Review: Kneecap at Metropolis Fremantle

Kneecap at Metropolis Fremantle
w/ Kayps
Monday, March 17, 2025

Outside of the motherland itself, there was likely no place on Earth more Irish to be on a Monday St. Patrick’s Day than with politically outspoken Gaelic punk-rap trio Kneecap at Metropolis Fremantle.

Fresh off playing a free lil’ pop-up show in Naarm-Melbourne’s Federation Square the week prior—a show that pushed the CBD spot past its ten-thousand-person capacity—and after cracking out the severed street statue head of King George V at a second show later that night, the proud West Belfast boys were all set to tear Perth apart on the night of their biggest holiday back home.

Arriving in Perth for the eleventh and final stop of their Australia & New Zealand tour, the vocal anti-colonialist, anti-authority, pro-Irish Republicanism, and pro-Palestine troublemakers—who released both their sophomore album, Fine Art, and a self-titled film starring the trio that’s “mostly a true story” in 2024—might have saved their best show for last.

Establishing the rebellious edge of the evening was Broome-born rapper Kayps, who got the party started with pace and punch and a whole lot of pride. Showcasing serious speed in his flow and power in his presence, Kayps worked the Guinness-plied spectators at Metropolis from a simmer into a sizzle, and the sold-out space was raring to go.

The wait for the main event post-Kayps might have felt eternal (especially for a Monday night), but their eventual arrival was heralded with the trip-hop-influenced tune Starburster from Ireland’s reigning favourite sons—Dublin rockers Fontaines D.C.—much to the delight of the Irish contingent, which is worth noting probably made up the majority of those in attendance. Like… eighty percent, minimum. Even in the dark it was a sea of green, white and orange.

As murmurs of “I’m gon’ hit your business if it’s momentary blissness” died out, the Kneecap trio hit the stage to Fine Art opener 3CAG, one member at a time—first DJ Próvaí to the decks, then MCs Mo Chara and Móglaí Bap—opening with the jaunt It’s Been Ages. The reaction to their arrival, of course, was entirely rapturous.

From there, Kneecap continued to escalate through some of their comparatively quieter catalogue, including Amach Anocht and Fenian Cunts, which the crowd rapped louder than Mo and Móglaí possibly could, along with Thart agus Thart.

By now, the energy was more in line with a loaded football stadium on a Friday night; the expected “Olé, Olé, Olé” chant that developed as an interlude between songs became an outright highlight of the entire affair before all in attendance dialled in for the hit single Better Way To Live thanks to its buoyant bassline.

Note here that Fontaines’ frontman Grian Chatten’s hook on the track was about the only time the Aussie audience was heard over the Irish all night. With Sick In The Head, the previously mildling mosh pit finally erupted, and the final forty-five minutes blurred into a frenzy.

In an all-hits-no-misses setlist, it was the boldness of the more recent Fine Art production that shone through, with each of the six songs performed from the album generating the most energy. The massively playful transition from Tom Jones’ Sex Bomb—sung with vigour from the stage to the balustrade—into the maximum-power Rhino Ket was another shining highlight.

As with any Kneecap outing, it wouldn’t have been complete without three things: some supreme-tier smack talking about the British monarchy, some pointed words about Amazon CEO Jeff Bezos, and a thunderous chant of “Free, Free Palestine”—and you better believe Fremantle roared back all three.

After delivering the haymaker of Get Your Brits Out—which (surprise!) had its closing passage repeated over and over until the audience was out of breath—DJ Próvaí personally split the pit for their signature song, H.O.O.D, before surfing over the hands of fans from the song’s start to finish.

After that, Kneecap performed a rather impressive Irish Exit by leading an a cappella finale of Come Out Ye Black and Tans, which the audience got so wildly into screaming out loud that no one really seemed to notice the band had left the stage until the lights had already come up.

What was left in Kneecap’s wake was a room full of folk who’d had a real craic and a Monday night at Metropolis Fremantle they won’t soon forget—unless all that Guinness got the best of ‘em the morning after.

BAILEY PARKINSON

Photos by Stu McKay