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TLMT Podcast is a weekly music review show, featuring reviews and editorials on the Irish Music Scene from critic and photographer Stephen White.
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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
Emerald Fennell’s new Wuthering Heights film has already stirred controversy, but I want to make the case that the best adaptation of Emily Brontë’s gothic masterpiece already exists and it isn’t on screen. In 1978, an 18-year-old Kate Bush captured the wild, haunting atmosphere of the novel in just four minutes of music, creating a version of Wuthering Heights that has outlived almost every film and TV attempt.In this episode of The Last Mixed Tape, I explore why Kate Bush’s Wuthering Heights is the definitive adaptation: from its ghostly perspective and groundbreaking composition to its cultural afterlife in flash mobs, memes, and even later adaptations. I also share my personal story of hearing the song for the first time as a child and how it revealed music as something magical and otherworldly.00:00 Intro00:30 Kate Bush01:01 Why Kate Bush’s Wuthering Heights?01:53 Brief History of Emily Brontë’s Wuthering Heights02:38 Emerald Fennell, Olivier, & Ian McShane04:16 Kate finds Cathy05:45 The Definitive Adaptation of Wuthering Heights 17:14 Kate’s Cultural Impact18:59 What do you think?19:45 Heathcliff…
Kneecap’s brand new single “Sayōnara” is a cultural moment. In this video, Stephen White of The Last Mixed Tape breaks down why Kneecap are in their imperial phase, how their defiance on global stages like Glastonbury has made them cultural icons, and what Sayōnara tells us about Irish music and identity in 2025.From their stance on Gaza to the “Free Mo Chara” campaign, Kneecap’s mix of politics, satire, and rave-driven hip-hop has made them one of the most important acts in Ireland today. Featuring Jamie Lee O’Donnell in the official music video, Sayōnara is both a festival anthem and a statement of resistance. But what does it mean for Irish culture now and what does it say to the wider world?00:00 Intro00:28 Kneecap01:31 Why Sayōnara?01:59 The Imperial Phase02:45 The Rise of Kneecap04:36 Free Mo Chara05:40 Kneecap Sayōnara Review and Reaction12:26 The Future 14:41 What do you think?15:18 The Irish Language
CMAT’s Euro-Country is a generational reckoning. In this review, I explore why only CMAT could have made this record, and why it could only have been made now.From the scars of the Celtic Tiger to the contradictions of modern Europe, Euro-Country is witty, heartbreaking, and politically sharp, a pop record that laughs, cries, and critiques all at once. In this episode of The Last Mixed Tape, I dive deep into the album’s themes, CMAT’s artistic evolution, and why she’s the right artist at the right time.00:00 Intro00:28 CMAT 00:56 Why Euro-Country?01:25 CMAT: The Right Artist at the Right Time04:12 Euro-Country Album Review15:50 Where Does This Leave Us…?17:27 What About You?18:02 Euro-Country
Florence + The Machine is back with Everybody Scream the first single from their upcoming album, Everybody Scream, set for release this Halloween. In this video, I dive into the song’s gothic sound, its themes of witchcraft and ritual, and how Florence continues to reclaim mystical imagery in her music.From Stevie Nicks to Kate Bush, from Irish folklore the witch has always been a powerful figure in music a symbol of independence, transformation, and rebellion. Florence now carries that tradition forward, turning performance into ritual and music into magic.00:00 Intro 00:30 Florence Welch 01:11 Why Everybody Scream?01:49 Witchcraft & Ritual in Music04:24 Florence + the Machine Return06:00 Everybody Scream Reaction10:03 Everybody Scream Video Discussion 12:57 Florence in the Future13:58 What do you think?14:38 Useless Magic
