The path through the forest with KIZ fans to Wuhlheide in East Berlin heralds the motto of the evening: the more provocative, obscene and louder, the better. The show begins at 7.45 p.m. on time, with the Frankfurt rap duo Mehnersmoos, who reached number nine in the album charts this year with their debut album. The Schöneberg rap crew BHZ continues to heat up the crowd of almost 17,000 fans.
The expectations are clear: pure provocation. KIZ didn’t disappoint at all when they entered the stage an hour later in white nurse’s clothing and started their first song “VIP in Psychiatry” to deafening applause and shouts. The lettering “Birkenhain mental institution” appears in the background. This is followed directly by “Rap über Hass” from the current album of the same name. After a short greeting then the classic “Holiday for the brain”, the crowd seethes. Nico, Maxim and Tarek perform powerfully as usual. The audience joins in KIZ chants.
Shrill self-adulation and applause
The stage design is surprisingly reserved. Here begins a journey from the mental institution Birkenhain in the late purchase, the Rosi’s and a record store, up to a gun shop. The mosh pit really gets going when the song “Unterfickt und mentally handicapped” starts playing. Longus Mongus from BHZ supports the three rappers on the song “Not even that bad”. Again and again KIZ amuse the audience with shrill self-adulation and demand the applause of the fans.
KIZ make music for academic children who want to break out of their boring everyday life. White men with gym bags and aviator sunglasses predominate in the audience here. Some fans stand out with colorful hair and ear tunnels, probably their way of rebellion. KIZ seem to hit the nerve of German humor in general. And anyone who doesn’t understand the art of KIZ doesn’t understand – that seems to be the basic consensus here in the audience – no irony. After a break of more than six years from KIZ, the crowd here is starving.
For the more serious, political song “Revolution” KIZ get support from rapper Kuba. With the line “This is for Oury Jalloh”, Tarek recalls the black people who burned to death in a German police cell. Another classic “Neuruppin” follows together with rapper Kuba. The crowd raps along with the lyrics. When “Walpurgis Night” sounds, the fans know no stopping. Mehnersmoos are allowed to support Nico, Maxim and Tarek for two more songs on stage.
When KIZ then sing “Thank you Merkel”, a pink imperial eagle appears in the background. Maxim exclaims, self-ironic: “This is tinsel rap.” The evening ends with a tribute to the Berlin record label Royal Bunker. Musically, KIZ close the show with their hit “Hurra die Welt geht unter”. She supports Henning May for the hook. The crowd calls for an encore. Shortly thereafter, the “cannibal song” sounds. With “Ein Affe und ein Pferd” KIZ enter the stage fresh and changed. With “Kinderkram” the Wuhlheide lights up with the support of the fans and the three Berlin rappers say goodbye to their fans for the evening after a two-hour show.
Thoughtful border crossings
The three rappers Tarek Ebéné, Nico Seyfried and Maxim Drüner sell their provocations as social criticism that is allowed to do anything. Some conservative journalists consider the Berlin musicians dangerous, others describe the music of the three rappers as boring boomer rap. KIZ fill the Wuhlheide two evenings in a row. Whether they represent a kind of forefront of progressive rap – or whether they produce rather predictable border crossings? Intelligence and a certain sympathy cannot be denied to the three artists. Her musical career seems well thought out. The award-winning live shows underline this all the more.
The Federal Department for Media Harmful to Young People describes the texts by the Berlin trio as socially critical, with self-ironic elements. Whether ironic discrimination can be equated with social criticism? In any case, the beer flows in large quantities here. And a somewhat uncanny feeling creeps in when the crowd raps the sometimes discriminatory lyrics as a matter of course.
The question of the limits of provocation cannot be finally decided that evening. But it seems as if the KIZ followers have found a refuge in music where finally everything is allowed. And they can now remain true to their woken self-image. At some point, crossing borders may no longer work for the masses. On this evening, however, she seems to have risen for the audience. What remains is the feeling of boredom from all the predictable provocation.