By Chris Lambie
WOMADelaide 2026, March 6-9, Tainmuntilla, Kaurna Country SA
An event with the scope and scale of WOMADelaide goes beyond enjoyment of music art and dance. It educates and inspires. Seniors bouncing to hip-hop, littlies swaying to old-time blues. Stories shared – of cultural heritage, social and environmental change, the Dreamtime, warzones, far-flung landscapes… Acknowledging what Beoga’s frontman called ‘the current global shitshow’, the general message across the line-up rang loud. Let’s do joy. Have some fun for now and celebrate all that unites us.
Pre-fest, I’d checked out YouTube links to a few acts I was unfamiliar with. Some I found a bit ‘meh’. But my opinion soon pivoted once I heard them on stage. There is nothing like live performance, especially when up close to the action, nestled among fellow revellers. Ireland’s aforementioned Beoga inspired a delighted throng of reeling and jigging (with a misty-eyed air or two) as is compulsory in the company of accomplished Gaelic musicians. Cue guitars, accordion, bodhrán, piano, fiddle and divine vocals. Purveyors of rhythm from around the world kept our step counts up. As if trapped in red shoes, people danced their way through entry gates, on the way to food stalls, in the merch tent.
Following Friday’s Welcome To Country, American Iron & Wine (aka Sam Beam) charmed the crowd with familiar hits and songs from his new album ‘Hen’s Teeth’. He gave it his all despite almost melting on a sun-baked Stage 2. Colombian female vocal/percussion trio La Perla started the dance party on Stage 3 with injections of Cumbia, Brazil and fandango spice. Over at the shady Moreton Bay stage, Yuka Okazaki (Japan/France) was captivating in a more ethereal set, looping clarinet, percussion and electronica.
On the main stage, classic Cuban rhythms fused with contemporary jazz notes as bandleader and pianist extraordinaire Roberto Fonseca and band wove a sonic conga line to the Caribbean. Blistering brass, upright bass and bow ties fronted a screen montage of Havana in its heyday. With nods to the Buena Vista Social Club and tracks from latest album ‘La Gran Diversion’, they sizzled again on Monday. The ‘Mani Mambo’ singalong was muy divertido. Carrying the torch for Greek folk music with fresh fire, Xylourides feature descendants of George Xylouris and Psarantonis. From Ukraine, another exciting discovery Ganna held court with her outstanding voice and looped keys and effects. Daughters of Donbas (Ukraine/Canada) before a seated crowd related their Songs of Stolen Children, representing thousands abducted from occupied Ukraine and taken to Russia. Singer, advocate and war correspondent, Marichka gave voice to heartrending tales accompanied by a string quartet. A reminder of their beleaguered homeland among other crises. Alcides Nieto (Brazil/Australia) peppered regional Afro/Brazilian traditions with a lively 2020s flavour.
Waving Italian flags, the stage-front crowd went wild for Jovanotti. Although his ‘funky’ pop/rock (including a take on Men At Work’s ‘Downunder’) isn’t my particular cup-of-chino, he was welcomed as an icon by fervent fans.
US Grammy-winners Arrested Development offered an antidote to Trumpism. Their intimate afternoon workshop was magnetic, their main stage outing on Monday night amped up the vibe to 110%. Take the Gangsta out of rap and you have sophisticated Afro-hip hop-funk communicating love for nature, art and our fellow beings.
Samoan Australian Bobby Alu (former Xavier Rudd percussionist) and band epitomise the melodic balm of Polynesian harmonies. They made it easy to forget worries with gorgeous guileless smiles beaming from the dancers. Serene grace and beauty. Local Indigenous stars brought their A-game to the park. Absolute highlight of Sunday was Indigenous Australia’s godmother of the Blues, singer-guitarist Kankawa Nagarra. The Gooniyandi and Walmatjarri elder, in her 80th year, exuded warmth humour and humility. Her Bluesy vocal chops rang out loud and proud across the leafy setting. Her backing trio included measured drumming that recalled Jessie Mae Hemphill rhythms. She told stories of her journey into music from her childhood in the Kimberley. She announced the final song – a sad song. I didn’t need the heads up. Although Kankawa sang in language, her eyes closed, tears welled up in mine from the first lines. Such is the power of her delivery.
The evolving line-up of groundbreaking multi-award winners Yothu Yindi never disappoint. Beyond the Foundation stage, the crowd extended as far as the eye could see. The messages mean so much in this country. Their music ignites a dance frenzy. Singalong favourite ‘Djapana’ was soon followed by Jodie Cockatoo’s call – ‘Clap your hands and dance’ for the iconic ‘Treaty’. A call to connection.
The rise of Baker Boy continues as his star quality brings knowledge and celebration to a new generation of followers. Language, didgeridoo and dance mix with rap and rocking beats invited a huge audience to his biggest WOMADelaide appearance yet.
Mama Kin Spender (AUS) are national festival favourites. Danielle Caruana and Dingo Spender were as ideally suited to workshop format as concert performance. You could feel the lovefest between them and audiences. Along with her own set, PNG-born songstress KAIIT popped up to add her soulful vocals to numerous featured ensembles on the bill.
