“I feel sorry for all these people who’ve spent thousands of pounds going to drama school,” muses Kneecap’s DJ Provai. His bandmate Mo Chara finishes his sentence. “They must be raging after getting all their daddy’s money – thirty grand for their diplomas, and we just mosey on in and maybe get nominated for an Oscar.”
DJ Provai and Mo Chara are two thirds of the republican Irish-language rap trio Kneecap, the unlikely followers of musical greats such as Freddie Mercury, Sir Elton John and Whitney Houston as the focus of a big-screen music biopic.
What’s rare about this one is they play themselves, despite having no previous acting experience – and are seeing their story brought to cinemas as relative newcomers, rather than after decades of mainstream success. “We know we’re very lucky because mostly [musicians] are dead whenever they get films made about them,” says Chara.
The band have smashed out of west Belfast and into headlines around the world – although not all positive. They were banned from Irish public service broadcaster RTE for their references to drug-taking, and criticised by some unionists and former British Tory government members for songs such as Brits Out (which they say is a tongue-in-cheek poke at government rule, not all British people – “it only meant British soldiers and the British state out of Ireland, to leave Ireland be in charge of its own affairs”, says Chara).
Likened to Trainspotting, 8 Mile and 24 Hour Party People by critics, the film also stars Irish-German actor and Oscar nominee Michael Fassbender. It started really as a bit of fun the band hoped would be enjoyed by their ever-growing music fanbase.
Expectations have been surpassed. In January, Kneecap won the audience award at the Sundance Film Festival, an internationally recognised showcase for independent cinema; earlier this month, the film was named as Ireland’s official submission for the best international feature film shortlist at the 2025 Oscars.
Kneecap goes to Hollywood?
“It gives the film real legitimacy, I think, for an international audience,” says Chara. “We’re obviously over the moon. I can’t wait to go and see all the pissed-up celebrities, hopefully, if we get to the Oscars.”
“Get the nice goody bag with the Rolex in it,” jokes Provai. “And if we get the Oscar, take it back to Cash My Gold, get it melted down, make some Claddagh rings for our fans.”
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On screen, on stage, and in interview, Kneecap play for laughs. But theirs is a serious story, one that encompasses the impact of the Troubles on the generation of “ceasefire babies”, their desire for a united Ireland, a lack of opportunities for working-class people – or “low-life scum”, as they are called in the film – as well as the campaign to have the Irish language recognised in Northern Ireland.
Fewer than 6,000 people in the country speak Irish as their first language, according to the 2021 census. But numbers are rising, especially among younger people – and Kneecap and other artists and films that have brought the language to the fore in recent years have played no small part in this.
“We get loads of messages about it,” says Chara, who is speaking to Sky News on Zoom from just outside Belfast, alongside Provai. The third member of their trio, Moglai Bap, could not make the call. But in fact, Chara says, Bap received a message about this very subject that morning, from an old friend now having a baby. After watching the film, the decision has been made to send the child to an Irish-speaking school.
The film’s director Rich Peppiatt started taking classes himself after meeting the band. Earlier this month, Irish singer-songwriter Damien Dempsey said they had inspired him, too.
‘People think it’s a gimmick – it’s not’
Chara says he feels happy to be having “any kind of effect” on future generations.
“I feel like it’s a duty we all kind of have now to keep the language alive, considering the families in the west of Ireland never started speaking English, they continued to speak Irish against all odds.”
“People think it’s some kind of gimmick,” adds Provai. “It’s not, this is the daily language we use, it’s how we communicate with each other.” When they first decided to make music – “a good way to get free tickets to Glastonbury and Electric Picnic and [other festivals]” – not rapping in Irish was never a consideration, “because that’s the way we live our lives”.
The rise in demand for Irish language classes
London’s Irish Cultural Centre has doubled classes from four to eight a week in the last few years, while online community Let’s Learn Irish has seen a 25% year-on-year increase for its 2024 summer courses.
Earlier this year, it included a class on Kneecap, and teachers are now planning a seven-week course focusing on the band’s film and lyrics.
“[Kneecap] are energetic and outspoken, and their political perspective chimes with a wider desire for recognition and representation of minority languages, and decolonisation in general,” says Let’s Learn Irish’s Dr Ronan Ó Conghaile. “There is an increased appetite for supporting and protecting minority groups, especially among younger generations, and you could say Kneecap are playing an important role in that movement.”
