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

Academy, Glasgow
Ninja and Yolandi, guttural rapper and robot babydoll singer respectively, stick to the confrontational musical formula and art-joke look with demented energy

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.

Ninja on stage.
Ninja on stage: endowed? Photograph: Roberto Ricciuti/Redferns via Getty Images

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.

Enter the Ninja: into the crowd.
Enter the Ninja: into the crowd. Photograph: Roberto Ricciuti/Redferns via Getty Images

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.

Yo-Landi Vi$$er in Glasgow.
Yo-Landi Vi$$er in Glasgow. Photograph: Roberto Ricciuti/Redferns via Getty Images

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

Contributor

Graeme Virtue

The GuardianTramp

Related Content

Article image
Sunfall festival review – dance goes deep as Princess Nokia hits the heights
DJ masterclasses from Helena Hauff and Ben UFO ease the sting of entry queues, while rising hip-hop stars and techno parties create a 16-hour marathon

Ben Beaumont-Thomas

14, Aug, 2017 @10:27 AM

Article image
Bluedot festival review – cosmic vibes permeate rave revival
Jean-Michel Jarre, Air, Underworld and the physicist Brian Cox happily coexist on the bill at a boutique weekend of electronic music, science and stargazing

Daniel Martin

24, Jul, 2016 @1:59 PM

Article image
Shabazz Palaces review – rave hip-hop from Venus
Ishmael Butler and Tendai Maraire don’t go in for onstage banter, but their icily inventive hip-hop ventures to far-out places, writes Stevie Chick

Stevie Chick

06, Nov, 2014 @3:37 PM

Article image
Gorillaz review – Damon Albarn refuses to be pigeonholed in hip-hop jamboree
The Blur frontman brings his animated band’s world tour to the UK, and it’s the house vocalists – such as Peven Everett and Jamie Principle – that really shine

Alexis Petridis

28, Nov, 2017 @1:04 PM

Article image
Caribou review – intimate yet communal rave triumph
Dan Snaith’s tunes, borrowed from techno past and present, prove you can talk about love in dance music

Sam Richards

16, Mar, 2015 @1:53 PM

Article image
Todd Terje review – floor-frying retro rave
It’s Terje time as the lone DJ mixes lounge bar funk grooves with early disco to start a party fit for Christmas

Mark Beaumont

14, Dec, 2015 @1:34 PM

Article image
Field Day review – the Aphex Twin's live comeback raises the temperature
The one-day festival has a gigantic new Barn stage, suitably filled by Aphex Twin’s spine-tingling live return, supported by an eclectic lineup of pop, rap and dance for every taste under the sun

Malcolm Jack

04, Jun, 2017 @2:12 PM

Article image
SBTRKT review – revelling in mystery
The star remixer blends post-dubstep, house and techno in a flashily complex presentation, writes Malcolm Jack

Malcolm Jack

28, Sep, 2014 @4:30 PM

Die Antwoord – review

The hilarious Die Antwoord's ironic vulgarian shtick brought the cognoscenti in droves to the Scala, writes Ian Gittins

Ian Gittins

16, Nov, 2010 @10:40 PM

Article image
Skrillex and Four Tet review – unlikely duo channel early-rave spontaneity
Raucous fun was had in this raging three-hour set of bass music from jungle to grime, garage and beyond – though a Sam Smith remix was perhaps a step too far

Kate Hutchinson

07, Apr, 2015 @11:13 AM