Marlon Williams (Kāi Tahu, Ngāi Tai) has built a growing band of Australian devotees in the past decade. His stripped-back interpretation of folk and country oozes thoughtful sincerity and connection. ‘Nobody Get What They Want Anymore’ was as poignant and powerful as ever heard. With his satin smooth voice, he sung in his ancestral tongue on latest album ‘Te Whare Tīwekaweka’. Showcasing his roots, his set finished with Māori choir Ngā Mātai Pūrua, a striking Kapa Haka group. The unmistakable sound of Haka sailing across the grounds into the heart and spirit. Now Jamaica-based, Australia’s darling of dub-style reggae, Nattali Rize (ex-Blue King Brown) puts her own roots stamp on every dynamic performance. Her rebellious and righteous messages inspire hope. She spoke of working with I Threes singer Judy Mowatt in Jamaica, an added validation of her vocal skills and ethos.
The four women of Sweden’s Åkervinda were ideally situated at the tranquil Stage 7, their acapella folk songs moving the transfixed audience. A breath of fresh air among the line-up. From Mississippi, the family band of Annie & The Caldwells opened with Deborah taking the lead on cautionary relationship tale ‘Wrong’. When matriarch Annie came out, it was all about the Lord. Her pipes were made for evangelical Gospel and sanctified soul. The crowd (those of faith and disbelievers alike) embraced the polished sets, singing out call-and-response refrains. A proud family of song and celebration. Tasty guitar by Willie Joe Caldwell Snr. with sons providing the rhythm section.
Balaganesan & Bageswari (India) are a married duo of nadaswaram players, a double-reed wind instrument. Training since childhood under renowned masters, they were joined by Thavil Vidwan Purushothaman on thavil, a percussion instrument from Tamil Nadu. Hypnotic yet somewhat discordant, the sound can be challenging to uninitiated ears.
I learned where the Blues were born when I first heard field recordings of Ghana’s Frafra tribesmen. Alogte Oho & His Sounds of Joy (Ghana) are aptly named. Oho and Co. honour the distinctive traditional sound with West African highlife rhythms, dance and layered instrumentation. Vibrant Gospel but not as we know it. Maintaining the upbeat party mood, Fantastic Negrito looked to be having as much fun as the fans. Great voice, great band (longtime collaborator Brian Simmons on keys) and a range of rootsy influences. He even did a rendition of ‘In The Pines’, familiar to Nirvana fans as ‘Where Did You Sleep Last Night’.
Orange Blossom (Fr) weave a unique blend of Arabic and Western music. Vocals that sing you toward the stage, bringing electronic and time-honoured sounds together. The five-piece group create mesmerising and evocative vocals, percussion and strings. A trip from the Nile to West Africa and beyond. My Baby (The Netherlands/NZ) had been off my schedule radar until their roots and funk-driven delta trance, raw, with the deep, basslines of New Zealand dub and the kinetic energy of Amsterdam’s EDM scene. A mostly shirtless Obongjayar (Nigeria/UK) hit the stage with enough frenetic energy to power the park. He engaged with the crowd from start to finish with all the raw power of Afropop, dancehall vibes and rap. Nusantara Beat (The Netherlands) built their set slowly from Indonesian folk music into rolling, pumping pop grooves. The Zawose Queens (Tanzania) Pendo (daughter of the late Dr. Hukwe) and her niece Leah defy the tradition of women being relegated to support roles. They oozed confidence, warmth and innate knowledge of the music tradition. Vocal harmonies, ululation, thumb pianos, ngoma drums and ilimba built intricate layers. Although I missed it (mind when you turn away for a moment) I’m told they incorporated the splits into their dance moves.
Oumou Sangaré (Mali) left no doubt of her status as queen of her craft. Resplendent in white and gold, her exquisite voice resonates, painting the colour and soul of her home and heritage. Of course, she was complemented by a wonderful band including a pair of fine backing vocalists. An icon of feminism, she welcomes 20th century roots from the diaspora into traditional African rhythms and strident lyrics.
Grace Jones. Two tiny syllables, one colossal mortal. When the big black curtain dropped, the legend herself was seated high on stage upon a throne. Opening with ‘Nightclubbing’, she left no-one in doubt of the enduring power of her commanding voice. The band was smoking, featuring percussionist son Paolo Goude and guitarist Louis Eliot. The hits kept coming: ‘Private Life’, ‘Warm Leatherette’, ‘My Jamaican Guy’. She sang ‘Amazing Grace’ with vulnerability and minimal accompaniment. Newer song ‘The Key’ kept punters grooving wildly. She cursed, cajoled, strutted and sang up a storm. Gnawing on her chew stick between countless costume changes, we met naughty Grace. Gracious Grace. Hilarious, shambolic, TMI Grace. “I need to pee”. “I forgot the words”. “Somebody help me up.” “I need more wine. I’m serious!” Was she really that soused? Was it just schtick? Who cares? On piggyback, she left the stage to touch devotees at the guard rail, crooning ‘Pull Up To The Bumper’. A confetti cannon went off. It was a carnival. She finished as stylishly as she began with a triumphant ‘Slave to the Rhythm’, twirling a tinselled hula hoop about her waist for the full length of the song. Some artists shine with a mic and low lights. Others fly in on the wings of PT Barnum, Ziegfield or Luhrmann. Like an alien luminescent deep-sea creature, you couldn’t make Grace up. An unforgettable affair.
Sadly, unfolding events in the Middle East meant flight disruptions and visa issues saw much-anticipated acts cancelled. Hopefully, Alfio Antico & Go Dugong, Asmâa Hamzaoui & Bnat Timbouktou, Bhutan Balladeers, Stan’s Café Theatre Company, and DJ Sama’ Abdulhadi can make it to future Womadelaide programs. May the world be a peaceful place by then.