By Chris Lambie
Rainforest World Music Festival 2026 – June 26-28, Sarawak Cultural Village, Borneo
One of the things I love most about a World Music festival is being among a diverse crowd when unfamiliar and unexpected magic happens on stage. The buzz of seeing millennials scream for more from a multi-generational Mongolian group featuring zither and traditional Buryat music. Or retirees dancing to a pan-Asian fusion of jazz and folk/pop by a band of young musicians. Recent editions of RWMF have featured acts with more contemporary sounds, but while young audience members enjoy injections of hip-hop and rock, they react most wildly to acts delivering the strange and ancient. Things they’d never hear or see at a local club. The revelation of sounds beyond electric guitar and rap.
Malaysian supergroup AkashA breaks the mould between old and new. Their concert on the Tree Stage opened with Indian konnukol (voice percussion). By the end of their set, they somehow wove sitar, percussion and Aussie ex-pat Jamie Wilson’s scorching guitar into a version of Deep Purple’s ‘Smoke on The Water’. A frenzy of fun.
Equally well-received was Namgar featuring a Mongolian mother, father and son with drums and percussion by Japan’s Ayuko Ikeda. Jaw harp, yatag (13-stringed zither), chanza (a three-stringed plucked lute) and guitars accompanied Namgar Lhasaranova’s stunning vocals.
Also outside the contemporary box, Fergana Cultural Group (Uzbekistan) wowed the audience with traditional tunes and tales of Silk Road history. A rotating group of beaming dancers dazzled with numerous costume changes. Korrontzi (Basque Country) featured founder Agus Barandiaran on trikitixa (a diatonic accordion). His lightning button work a testament to his tutelage under master Rufino Arrola. A pair of dancers high-kicked and twirled along to the energetic compositions.
Benin International Musical (Benin/France) combined traditional songs rich in voodoo rhythms and electro groove. Voodoo culture (Vodou, Vodun) is often associated with Haiti, Brazil and New Orleans. But the origin of the blues-based polyrhythms and stories traces back to Benin and neighbouring African countries once subject to the slave trade. B.I.M. quickly had punters singing along to the chorus of ‘Abobo’. Lead vocalist Brigitte Kiti invoked the atmosphere of Vodoun worship in her hypnotic dance moves.
The Commodores Featuring Thomas McClary (USA) brought the funk among a few M.O.R. hits from the back catalogue. McClary shared insights into the group’s beginnings. His charming stage presence and tasty guitar work lit up the Jungle Stage.
The current line-up proficiently honoured the original sound. From the UK, INCOGNITO closed the festival with dance-inducing acid jazz originals.
From the host state, Sarawakian line-ups showcased ancestral instruments, customs and attire. Ta’Dan, Suk Binie and The Thunder Beat Of Nanyang Wushu Drums are among acts with surging profiles at home and abroad. Ta’Dan featured guest dancer and instrumentalist Salomon Gau. The Kenyah elder played kedire’, a wind instrument rarely heard today.
From further across the region, ASIA7 (Thai), Insun Park & Generals(Sth, Korea) SambaSunda (Indo) and Straw Lim (Sabah) variously entertained with brass, gongs, vocal craft, gamelan and colour. DRUM UP (Php) in concert and workshops were a hit.
Engaging and exciting, they nailed the Rainforest audience participation brief while sharing insights into their unique Mindanao heritage. Their inked-up Shamanic dancer and percussionist fit right in amongst the abundance of locals bearing tribal tattoos and beads. The picturesque venue offers a taste of all that Sarawak has to offer. Music, dance, crafts, food, nature and hospitality. Visitors can try their hand at playing sapé, leleng dancing, batik or blowpipe. Next year marks the 30th anniversary of the event.
Chris Lambie attended RWMF 2026 as a guest of the Sarawak Tourism Board.