Graeme Virtue 

Die Antwoord review – South African rap-rave crew play it to the hilt

Ninja and Yolandi, guttural rapper and robot babydoll singer respectively, keep to the formula with demented energy, writes Graeme Virtue
  
  

Die Antwoord
Spring Breakers: the musical … Ninja and Yolandi of Die Antwoord. Photograph: Roberto Ricciuti/Redferns via Getty Images Photograph: Roberto Ricciuti/Redferns via Getty Images

Forget pop’s preoccupation with reinvention. Ever since their YouTube-powered breakthrough in 2010, South African rap-rave crew Die Antwoord have stuck to a distinctive look. Wiry rapper Ninja wears boxers, tattoos and little else; ashen-faced singer Yolandi Visser rocks a Dave-Hill-from-Slade haircut in dazzling platinum. Both appear in Neill Blomkamp’s new sci‑fi movie Chappie, looking exactly the way they always do, the perfect prefabricated fit for a near‑future dystopia.

Die Anwoord’s career trajectory has been as relentless as their music. The alcopop mix of Ninja’s guttural Afrikaans-inflected raps and Visser’s robot-babydoll singing has been confrontational from the outset, a melange of leery posturing and accusations of cultural appropriation. Their recent third album, Donker Mag, doesn’t veer far from the formula, but this sold-out tour suggests they’ve found a receptive UK audience, or that their reputation for demented live shows precedes them.

Half an hour into their set, ballooning into life stage right, appears Casper the over-friendly ghost – a grinning white inflatable blob with a distractingly large phallus. It’s a visual cue for new song Big Zef Boner, a rickety apologia for Ninja’s own endowment that echoes early Eminem. The rest of Die Antwoord’s staging consists of two masked backing dancers jackhammering along to waves of crashing rave, and a series of staggered costume changes, all of which involve some combination of hoodies, headgear and hotpants.

If it looks and feels like Spring Breakers: The Musical, there’s also an undeniable energy that elevates material that can sound naff on record. Girl I Want 2 Eat U adds raunchy dancehall to their arsenal, but the biggest reaction is for Baby’s on Fire, a track that – minus the orchestral keyboard of the chorus – has some of the slinkiness of Disclosure. The inflatable boner bobs happily along for the rest of the show. If Die Antwoord are an artpop in-joke, they’re still playing it to the hilt.

• 15 January, at the Institute, Birmingham. Box office: 0844 844 0444. Then touring until 17 January.

 

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