheek manner.
Tracks like “Big Bad Mo” infuse trance and techno influences, creating a narrative shift as Kneecap explores themes of drug use and its destructive impacts on lives. “Raw” offers a sardonic thank you to the UK for their imperialistic history, cleverly referencing socio-political phenomena. “Cold at the Top” stands out as a low-key favorite, while “Occupied 6” and “Gale Phonics” feel reminiscent of earlier Kneecap eras.
The album concludes with “Irish Goodbye,” featuring K Tempest, which poignantly ties themes of loss and suicide into the concept of quietly slipping away. While the song could have reached a higher emotional peak, its heartfelt verses resonate deeply, showcasing Kneecap’s lyrical prowess.
Overall, Fenient may not surpass Fine Art in its entirety, but it demonstrates greater ambition in its sonic and production elements. The highs are significantly higher, even as some tracks underperform, weighing down the overall experience. Despite the challenges facing the trio, they have delivered another impressive project, earning a strong rating of 72, leaning towards a light eight.
Have you given Fenient a listen? What are your thoughts? Did you love or hate it? Let me know in the comments!
