Five on ’90s fame, counselling, and finally reuniting: ‘We were scared stiff’

Published

1 month ago

March 30, 2025

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From the beginning, the intention was clear. “Five bad boys with the power to rock you,” came the shouty introduction in their first video, all hoodies and hair gel, the bandmates swaggering through a dim, strobe-lit corridor that suggested they might be trespassing – or at the very least, flouting a health and safety rule or two.

Signed by a then little known Simon Cowell to create “chaos”, Five (or 5ive) were the antidote to the squeaky clean boybands of the era. The image was tough egos, not hearts, on sleeves.

Jason “J” Brown, Abz Love, Scott Robinson, Ritchie Neville and Sean Conlon burst into the charts and on to teen girls’ walls with Slam Dunk (Da Funk) in 1997, and continued with hits including Everybody Get Up, If Ya Gettin’ Down and Keep On Movin’. They had 11 top 10 singles in total, including three number ones, filled arenas, and even had their own dolls (which is when you really know you’ve made it).

Behind the scenes, as we now know has been the case for so many young pop stars, things weren’t always as carefree as they appeared. The inevitable split came after just four years, and a full reunion always seemed unlikely. A couple of comebacks involved different members, but never J.

“I hated the industry,” he said during his appearance on I’m A Celebrity… Get Me Out Of Here! in 2007. “I ran away from it all.”

Earlier this year, however, the announcement was made: Five – all five! – were making a comeback. A month later, after a few weeks to process the reaction (the initial arena tour dates have more than doubled, due to demand), I meet them at their publicists’ offices in London. A constant stream of easy ribbing has to be gently interrupted to get the interview going.

Now in their 40s, the bandmates are aware the internet has cottoned on to how often they used to sing about getting up – and getting down – in most of their songs. “We were aware of that at the time,” half-groans Ritchie. “We count a lot as well,” laughs J. “We’re an educational band.”

They are happy to be back in each other’s company. Back in the day, there were squabbles, but never any serious fall-out, they say. Five split because they were tired of the industry, not each other.

“We broke up out of love,” says Ritchie. “Sean was having a bad time, he was 15 when he joined the band, and it is a high-pressure, high-stress situation. We were thrown into the deep end and it’s sink or swim. It had been nearly five years of 18-hour days. We were worn out.”

When the video for the band’s penultimate single, Let’s Dance, was released, featuring a life-size cardboard cut-out of Sean in place of the real thing, it was claimed he had fallen ill. In reality, the pressures of the band, and fame, had become way too much. Scott was also suffering, desperate for a break and to spend time with his girlfriend, Kerry (the couple married shortly after Five’s split). By the time they called it a day, they were all worn out.

‘Our bond wasn’t spoken about’

“We ultimately made the call that it doesn’t matter how many number ones you have, it’s not worth this,” Ritchie continues.

“Our bond wasn’t actually spoken about,” says Sean, “because of that ‘bad boy’ image.” There was a stigma, he says, and some pressure “to live up to being a lad”. They were five young men given the opportunity of a lifetime, so some laddish behaviour was par for the course. But it wasn’t the whole truth. “Really, we are five big softies.”

It was Scott who picked up the phone first. “I hadn’t seen J or Abz for a long time. I kept on hovering over their names.” Abz first. “Was it ‘cus I’m at the top – A, B?” he laughs. Scott reassures him it was an intentional dial. “That means a lot, man.” An AirBnB was booked and that was it – the first time in almost 25 years all five had been in the same room.

Initially, they weren’t reuniting as Five, simply as friends. But word got out, the offer came in.

“We didn’t sleep,” says Sean, recalling the night before the launch. “We were scared stiff… petrified.” Given their huge stardom back in the day – and following successful nostalgia-filled reunions by ’90s-’00s contemporaries such as Steps and S Club 7 – surely they realised the comeback would be something of a cultural moment?

Ritchie says not. “We’re just normal dudes that did something that went bigger than I thought.” There were fears of ending up “with egg on our face”, J adds. “We release it as this big thing and it could have just gone ‘pfff’.”

Staying in a hotel the night before the announcement, Scott called Kerry. “What if no one cares?”

Just a few months earlier, millions had watched Ritchie, Sean and Scott taking part in the docuseries Boybands Forever, which pulled back the curtain on the darker side of fame. Their honesty about the mental health struggles they all faced during their time in Five no doubt contributed to the groundswell of support surrounding the comeback.

“I suppose it’s a massive part of the healing process,” says Scott. “When I started speaking to the boys again, it was like, I’m not sad anymore. Because all of that stuff is a distant memory… I’ve gone from being a little bit broken, to complete again.”

