LIVE REVIEWS
For many emerging names, the height of ambition is breaking big stateside: attending writing camps in Los Angeles, performing on late night television shows in New York City. Not Elmiene. On stage at Alexandra Palace Theatre, the British-Sudanese musician makes his intentions clear: “I’m in my favourite place in the world right now,” he says, shortly after a commanding rendition of ‘Open Light’. “Not the US or Sudan. This is where I want to be: Hornsey.”
He’s being deadly serious. Throughout an hour-long set, 22-year-old Elmiene (born Abdala Elamin) repeatedly makes reference to everything this north London suburb has offered him: from ample places to write music to the “perfect venue” for tonight’s headline show, a cavernous, Victorian era space defined by its antique beauty and decay. These unshowy surroundings, plus a backing band dressed in all white, allow Elmiene’s full-bodied baritone to hold centre stage this evening (April 4); no tricks, no gimmicks – here is an artist intending to make a statement on his own terms.
Elmiene’s breakthrough few months mean that it’s unlikely he’ll be gracing venues this intimate again, other than by choice. In October last year, he released his ‘Marking My Time’ EP, a collection of muscular, booming R&B songs and starry-eyed declarations of love that showed off his nous and versatility via buoyant production quirks. He has since earned vast critical acclaim and co-signs from Sampha and Stormzy; his story is one of a much talked-about prodigy evolving into the real deal.
All of this translates into an assured live show – Elmiene’s confidence as a performer is dazzling but also grounded in substance. The slow-burn catharsis of ‘Marking My Time’ is heightened by a marching drumline, before ‘Mad At Fire’ sparks instant audience recognition. In fact, it is all so smoothly paced – from the constant use of gentle smoke machines or how the segues feel seamless – that the more emotional moments pass with perhaps less impact than intended.
Still, there’s a thrill to be found in witnessing a new artist playing a gig with real conviction, one that is free of cliché stage chat. As Elmiene prepares for his next chapter, there’s a sense that this performance will draw a line under his current era. He seems at peace with his rapid ascent, too, cracking self-deprecating jokes about his early career in the brief moments he pauses for water.
Even the few minutes Elmiene spends mimicking a standup routine can’t stall the momentum leading into breakthrough hit ‘Someday’, which he sings beneath a golden stage light. As the final chorus approaches, he removes in-ear monitors, tilts his head back, and basks in the glow.
‘Why’
‘Crystal Tears’
‘Shame’
‘Marking My Time’
‘Choose You’
‘Avalon’
‘Mad At Fire’
‘Open Light’
‘Diane’
‘Endless No Mores’
‘Mama’
‘Sweetness’
‘Anyways’
‘Someday’
LIVE REVIEWS
The closing hours of Reading 2026 have finally arrived. Florence + The Machine brought the rain during ‘Dog Days Are Over’ at The Grid, opening the heavens and leaving the festival site completely soaked. The weary fans who have stayed behind are wet, exhausted and clearly feeling the effects of the weekend. What they need now is one final enormous celebration to make the wait worthwhile.
The Gallery tent comes alive as the speakers blast ‘Favourite’ by Friday’s headliners and fellow countrymen Fontaines D.C., receiving the kind of reaction usually reserved for ‘Mr Brightside’ at a drunken wedding reception. Moments later, Kneecap display their familiar statement accusing Israel of carrying out genocide against the people of Palestine and Lebanon, with support from the UK government. It captures the Belfast rap trio perfectly, combining serious political messages with an unapologetic party atmosphere.
“We use our platform to talk about what we believe is right,” Mo Chara explains during the performance, before recognising those who “aren’t so fucking lucky” and whose voices have been suppressed. He soon encourages the audience to roar “fuck Netanyahu” and “free free Palestine”. Later, he starts a powerful chant of “Aaaaaa-ndy Buuurn-ham’s a waaaaaaan-ker” to the melody of ‘Seven Nation Army’, targeting our new Prime Minister over his claim that “a united Ireland is off the table”. Laughing, he asks: “The BBC won’t broadcast that, or will they?” As it turned out, they did not.
Away from the headlines and the controversy, there is no denying the connection Kneecap have built with their audience. Politics may shape the conversation, but the crowd also came to enjoy themselves, ready for a rave after the rally. The performance begins carefully with the heavy rumble of ‘Smugglers & Scholars’, before exploding during the Grian Chatten collaboration ‘Better Way To Live’ and the threatening energy of ‘Sick In The Head’. “Are ya ready for a mad one?” Mo Chara shouts. The response is already obvious.
The atmosphere becomes increasingly chaotic as the hip hop rhythm of ‘Cold At The Top’ and the hypnotic trance sounds of ‘An Ra’ send the entire tent into motion. The trio jokingly thank the UK for everything it has given Ireland, listing UKIP, fish and chips, a mental health crisis, Jimmy Saville, HP Sauce and Bloody Sunday. However, the show reaches another level once the second half begins. The explosive ‘Sayonara’ brings the ‘beef’ to ‘IBEEFA’, while ‘Get Your Brits Out’ and ‘Guilty Conscience’ give the crowd every reason to obey Móglaí Bap’s demand to “oooopen up the piiiiiit”.
Anyone watching closely may have questioned why the cameras continued to focus on Móglaí Bap and Mo Chara. The pair eventually reveal that they have spent recent weeks performing alongside a “provisional” DJ Próvai. Wearing the familiar tricolour balaclava, the temporary replacement handles his role as the crowd agitator with confidence while their bandmate enjoys some paternity leave. “Some things are more important than music, and that’s family,” they explain. How sweet. Móglaí Bap quickly destroys the tender moment by adding: “As you might know, the Brits took all our potatoes from Ireland; they took all our cocaine,” before declaring, “but we still have all our caaandy.” The group then charge directly into one of the biggest tracks ever written about extremely powerful ketamine.
‘Liar’s Tale’ sparks another huge reaction with its response to Keir Starmer, “genocide armer”, while the group warn that “you’re not getting away with doing nothing”. It is a politically charged message hidden inside an irresistible anthem from musicians who have experienced the “belly of the beast” through the legal system. Their latest album, ‘Fenian’, has helped Kneecap fully embrace the celebration that has always been part of their identity. Their live production now feels capable of filling arenas, blending the intimacy of a late night lock in with the rhythmic force and visual scale of The Chemical Brothers, the reckless electronic punk spirit of The Prodigy, and the fearless political honesty of Public Enemy. The spectacular visuals complete the experience.
Kneecap fans at Reading 2026. Credit: Andy Ford for NME
Kneecap fans at Reading 2026. Credit: Andy Ford for NME
Closing with the powerful combination of ‘Fenian’, ‘H.O.O.D.’ and the enormous ‘The Recap’, Kneecap bring our final celebration at Reading to a thrilling conclusion while also finishing their last festival appearance of the summer. “It’s been a pleasure to spend it with you mad c**ts,” Mo Chara says before leaving the stage. The feeling is mutual.
Return to NME here for the newest reports, reviews, photographs, conversations and further coverage from Reading & Leeds 2026.