He also cites An Cailín Ciúin (The Quiet Girl), which last year became the first Irish-language film in history to be shortlisted for the Oscars, among the cultural offerings sparking interest.
William Foote, director of the Irish Cultural Centre, agrees, adding other films such as Arracht (Monster) and Róise & Frank to the list. “I think the stories being told are accessible to everybody, as well as having a real connection to those people who are Irish,” he says.
And when read as subtitles in English, the language “doesn’t compare – what you’re reading to what you’re hearing”, he adds. “I think the beauty of the language coming through on film and these stories that are groundbreaking has really helped.”
Producer and film exhibition consultant Gerry Maguire, who introduced a Q&A of a Kneecap preview at the London Breeze Film Festival, started relearning a few years ago – inspired by the band and others such The Mary Wallopers and Lankum.
Kneecap more than anyone have taken the “seriousness” out of it, he says. “When I was a teenager we learned the Irish language in school but we didn’t take it seriously – it was a boring thing we had to do.
“We understood it used to be our language, but we couldn’t see the use of it in culture and in society. I think these new cultural icons, if you like, being part of a new Irish language culture, that rubs off on people.”
‘You don’t have to understand everything – just the vibe’
The Kneecap bandmates knew from the start it was “not a good business model, doing music in a language that nobody really speaks”, as Chara puts it. “You’re kind of shooting yourself in the foot there.” But business was never the point. “We just did it for us and for the craic at the start, and then there was a demand for it.”
They are signed to the independent Heavenly Recordings, “a proper label”, he says. You might imagine some industry bosses would have had thoughts on the mass appeal of their language choice. Heavenly never interfered. “We didn’t need to have the conversation… I’m sure major labels would have us doing songs in English, if they could.”
Plus, he adds, having two dictionaries to choose from when it comes to writing lyrics can make songwriting easier. “If we run out of words to rhyme it kind of opens up this whole other pathway, basically, in the brain. Also, you think differently. If you’re speaking in Irish, you’re in a different mindset than when you’re speaking English, in my opinion.”
Chara cites K-pop stars BTS as perhaps the biggest example of how music has smashed through language barriers in recent years. “You don’t have to understand everything, you just understand the vibe of it… a lot of people understand our feel, the energy, at our gigs, rather than understanding the lyrics, and that’s perfectly fine with me.”
Now, he says, rapping in the Irish language has opened more doors than it’s closed. “It’s niche and I think people are into niche things now. I listen to Arabic hip-hop and don’t understand a word of it. It just sounds good.”
Kneecap, the film, is out now. Next stop, more touring – and then, potentially, the Oscars.
Comedian and actor Tony Slattery has died aged 65 following a heart attack, his partner has said.
The actor was famous for appearing on the Channel 4 comedy improvisation show Whose Line Is It Anyway? and comedy shows like Just A Minute and Have I Got News For You.
A statement made on behalf of his partner Mark Michael Hutchinson said: “It is with great sadness we must announce actor and comedian Tony Slattery, aged 65, has passed away today, Tuesday morning, following a heart attack on Sunday evening.”
Born in 1959, Slattery went to the University of Cambridge alongside contemporaries Dame Emma Thompson, Sir Stephen Fry and Hugh Laurie.
While there he served as president of the legendary Cambridge Footlights improvisation group.
Slattery spoke regularly about his bipolar disorder and in 2020 revealed that he went bankrupt following a battle with substance abuse and mental health issues.
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He told the Radio Times that his “fiscal illiteracy and general innumeracy” as well as his “misplaced trust in people” had also contributed to his money problems.
He released a BBC documentary called What’s The Matter With Tony Slattery? in the same year, which saw him and Hutchinson visit leading experts on mood disorders and addiction.
Stars including Beyonce, Eva Longoria and Jamie Lee Curtis have pledged funds to support families affected by the fires in Los Angeles – along with Paris Hilton, who is among those who have lost their homes.
US reality star and businesswoman Hiltonhas launched an emergency fund to support families who have been displaced, and kickstarted it with a personal donation of $100,000 dollars (£82,000).
