Kneecap have returned with “No Comment” their latest music statement since the terrorism charge against Mo Chara was thrown out earlier this year.

This episode breaks down why this song is hitting so hard, how it ties back to the case, and why “no comment” has become a form of cultural defiance.

In this show, I explore:

• how Kneecap use satire and Irish identity as political resistance

• how the legal case collided with their art

• why “No Comment” is more than a song — it’s a repossession

• Mo Chara’s courtroom words and how they echo through the track

• why younger audiences in Ireland and the UK are responding so strongly

This is the final word on the case, the song, and the cultural moment Kneecap just created.

Charli XCX has entered her darkest era yet. With “House,” her new collaboration with The Velvet Underground legend John Cale for Emerald Fennell’s upcoming Wuthering Heights (2026), Charli steps into a world of gothic romance, decaying architecture, and emotional brutality, a complete reinvention from her Brat era.

In this deep-dive, The Last Mixed Tape explores Charli’s career-defining pivot after Brat to the haunting production choices and Cale’s iconic narration, this episode unpacks why “House” is quickly becoming one of the most important songs of her career.

Four decades after The Specials captured Britain’s collapse, Irish folk collective Lankum have reimagined Ghost Town transforming it into a haunting reflection of modern Ireland.In this episode of The Last Mixed Tape, we trace Ghost Town’s journey from 1981’s Two-Tone rebellion to today’s Dublin exploring how music becomes a document of its time, from racial tension and working-class despair in Thatcher’s Britain to housing crises and far-right unrest in Ireland today.

In Berghain, Rosalía turns heartbreak into ritual. Set against the cultural backdrop of Berlin’s legendary club and her Catalan roots, this episode of The Last Mixed Tape examines how she translates loss into performance using sound, body, and movement to reclaim freedom.

We look at how Berghain continues the evolution of Motomami, blending vulnerability with power, and how collaborators like Björk and Yves Tumor expand its emotional and symbolic depth. Through grief, Rosalía reinvents herself and in doing so, redefines what pop music can be.

Róisín Murphy was once celebrated as a queer icon, a voice that echoed through the very clubs and communities that made her career. But her recent comments, and past posts, about trans people have shaken that bond to its core.

In this episode of The Last Mixed Tape, Stephen White explores how an artist so deeply embraced by queer culture could turn against it, what that says about allyship, and why this moment matters far beyond one tweet.

The announcement of Bad Bunny’s Super Bowl Halftime Show sparked a wave of backlash from ICE threats to pundits questioning whether he’s even “American.”

But this isn’t just about one artist or one performance. It’s about who gets to define America’s culture and who’s allowed to stand on its biggest stage.

In this episode of The Last Mixed Tape, we explore how Bad Bunny and Chappell Roan have become symbols in a new cultural resistance one where language, identity, and freedom of expression collide with a politics of fear.

AI music is about control. From record labels chasing profit to right-wing culture warriors pushing “neutral” art, this is the plan to replace real artists with machines.

In this episode of The Last Mixed Tape, Stephen White explores how the rise of AI in music is being weaponised by both corporate and political forces. Why are record labels and conservative commentators so interested in a world without artists? And what does that mean for creativity, culture, and control?

Netflix’s new series House of Guinness has been slammed by Irish critics for its stereotypes and shallow storytelling. But there’s one part of the show that works the soundtrack. Featuring artists like Fontaines D.C., Kneecap, Lankum, Lisa O’Neill, and The Mary Wallopers, the music captures the rebellious poetry of Ireland far better than the drama itself.

In this episode of The Last Mixed Tape, Stephen explores how the soundtrack dismantles the very caricatures the show indulges in, and why modern Irish music has become a cultural reclamation in its own right.

Mo Chara (real name Liam Óg Ó hAnnaid , a member of Belfast rap group Kneecap, has had terrorism charges against him thrown out at Woolwich Crown Court. The case, which alleged that Mo Chara displayed a Hezbollah flag during a London performance, collapsed when the judge ruled the prosecution was unlawful because the Attorney General’s consent had not been sought.

This verdict means no conviction but it raises urgent questions about free speech, censorship, and the growing pressure on artists who speak out on political issues, particularly around Palestine and Gaza. This week we explore what the trial of Mo Chara means for the future.

00:00 Intro00:30 Mo Chara 01:02 Kneecap Win, Why It Matters01:38 Kneecap Vs The UK Government 06:53 What We’ve Lost15:09 Gaza, Palestine17:34 What Do You Think?18:05 Liam Óg

Fascists can’t create. They can only silence, steal, and twist music into something hollow.

From Nazi Germany banning jazz, to the Catholic Church blacklisting artists in Ireland, to punk, disco, and hip-hop being targeted, authoritarian regimes have always feared music. Because music is messy, imperfect, alive… everything fascism can’t stand.

In this video, I explore how fascists try to erase or hijack culture, from Pink Floyd’s The Wall to Ireland’s recent “Míse Éire Festival.” And why, no matter how many times they raid the dancefloor or burn the records, music always slips free.

If you enjoyed this, don’t forget to like, subscribe, and join me every week on The Last Mixed Tape for more deep dives into music, culture, and resistance.

00:00 Intro00:28 Frank Zappa 01:13 Fascists Can’t Dance01;42 A Brief History of Authoritarianist Oppression05:52 Because of Woke!06:03 Why Fascists Hate Music13:25 Why this matters16:21 Zappa