Liam O’Hanna, a 27-year-old member of the Irish hip hop group Kneecap, faces a terrorism charge after an investigation by London’s Metropolitan Police. The charge stems from an incident on November 21, 2024, during a performance at the O2 Forum Kentish Town, where he allegedly displayed a flag supporting Hezbollah, an organisation banned in the UK. The police stated that his actions aroused reasonable suspicion of his support for this proscribed group.
The situation came to light when officers from the Met’s Counter Terrorism Command were alerted to an online video of the event on April 22. Following this, an inquiry was initiated, leading to the Crown Prosecution Service approving the charges. O’Hanna is scheduled to appear at Westminster Magistrates’ Court on June 18.
Kneecap, known for their outspoken critiques of Israel’s actions in Gaza, has faced scrutiny recently. Earlier in the month, UK counter-terrorism police began investigating the group after videos surfaced showing them calling for harm against British politicians while openly expressing support for Hamas and Hezbollah. In response, Kneecap clarified that they do not endorse either group and accused critics of misrepresenting their stance through selectively edited footage aimed at damaging their reputation due to their comments on the conflict.
In a separate incident from November 2023, a video showed an unnamed band member making inflammatory remarks against the Conservative Party, stating “The only good Tory is a dead Tory,” prompting backlash considering the historical context of recent political violence in the UK, including the murders of MPs Jo Cox and David Amess. Kneecap later issued apologies to the victims’ families for the distress caused by their comments.
The band’s provocative performances included leading chants calling for Palestinian freedom at major events, as well as openly condemning Israeli military actions and American support in the conflict. Kneecap’s manager, Daniel Lambert, remarked that the ongoing controversy distracts from the band’s music and highlights a broader issue of censorship surrounding discussions on Palestine and its representation in the arts.
As the legal proceedings unfold, the attention on Kneecap continues to raise questions about the intersection of music, free speech, and political expression, especially in the context of rising tensions related to global conflicts.