In 1993, U2 used their stage to beam Sarajevo into the world during the Bosnian War. They gave space for civilians to speak under siege during their acclaimed ZooTV Tour. From that came ‘Miss Sarajevo’ with Luciano Pavarotti and one of the most powerful artistic responses to war. But in August 2025, when U2 spoke out on Gaza, their words told a different story, one that felt cautious, muted, and unwilling to hold power to account. This video explores U2’s legacy of protest, from Sarajevo to Gaza, and asks: where is the courage now? Along the way, we’ll contrast Bono and U2’s late response with the younger generation of artists; Fontaines D.C., Kneecap, Bob Vylan, CMAT, The Murder Capital, who are reshaping what it means to use music as resistance today. 00:00 Intro00:36 Voices from Sarajevo02:39 Why U2, Sarajevo & Gaza?03:29 The Siege of Sarajevo & U209:24 U2’s Statement on Gaza 202512:06 My U2 Gaza Statement Reaction18:52 Past & Present Caparisons 20:55 What do you think?22:10 Voices from Palestine
If grief was the language of For Those I Love’s debut, Carving the Stone is its translation into the language of a nation. David Balfe returns after four years with an album that moves from the deeply personal into the generational, tackling grief, class, violence, toxic masculinity, and the systems that keep us trapped.In this episode of The Last Mixed Tape, we explore how Carving the Stone speaks to a modern Ireland under late-stage capitalism, and why it’s a vital counterpoint to the rise of misogyny and far-right radicalisation.00:00 Intro00:30 For Those I Love01:20 This Week’s Show01:53 For Those I Love - Album Retrospective04:15 Fighting Toxic Masculinity07:23 A Return08:24 Carving The Stone Reaction15:04 In Review16:31 Conclusions 19:03 David Balfe
Five years ago, Gemma Dunleavy released Up De Flats, an EP that did more than just tell her story. It told a place’s story. Sheriff Street. Dublin’s North Inner City. Communities flattened in headlines but still rising in rhythm.In this episode of The Last Mixed Tape, Stephen White reflects on the legacy of Up De Flats, what it meant then, and what it means now—against a backdrop of ongoing redevelopment, class erasure, and cultural resistance.00:00 Intro00:30 Gemma Dunleavy 00:52 This Week’s Show01:47 Sheriff Street 04:20 Up De Flats Retrospective 07:10 Gentrification 08:14 Reflections15:30 5 Years On16:32 What Do You Think?17:19 Gemma
CMAT’s new single Euro-Country is a cultural reckoning. In this episode of The Last Mixed Tape, Stephen White breaks down how CMAT takes aim at the ghosts of the Celtic Tiger, the fallout of the 2008 crash, and the legacy of Bertie Ahern. From the fluorescent ruins of Santry’s OMNI Shopping Centre to Ireland’s Celtic Tiger past, this video explores why Euro-Country has struck such a deep chord across generations in Ireland.With themes of intergenerational anger, grief, memory, and economic betrayal, CMAT’s bold songwriting is already being described as one of the most powerful political statements in modern Irish pop.00:00 Intro00:33 CMAT00:51 Why Euro-Country?01:24 Ireland & The 2008 Crash03:50 CMAT is the perfect artist for this…05:45 Euro-Country Music Video Analysis 07:30 CMAT Euro-Country Reaction13:45 Reflections15:29 What do you think?16:07 Shame
The Oasis reunion is no longer a rumour, it’s happening. With shows already underway in Manchester, Cardiff and soon Dublin’s Croke Park, fans are once again screaming Champagne Supernova like no time has passed.In this episode of The Last Mixed Tape, I revisit the song that captured Oasis on the edge of everything, before Be Here Now, before the implosion, before break-up and the 2025 reunion.I first heard it on a crackling 2FM broadcast in Waterford in 1996. Now, watching clips from the reunion flood social media, I feel the same way I did back then like the world cracked open for just a few minutes. This video explores why Champagne Supernova might be the most Oasis song Oasis ever made, all drift, ego, grandeur and aching beauty.00:00 Intro00:30 Noel Gallagher 01:39 Champagne Supernova IS Oasis?02:28 Memories of Oasis live in 199604:39 What Oasis meant then08:07 Oasis at their most Oasis09:44 Why is matters now16:25 Champagne Reunion17:40 What’s your favourite Oasis song? 18:58 Noel