They are keen to stress they had lots of good times. “So many highs,” says Ritchie. “We played Rock In Rio. How many people was it?” “16 billion,” one of his bandmates exaggerates. “We opened the Brits with Queen, Times Square, we went platinum in the States…”

“I won two haircut awards,” says Scott, adding with mock false modesty: “I don’t like to talk about it.”

While they enjoyed so much of it, it got to the point where they were all desperately craving normality, and a rest. Now, they say it’s “massively” important to talk about the low points, and how the industry can learn from its mistakes.

‘Nobody’s life is that good’

“I think the marketing of bands of our era was really based around ‘everything’s positive, there’s no troubles’,” says Sean. “I don’t really think that that’s good for anybody.”

“Nobody’s life is that good,” adds Ritchie. Back then, mental health was not part of the conversation – particularly for five “bad boys”. “Now, thankfully, it’s spoken about a lot,” says Scott. “I think it’s so, so important.”

“It takes a lot of pressure off you,” says J. “When we were doing it – and we were children doing it – and we are in this position of being on a pedestal almost. You’re going through some really rough times and you just want people to know… [but] when you try and voice it to anyone else outside of this collective, it’s like [the response is], ‘you’ve got the world at your feet, you’re this age, you’ve obviously got millions in the bank’…”

“And that makes you feel a million times worse,” Ritchie adds. “I remember having this conversation with one of my best friends. They were like, ‘what have you got to be down about?’ It actually broke me.”

Things are different now, Ritchie continues. When he joined the band, he was 17 and “didn’t know what too much was”. But signed artists now have access to counselling and support, he says.

“We’ve already done it and it’s absolutely amazing to be able to speak to someone and go, this is what I’m feeling,” says Scott. “We didn’t have that. We’re not blaming anyone for that. It was a massive time in the ’90s where we were all learning at the same time… We’re older, they’re older. We’re more experienced and so are they.”

Abz chips in: “When you’re so wrapped up in it, you’re not sure what’s left and what’s right. To have that break, as wild and as long as it was, whatever happened in that time period, to actually all be here. We’re very grateful.”

‘We didn’t realise we were cool’

There is also no longer such a snobbery around pop music now.

“We didn’t realise we were a really cool band,” says Scott. “We didn’t realise how good our songs were, and that’s not blowing our own trumpet.” After the split, they tried to “run away” from the music, he adds.

J and Ritchie, who “hung out a lot” in later years, would inevitably get asked about it when they were out together. They hated it. “We used to apologise a lot,” says Ritchie. “Oh yeah, we’re from that rubbish band.” He pretends to wince. “Sorry.”

“It’s a ridiculous thing, a really adolescent mindset, the whole, ‘I’m selling out’,” says J. “I had that for a long time, unfortunately.” With enough time passed, he now appreciates the Five back catalogue. “When I hear it, I can hear it fresh. And I’m like, that’s why people were digging it.”

The pop conveyor belt was an industry mistake, says Sean, and artists paid the price. “They looked at our music and bands like us and they thought, okay, it’s not really got a lot of depth to it, it’s not really moving people in that way that they’d be able to do a tour 25 years later. So we’ll get them working all day and all night, maximise it, profit-wise.”

But here they are, 25 years later. “Our music – and not just our band, the whole ’90s era – meant so much to so many people. We’re witnessing that now.”

At the moment, there are no plans for new songs. “I think fans want to hear the old music,” says Scott. “They want to remember a simpler time when they didn’t have a mortgage to pay. They want the nostalgia.” Maybe later down the line though, he adds.

Given everything they have been through, the highs and the lows, what would their advice be… “Don’t do it!” Abz interrupts, laughing, before I get the chance to finish the question about the boybands following in their footsteps.

Get the “right people” behind you, Ritchie says, seriously. “Sleep in the breaks,” adds Scott.

But would they recommend it? Especially given some of them are fathers now. “I’d do it all again, but different,” says Abz. To which Sean quickly reminds him he is now doing exactly that.

They all are. Five not-so bad boys – but still, it seems, with the power to rock you.

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Why are Kneecap controversial?

Published

18 hours ago

April 29, 2025

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Irish band Kneecap have had a meteoric rise in the music industry, with tens of millions of streams on Spotify alone and widespread critical acclaim.

The trio’s genre-bending rap/hip hop tracks, performed in a mixture of English and Irish-language, have clearly resonated with a mainstream audience, but their many controversial moments – some of them seemingly intentional – have helped them hit such heights.

Here’s what you need to know about the band and their most notorious moments.

Who’s in the band?

