Member of rap trio Kneecap out on bail on terror charge, calls lawsuit ‘distraction’

Hundreds of fans turned out to support a member of Irish rap group Kneecap on Wednesday at a London court as he sought to throw out a terrorism charge for allegedly displaying a flag in support of Iran-backed Lebanese militia Hezbollah. (AFP)
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Updated 20 August 2025
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Member of rap trio Kneecap out on bail on terror charge, calls lawsuit ‘distraction’

  • O hAnnaidh says charge a ‘distraction,’ as lawyers try to throw it out
  • Judge will rule whether prosecution can continue on Sept. 26

LONDON: Hundreds of fans turned out to support a member of Irish rap group Kneecap on Wednesday at a London court as he sought to throw out a terrorism charge for allegedly displaying a flag in support of Iran-backed Lebanese militia Hezbollah.

Liam Og O hAnnaidh, who was initially charged under the Anglicised name Liam O’Hanna and whose stage name is Mo Chara, is alleged to have waved the yellow flag of Hezbollah during a Kneecap gig in London on Nov. 21, 2024.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by KNEECAP (@kneecap32)

 

O hAnnaidh is accused of holding up the flag on stage while saying “Up Hamas, up Hezbollah.” Kneecap have said the flag was thrown on stage during their performance.

The 27-year-old was charged in May under the Terrorism Act, which makes it a criminal offence to display an article in a way which arouses reasonable suspicion that someone is a supporter of a proscribed organization.

 

O hAnnaidh appeared at Westminster Magistrates’ Court on Wednesday wearing the keffiyeh scarf associated with the Palestinian cause and had to fight his way through a scrum of photographers to get inside the building.

He sat alongside an Irish language interpreter during the hearing and his bandmates Naoise O Caireallain, stage name Moglai Bap, and J.J. O Dochartaigh, who goes by DJ Provao, were also in court, with supporters filling the public gallery.

RULING NEXT MONTH

Irish music was played outside the court throughout the hearing, with many supporters waving Irish and Palestinian flags while others held placards reading “Free Mo Chara.”

O hAnnaidh’s lawyers say the charge was brought too late and the prosecution case should be thrown out, as O hAnnaidh was formally charged on May 22 this year, one day after the six-month limit for such charges.

Prosecutor Michael Bisgrove, however, argued that O hAnnaidh was charged on May 21, within the time limit. Judge Paul Goldspring said he would give a decision on Sept. 26.

O hAnnaidh left the court to cheers from supporters, telling the crowd the charge against him was “a distraction from the real story” of Israel’s actions in the Palestinian territories.

Belfast-based Kneecap, who rap in Irish and English and regularly display pro-Palestinian messages during their gigs, previously said the charge was an attempt to silence them.

The group — who rap about Irish identity and support the republican cause of uniting Northern Ireland with the Republic of Ireland — have been increasingly vocal about the war in Gaza since O hAnnaidh was charged.


Lebanese filmmaker turns archival footage into a love letter to Beirut

Updated 28 February 2026
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Lebanese filmmaker turns archival footage into a love letter to Beirut

LONDON: Lebanese filmmaker Lana Daher’s debut feature “Do You Love Me” is a love letter of sorts to Beirut, composed entirely of archival material spanning seven decades across film, television, home videos and photography.

The film premiered at the 82nd Venice International Film Festival in September and has since traveled to several regional and international festivals.

Pink Smoke (2020) by Ben Hubbard. (Supplied)

With minimal dialogue, the film relies heavily on image and sound to reconstruct Lebanon’s fragmented history.

“By resisting voiceover and autobiography, I feel like I had to trust the image and the shared emotional landscape of these archives to carry the meaning,” Daher said.

A Suspended Life (Ghazal el-Banat) (1985) by Jocelyne Saab. (Supplied)

She explained that in a city like Beirut “where trauma is rarely private,” the socio-political context becomes the atmosphere of the film, with personal memory expanding into a collective experience — “a shared terrain of emotional history.”

Daher said: “By using the accumulated visual representations of Beirut, I was, in a way, rewriting my own representation of home through images that already existed."

Whispers (1980) by Maroun Bagdadi. (Supplied)

Daher, with editor Qutaiba Barhamji, steered clear of long sequences, preferring individual shots that allowed them to “reassemble meaning” while maintaining the integrity of their own work and respecting the original material, she explained.

The film does not feature a voice-over, an intentional decision that influenced the use of sound, music, and silence.

The Boombox (1995) by Fouad Elkoury. (Supplied)

“By resisting the urge to fill every space with dialogue or score, we created room for discomfort,” Daher said, adding that silence allows the audience to sit with the image and enter its emotional space rather than being guided too explicitly.

 The film was a labor of love, challenging Daher personally and professionally.

“When you draw from personal memory, you’re not just directing scenes, you’re revisiting parts of yourself and your childhood,” she said. “There’s vulnerability in that.”