“Let God Sort Em Out” isn’t just a comeback it’s a calculated strike. Clipse have returned with one of the most competitive, ruthless rap records in years, and they brought Pharrell and Kendrick Lamar into the ring with them.In this episode of The Last Mixed Tape, we dive into the philosophy behind the album, how Pusha T and Malice weaponise precision, and why this record proves that hip-hop is still a full contact sport.🎙 Featuring a deep dive on Chains & Whips, Pusha’s legendary beef track record, and how Clipse’s return rejects nostalgia in favour of confrontation.00:00 Intro00:30 Pusha T01:46 Clipse Let God Sort Em Out 03:10 First Impressions 06:58 Chains & Whips 08:10 Music As A Full Contact Sport17:34 Clipse Are Ruthless18:24 What do you think?19:05 Pusha
Glastonbury 2025 became one of the most politically charged festivals in recent memory from Bob Vylan’s explosive set being investigated by police, to Kneecap’s BBC censorship, and Rod Stewart backing Nigel Farage in the press.In this episode of The Last Mixed Tape, we explore the growing tension between protest art and platform control, and ask:Who gets to speak freely on the biggest stages and who gets silenced?With Palestinian flags in the air, a woman live-streaming censored sets in real time, and police watching musicians instead of listening to them, we’re witnessing a major shift in how protest music is treated.00:00 Intro00:30 Nina Simone 01:33 Why Glastonbury 2025?02:03 Bob Vylan 04:12 Matty Healy 05:26 Freedom of Expression10:45 The Politics of Glastonbury 202512:15 Why?19:43 We Choose The Art We Consume 21:07 Dangerous Days22:37 Chuck D
In 1992, Sinéad O’Connor tore up a photo of the Pope live on Saturday Night Live and paid the price for telling the truth. Booed at Madison Square Garden. Silenced by the industry. Mocked by the media.But what if she was right all along?In this episode of The Last Mixed Tape, we revisit that moment not as scandal, but as protest, an act of defiance rooted in Ireland’s painful history with the Catholic Church. From the SNL performance to the Bob Dylan tribute, and all the backlash in between, we trace the legacy of Sinéad’s bravery through the artists carrying her torch today: Kneecap, CMAT, Pillow Queens, Radie Peat, Boygenius and Dua Lipa, who just honoured her live in Dublin.This is not just a music story.It’s an Irish story.And it still matters.00:00 Intro00:30 Sinéad O’Connor01:06 Performance as Protest01:38 Ripping Up The Pope03:22 The Legacy of Catholic Ireland07:08 Booed at Bob Dylan Tribute Show09:34 Why it matters16:34 Sinéad O’Connor’s Legacy 18:18 Final Thoughts19:24 Sinéad
In this episode of The Last Mixed Tape, we break down the powerful courtroom moment when Kneecap’s Mo Chara demanded to speak Irish during his trial in London and why that decision echoes far beyond the courtroom.From The Pogues to Johnny Rotten, Shane MacGowan to Fontaines D.C., this is a history of Irish voices using British stages to express defiance, identity, and survival. Mo Chara’s stand isn’t new, it’s the latest verse in a long rebel chorus.The Last Mixed Tape is hosted by Stephen White00:00 Intro00:28 Mo Chara01:54 Kneecap, Mo Chara & The Courts02:24 Mo Chara Vs The Crown04:19 The Irish Voice07:12 Voices From The Past09:44 Thoughts21:49 Future 23:18 Outro
Ireland’s housing crisis. The ghost of Dublin. The music of frustration. In this episode of The Last Mixed Tape, we dive into Fontaines D.C.’s “In The Modern World” and explore how it captures the voice of a generation let down by their country.With echoes of Gertrude Stein’s “Lost Generation”, this episode connects the cultural disillusionment of Hemingway and Joyce with Ireland’s own Generation Perdue, the artists and outsiders shaping our modern protest music.Featuring a key moment from Blindboy almost a decade ago, this is an exploration of art as identity in exile.00:00 Intro00:29 Blindboy 02:01 Gènération Perdue 04:17 Fontaines D.C In The Modern World09:46 Surviving 202511:28 Reflections20:30 Ghost Towns21:50 Your Comments?22:29 Outro
