Kneecap's Concert Features King George V's Head In Controversial Appearance

A severed bronze head of King George V, which was removed from its statue in Melbourne, has made a controversial appearance at the Australian concert of the Irish Republican hip-hop trio Kneecap. The head turned up during their performance at 170 Russell on Friday night, March 14, 2025, igniting both excitement and outrage among concert-goers and officials alike.

The statue of King George V was beheaded amid anti-colonial protests back in June 2024, with the incident marking one of many acts of vandalism targeting British memorials across Melbourne. The head's reappearance on the Kneecap stage has prompted the Melbourne Crime Investigation Unit to revisit their inquiry, seeking clarity on how the severed head managed to make its way to the concert.

During their set, as the crowd booed the Royal Family, Kneecap proudly displayed the head, with one ensemble member declaring, "He's the first royal at a Kneecap gig, and will be the last." They later took to social media to express, "Some madman dropped by with a huge King George's head so he could hear a few tunes for our last Melbourne show! Allegedly his head was cut off last year, but he was put on stage for a few tunes and then whisked away. Remember every colony can fall." This line, emphasizing the group's anti-colonial messaging, has sparked heated discussions about the sacrilegious act and the broader themes behind it.

The head was previously reported missing after its removal from the 2.7-meter tall statue of King George V—unveiled back in 1952—during the King’s birthday celebrations. According to police, no arrests have been made related to the original vandalism, which occurred alongside a wave of anti-colonial acts throughout the city. These acts included significant damage to other statues, such as those commemorizing Captain James Cook and Queen Victoria.

Community reaction to Kneecap's antics has been mixed. While many fans applauded the group’s bold statement, local politicians have been less forgiving, criticizing this as another tired and predictable stunt. They voice concerns about the glorification of vandalism and its impacts on civic pride.

Despite allegations of inciting anti-British sentiments, Kneecap members, Mo Chara, Móglaí Bap, and DJ Próvaí, assert their intent lies within reviving Irish Republican themes and humorously challenging colonial pasts. They use their platform to advocate for the Irish language and push back against historical narratives they deem harmful. Their musical style often blends rap sung in both English and Gaelic, with tracks like Get Your Brits Out making waves for its politically charged lyrics.

These performances come on the heels of Kneecap facing political scrutiny after the previous UK minister, Kemi Badenoch, unlawfully blocked them from receiving arts funding. Since winning the case for £14,250, their popularity has surged, solidifying their place within Australia’s music scene during their sold-out tour across Australia and New Zealand.

On Australia Day earlier this year, January 26, 2025, social media showed footage of the very same head purportedly being burned on a barbecue, reinforcing its status as a symbol of colonial critique. The phrase “the colony will fall,” which was spray-painted adjacent to various memorials, encapsulates the sentiment of growing activism against colonial relics.

While some critics suggest Kneecap's actions perpetuate divisiveness, their supporters argue the group amplifies necessary dialogues surrounding race, colonialism, and national identity. After the King's Domain statue was vandalized, Australian Prime Minister Anthony Albanese faced accusations of yielding to minority factions pushing ‘woke rubbish’ as he tussles with questions of Australia’s colonial legacy.

Following the recent concert and the statue’s head’s appearance, the Melbourne Crime Investigation Unit released a statement confirming their awareness of the situation and their open investigation. They remarked, “Detectives continue to investigate damage to the statue at Kings Domain last year, and investigators are also aware of the head’s appearance at the concert on March 14.” This reflects the increasing tension surrounding such incidents and their relevancy to contemporary conversations about identity, history, and artistry.

With Kneecap at the forefront of this cultural discourse, media and public sentiments are likely to continue reflecting varying perspectives on their acts. The intersection between activism and art remains contentious, and this episode is just one of many voices contributing to what could be described as an era of reckoning for colonial narratives worldwide.