The group is made up of three friends from Belfast: Mo Chara (Liam Og O Hannaidh), Moglai Bap (Naoise O Caireallain) and DJ Provai (JJ O Dochartaigh).

The latter is a former teacher who still wears a balaclava, initially to disguise himself from his students when the band started out in 2017.

They were controversial from the get-go – and seemingly by design.

Their debut track – CEARTA – is based on how band member Bap was stopped by police for spray-painting cearta, the Irish word for rights, on a bus stop.

Before fame, Bap and Chara, who have known each other for around 15 years, transformed a former youth club into party hub, where they would play their favourite tracks.

And it was through this venture into the club space that they later met DJ Provai.

The group called themselves Kneecap in reference to kneecapping, a common form of paramilitary punishment in Northern Ireland during The Troubles which sees someone shot or hit repeatedly on both knees.

From cult heroes to mainstream success

Kneecap released their first mixtape, 3cag, in 2018 to critical acclaim, and their 2019 single HOOD is their most streamed single to date.

But their success reached new levels in 2024 with the release of their 18-track album, Fine Art, which culminated in a headline-worthy crowd attending their early-morning timeslot at Glastonbury.

The band then ventured into the film industry with a self-titled biopic about their rise to prominence, set in post-Troubles Belfast, starring themselves alongside Irish actor Michael Fassbender.

Before its full release last summer, it had been the talk of various film festivals, including Tribeca in New York.

Speaking to Sky News at Glastonbury last year, the band said the reaction had been “crazy”.

Since then it’s got crazier, with the film getting six BAFTA nominations and earning its writer and director Rich Peppiatt a win for Outstanding Debut.

The band cracked the UK and are now following suit in the US, having sold out several shows there.

Court battle with the UK government

It would take a long time to cover all of Kneecap’s controversial moments; much of it is a part of their music itself.

They have been banned from Irish public service broadcaster RTE for their references to drug-taking.

But there have been some particularly high-profile incidents since 2024.

The first was their legal battle with the then-Conservative UK government, who blocked a grant for the band which was initially approved by the British Phonographic Industry.

The group’s application to the Music Export Growth Scheme, which supports UK-registered artists in global markets, was for £14,250, but Kemi Badenoch, then business secretary, stopped it.

At the time, a government spokesperson said it fully supported freedom of speech, but that it was “hardly surprising” it did not want to hand out UK taxpayers’ money to those opposed to the United Kingdom.

One of their most famous tracks had been 2019’s Get Your Brits Out, which had been criticised for being anti-British.

The trio have always denied this being the case.

Chara told Sky News after their Glastonbury set: “This is a thing that people love to spin, like we’re some anti-British band.

“We have English family. We have loads of good friends who call themselves British. It’s the British government we don’t like.”

Kneecap won a discrimination case against the UK government in November, earning them the same amount that the grant was worth.

DJ Provai said the band’s motivation was “equality”.

“For us, this action was never about £14,250; it could have been 50p,” he said, after the band said it would donate the funds to two Belfast charities.

“This was an attack on artistic culture, an attack on the Good Friday Agreement itself and an attack on Kneecap and our way of expressing ourselves.”

Calling for deaths of Conservative MPs

Police say they are assessing a video of a Kneecap performance from November 2023, in which a member of the trio allegedly called for the death of Conservative MPs.

The member is alleged to have said: “The only good Tory is a dead Tory. Kill your local MP.”

Two British MPs have been murdered in the past 10 years – Labour’s Jo Cox in 2016 and Conservative Sir David Amess in 2021.

In a statement, Kneecap said they rejected “any suggestion that we would seek to incite violence against any MP or individual. Ever.”

They added: “An extract of footage, deliberately taken out of all context, is now being exploited and weaponised, as if it were a call to action.

“To the Amess and Cox families, we send our heartfelt apologies, we never intended to cause you hurt.”

Pro-Palestinian messages at gigs

The investigation into the MP comments was announced several days after the Met said it had referred a different video from a Kneecap gig to be reviewed by counter-terror police.

Footage from that gig, at London’s Kentish Town Forum last November, appeared to show one member of the group shouting “up Hamas, up Hezbollah”.

Hamas and Hezbollah are both proscribed as terrorist groups in the UK. Under Section 12 of the Terrorism Act 2000, it is an offence to express “an opinion or belief that is supportive of a proscribed organisation”.

The police say they are “assessing” both clips to “determine whether further police investigation is required”.

Kneecap have said they are facing a “co-ordinated smear campaign” after speaking out about “the ongoing genocide against the Palestinian people”.

In their statement, they said: “Let us be unequivocal: we do not, and have never, supported Hamas or Hezbollah. We condemn all attacks on civilians, always. It is never okay. We know this more than anyone, given our nation’s history.