Gilla Band are not the most commercially successful band of their generation but they might be the most influential.In this deep dive from The Last Mixed Tape, through the lens of Franics Bacon I explore how this uncompromising Dublin four-piece rewrote the rules for noise, post-punk, and experimental rock and why their contorted, chaotic sound is being echoed in a new wave of artists like Fontaines D.C., Black Midi, IDLES, Sprints, and more.Featuring analysis of key releases (Holding Hands with Jamie, The Talkies, Most Normal), their creative ethos, influence on the Irish scene, and personal reflections from their landmark 2019 comeback show, this episode makes the case for why Gilla Band may just be the most important underground band of the 21st century.The Last Mixed Tape is hosted by Stephen White00:00 Intro00:25 Francis Bacon01:26 Gilla Band 03:15 The Contorted Soundscape 08:20 Echoes in the Noise10:09 The Most Influential Band of the 21st Century?20:30 Future Shapes21:28 Your Thoughts?23:13 Outro
This week on The Last Mixed Tape, I explore my personal connection to Kanye West’s Through the Wire, a song that helped me survive a near-fatal accident 20 years ago and reckon with what it means to love a piece of art when the artist behind it becomes indefensible.Kanye West’s most recent release, featuring praise of Hitler, crosses every line and forces a deeper conversation about artistic intent, freedom of expression, and what we do with the work left behind when creators betray their own legacy.This episode is about survival, memory, and the uneasy space between loving a song and condemning the person who made it. It’s also about choice and why it should be ours, not the state’s, to make.00:00 Intro00:25 Through The Wire02:21 Kanye04:25 The Road to Ye07:26 20 Years Later09:35 The Art & The Artist23:13 Moving On24:52 Conclusions 25:37 Outro🔔 Subscribe for weekly deep-dives into music, culture, and creative legacy.🎙️ Hosted by Stephen White | The Last Mixed Tape#KanyeWest #ThroughTheWire #ProblematicArtists #MusicCriticism #TheLastMixedTape
Irish rapper Mo Chara of Kneecap is facing terror charges in the UK for a performance in London. But what does this case really say about freedom of expression, cultural identity, and the criminalisation of art?In this episode of The Last Mixed Tape, I explore the history of artists on trial from John Lennon to Pussy Riot and ask what happens when the state decides where art ends and extremism begins. This is about more than a flag it’s about the boundaries of dissent, the weaponisation of performance, and the ongoing legacy of censorship through legal means.We’ll look at past precedents, why Mo Chara’s anglicised name was used in the charge, and how artists like the Pogues, Siouxsie Sioux, and Ice-T have walked similar lines before.This is where art, politics, and power collide.00:00 Intro00:25 Biko01:17 Mo Chara04:00 The Slippery Slope06:51 Art vs the State09:25 What this means…16:04 The Future17:06 Final Thoughts 17:45 Outro
One of modern music’s most haunting voices is Maria Somerville, whose new album Luster captures the tension between dreams and memory, tradition and distortion.In this episode of The Last Mixed Tape, Stephen White explores how Irish artists like Somerville, Katie Kim, and Virgins are carrying the echo of shoegaze, dream pop, and drone into something uniquely Irish. With nods to My Bloody Valentine, Joyce, Beckett, and even ancient mythology, this is a story of sound shaped by place where ghost notes linger in every reverb trail.00:00 Intro00:26 Anthony Bourdain 01:16 Maria Somerville 03:08 The Mythology of Dreams 04:55 Ghosts in the Reverb07:26 Luster Review 14:30 Recurring Dreams?15:55 I Am Certain of Nothing16:58 Outro
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