The 43-year-old, who watched her home in Malibu “burn to the ground” as the fires were covered on TV, has also been spending time with animal organisations. She announced on social media that she is fostering a dog whose owners lost their home.
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Paris Hilton posts video of destroyed home
“While I’ve lost my Malibu home, my thoughts are with the countless families who have lost so much more – their homes, cherished keepsakes, the communities they loved, and their sense of stability,” Hilton said in a statement on social media.
Beyonce contributed $2.5m to a newly launched LA Fire Relief Fund, created by her charitable foundation, BeyGOOD.
“The fund is earmarked to aid families in the Altadena/Pasadena area who lost their homes, and to churches and community centres to address the immediate needs of those affected by the wildfires,” the organisation said in a statement.
Beyonce’s mother Tina Knowles lost her bungalow in Malibu in the fires.
“It was my favourite place, my sanctuary, my sacred happy place,” she wrote on Instagram. “Now it is gone. God Bless all the brave men and women in our fire department who risked their lives in dangerous conditions.”
Other celebrities who have donated funds include Desperate Housewives star Longoria and her foundation, the Screen Actors Guild, the Recording Academy, which runs the Grammys, and Oscar-winning actress Jamie Lee Curtis and her family – who have all pledged $1m (£819,000) each.
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Ricki Lake shared on Instagram the moment flames got to her property in Malibu
The fires, which are burning around Los Angeles, come at the start of Hollywood’s awards season.
Organisers of the Oscars have postponed the nominations announcement twice, with the shortlists currently set to be revealed on 23 January, and the event’s annual luncheon ahead of the ceremony has been cancelled.
The show itself is still set to go ahead on 2 March. The Grammys, scheduled for 2 February, is also reportedly still set to go ahead.
The Donetsk theatre in the city of Mariupol was supposed to be a place of safety for hundreds of civilians sheltering during the first few weeks of Russia’s invasion in Ukraine. A sign bearing the word “children” was marked on the ground outside, visible from the air.
On 16 March 2022, the building was bombed. Authorities at the time said about 300 people had died, although some estimates were higher.
The stories of survivors are now being recounted by actors who were among those sheltering in the theatre at the time. Mariupol Drama, a play which opens in the UK this week, features real video footage captured on their phones, and personal items saved from the rubble.
Olena Bila and her partner Ihor Kytrysh, who have acted at the theatre since 2003, managed to escape the devastation with their son, Matvii.
“This is a story with a lot of memories from a previous life,” Olena tells Sky News from Ukraine, speaking through a translator. “We worked and lived in Mariupol and did what we loved. In a few days, we lost everything.”
The family also lost their home. Olena says she hopes the play shows that material possessions are not what’s important.
“We lost the material side of our lives. We want to show for everybody that all items around you, the material side of your life, doesn’t matter… it’s your mind, it’s your soul, it’s your heart [that does].”
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The couple also hope the production will remind people, almost three years on from the start of Russia’s invasion, that the war is still ongoing.
“We are still at war,” Olena says. “It’s our stories, real stories. Not Hollywood fiction, but a story of real people in Ukraine.
“It’s very hard to see that this war is still continuing. We still have no room for our plans for the future.”
After the start of Russia’s invasion in February 2022, the theatre, in the city’s Tsentralnyi district, became a hub for the distribution of medicine, food and water, and a designated gathering point for people hoping to be evacuated from Mariupol via humanitarian corridors.
The building was attacked after weeks of Russian fire on Mariupol.
Vira Lebedynska, the theatre’s head of music and drama, is also one of the performers in Mariupol Drama. When the bombs hit, she was sheltering in an underground room used for music recording which remained mostly untouched, she says.
It saved her.
Russia denied bombing the building deliberately. Following their own investigation, Amnesty International described the attack as a war crime.
British actor David MacCreedy heard about Mariupol Drama and met the actors during an aid trip to Ukraine and says he was struck “by just how powerful it was”. He has been instrumental in bringing the story to the UK.
“It needed to be seen here,” he says.
The play’s actors want to show that despite the destruction of the building, Mariupol’s theatre is still alive.
“Our theatre is fighting,” says Olena.”It is restored not to cry, but to fight.”
Mariupol Drama is on at the Home performing arts centre in Manchester from today until Saturday.