“Kneecap’s message has always been – and remains – one of love, inclusion, and hope. This is why our music resonates across generations, countries, classes and cultures and has brought hundreds of thousands of people to our gigs.”

Investigation comes after Coachella fallout

Just days before the police investigations were announced, TV personality Sharon Osbourne called for Kneecap’s US work visas to be revoked after accusing them of making “aggressive political statements” including “projections of anti-Israel messages and hate speech” at Coachella Music and Arts Festival.

As the band performed on the second night, they displayed words on the big screen reading: “Israel is committing genocide against the Palestinian people.

“It is being enabled by the US government who arm and fund Israel despite their war crimes. F*** Israel. Free Palestine”.

Israel’s ongoing offensive in Gaza, which came after Hamas gunmen launched an attack killing 1,200 people in Israel on 7 October 2023, has seen at least 52,000 people killed, according to the Gaza health ministry.

Speaking to Rolling Stone after Osbourne’s comments, Kneecap member Mo Chara said: “Her rant has so many holes in it that it hardly warrants a reply, but she should listen to War Pigs that was written by Black Sabbath [led by Ozzy Osbourne, her husband].”

He also told the outlet: “We believe we have an obligation to use our platform when we can to raise the issue of Palestine, and it was important for us to speak out at Coachella as the USA is the main funder and supplier of weapons to Israel as they commit genocide in Gaza.”

Kneecap has been continually outspoken in favour of Palestinians at gigs.

In November, DJ Provai arrived for the court verdict against the UK government in a vehicle bearing the Irish and Palestinian flags and blaring loud music.

Entertainment

Kneecap’s Eden Project gig cancelled amid row over ‘kill MPs’ comments

Published

20 hours ago

April 29, 2025

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Kneecap's Eden Project gig cancelled amid row over 'kill MPs' comments

A performance by Belfast rap trio Kneecap at the Eden Project has been cancelled.

It comes after a row in which one of the group appeared to call for Tory MPs to be killed and another appeared to shout “up Hamas, up Hezbollah” in historical footage of a gig.

A spokesperson for Eden Sessions, which organises the gigs at the Cornwall venue, said: “Eden Sessions Limited announced today that the Kneecap show at Eden Project scheduled for July 4, 2025 has been cancelled.

“Ticket purchasers will be contacted directly and will be fully refunded.

“The refund process will commence from Wednesday, April 30 2025. Refunds will be processed against the original payment cards used. Purchasers should allow six working days for funds to be received into their accounts.”

On Monday, the band apologised to the families of murdered MPs Sir David Amess and Jo Cox after footage emerged of one of its members appearing to say “kill your local MP”.

But Katie Amess, daughter of Sir David, dismissed their apology, accusing them of “deflection and excuses and gaslighting”.

Why are Kneecap controversial?
Murdered MP’s daughter ‘happy to meet’ rappers

In a statement posted on Instagram, the group, comprising Liam Og O Hannaidh, Naoise O Caireallain and JJ O Dochartaigh, said they “reject any suggestion that we would seek to incite violence against any MP or individual.

The footage had been “exploited and weaponised,” they said.

Their statement didn’t impress Ms Amess, however, who on Tuesday accused them of “gaslighting”, saying their comments were “absurd” and “not an apology”.

“They don’t understand what they’re talking about, they obviously aren’t educated enough in what they’re speaking about to think that they can use those excuses and everybody will be like, ‘oh, never mind, let’s move on to something else’. They haven’t taken any accountability.

“These words that they are using are extremely dangerous and they have not acknowledged that.

‘Half-hearted’ apology

But the Prime Minister’s official spokesman called the band’s statement “half-hearted” and urged them to make a fuller apology.

He said Downing Street “completely reject in the strongest possible terms the comments that they’ve made, particularly in relation to MPs and intimidation as well as obviously the situation in the Middle East.

“It’s right that the police are looking into these videos.”

Mrs Badenoch said she thought they were apologising “because they realise that people don’t like the kind of things that they’ve been saying” and are “worried they’re going to lose their slot at Glastonbury“.

Police assessing band’s videos

The Metropolitan Police are assessing footage from a November 2023 gig appearing to show one member of the group saying: “The only good Tory is a dead Tory. Kill your local MP.”, along with a video clip from a different concert in November 2024 in which a member of the band appeared to shout “up Hamas, up Hezbollah” – groups which are banned as terrorist organisations in the UK.

In Monday’s statement, Kneecap insisted they have “never supported” Hamas or Hezbollah.

Ministers also put pressure on the organisers of the Glastonbury Festival over the band’s inclusion in this year’s line-up.

