Prominent hip hop artist Liam Óg Ó hAnnaidh — one third of the critically-acclaimed group Kneecap — is back in the news. UK prosecutors announced recently that they would appeal against a court ruling that released him from terrorism charges. The case has galvanized national public interest. It’s about Ó hAnnaidh’s stunt during a performance at the O2 Forum in Kentish Town, North London, where she waved the Hezbollah flag and proclaimed her support for both Hamas and Hezbollah.
The furore began after the performance was recorded, where Ó hAnnaidh can be heard shouting, “up Hamas, up Hezbollah.” Collectively, these actions led to prosecutors’ claims that his conduct constitutes terrorism. Ó hAnnaidh, the prosecution appealed, but in a rare decision, a court had sided with Ó hAnnaidh in the first place.
The Crown Prosecution Service said, “We felt there was a significant point of law that needed clarifying.” That suggests it won’t be an easy case to settle. Kneecap has publicly promised to “see [T4America] back in court again. They are resolved to fight for Ó hAnnaidh’s rights.
Kneecap expressed their disappointment that such a politically motivated prosecution was brought forward. They wrote on Facebook, “This is another huge waste of taxpayer money, police resources and court resources. They further claimed that the case represents a “state wide witch-hunt against Palestinian solidarity,” framing their legal battle within a broader context of political expression.
The controversy over Ó hAnnaidh has not just been confined to the courtroom. Speaking on behalf of the government at the time, Lord Hermer, Attorney-General, warned. He warned Shadow Justice Secretary Robert Jenrick over the danger of prejudicing future proceedings. He was careful to advise Jenrick to “carefully consider any further public comments” as they would relate to the ongoing case.
The order is being appealed. It remains to be seen what impact these developments will have on public opinion and the continued legal status of Liam Óg Ó hAnnaidh. The case has illuminated larger ideas about artistic expression and political statements as they apply to the whole world of music and performance.