In the Commons, security minister Dan Jarvis said ministers “would urge organisers of the Glastonbury Festival to think very carefully about who is invited to perform there later this year”.

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Entertainment

‘Powerful individuals’ at BBC making lives of colleagues ‘unbearable’, says chairman

Published

2 days ago

April 28, 2025

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'Powerful individuals' at BBC making lives of colleagues 'unbearable', says chairman

“Powerful individuals” at the BBC are making the lives of their colleagues “unbearable”, the corporation’s chairman has said, after a review into its workplace culture.

The independent report, sparked by the Huw Edwards scandal, was carried out by Change Associates, the same management consultancy that led a similar review in 2013, following the Jimmy Savile scandal.

BBC chairman Samir Shah told staff ahead of the report’s release on Monday morning: “There is a minority of people whose behaviour is simply not acceptable. And there are still places where powerful individuals – on and off screen – can abuse that power to make life for their colleagues unbearable.”

He said the report made recommendations to “prioritise action over procedural change”, as well as addressing “deep-seated issues” including staff not feeling confident enough to speak up.

Mr Shah added: “In the end, it’s quite simple: if you are a person who is prepared to abuse power or punch down or behave badly, there is no place for you at the BBC.”

While the review, which heard from around 2,500 employees and freelancers from 19 different countries, found no evidence of a toxic culture within the corporation, some staff said there was “a minority of people at the BBC – both on and off-air – who were able to behave unacceptably without it being addressed”.

The report said: “Even though they are small in number, their behaviour creates large ripples which negatively impact the BBC’s culture and external reputation.”

It said these people were “dotted across the organisation in different functions and departments”, and were “often in positions where power could be abused”.

While no specific names were mentioned in the report, it did note “some names were mentioned several times”.

Some considered ‘indispensable’

One example of poor behaviour given included an “untouchable” presenter being “called out for exceptionally inappropriate language”. It said that while “a report was made” and sanctions promised, a senior manager who was in the room at the time of the incident was “perceived as deferring so as not to rock the boat”.

It said a blind eye could be turned to poor behaviours “when productions were award winning or attracting large audiences”.

The report went on to warn that, “at its worst”, the corporation “rewards” such individuals “by providing little or no consequence to their actions”.

It recognised that some of those displaying “unacceptable behaviour” were perceived as “indispensable” to the corporation, and that by moving “potentially vexatious issues” to formal grievance without appropriate due diligence, the BBC was “tolerating” the problem.

It also said that by keeping those who formally raised an issue “in the dark about progress and outcomes,” it was unfairly punishing them.

The BBC board has fully accepted the report and its findings, as has BBC management.

BBC director-general Tim Davie called the report “an important moment for the BBC and the wider industry”.

He said the corporation would implement the recommendations “at pace”, making sure that BBC values are “lived and championed by the whole organisation each and every day.”

Actions being taken include:

• A strengthened code of conduct, with specific guidance for on-air presenters
• A more robust disciplinary policy, with updated examples of misconduct and clear consequences
• All TV production partners must meet Creative Industries Independent Standards Authority (CIISA) industry standards
• A new “Call It Out” campaign to promote positive behaviour, empower informal resolution and challenge poor conduct
• Clear pledges for anyone raising concerns, setting out what they can expect from the BBC

Further actions include succession planning for the most senior on-air roles, a new “resolving concerns helpline”, more training for managers and clearer behaviour expectations for freelancers.

A difficult year for the BBC

The BBC has been under pressure to act after a string of complaints against some of its top talent over the last 12 months.

In September, Edwards, who was the BBC’s lead news presenter, pleaded guilty to three counts of “making” indecent images of children. He was given a six-month suspended jail sentence and will be on the sex offenders’ register for seven years.

Earlier this month, following a CPS review, Russell Brand, was charged with rape and sexual assault.

Brand, who worked for BBC Radio 2 and 6 Music between 2006 and 2008, denies all allegations against him and says all his sexual encounters were consensual.

The BBC also apologised in January after a review found it “did not take adequate action” upon learning about concerns over former Radio 1 DJ Tim Westwood following claims of “bullying and misogynistic behaviour”.

Other allegations of misconduct against BBC talent include accusations of a toxic environment on Strictly Come Dancing and the firing of The One Show presenter Jermaine Jenas after he admitted sending inappropriate messages to female colleagues.

And late last year, Greg Wallace stepped down from his presenting role on MasterChef after multiple historical allegations of misconduct.

Wallace’s lawyers have said it is “entirely false that he engages in behaviour of a sexually harassing nature”. Wallace has since said he is seeking “space to heal”.