WOMADELAIDE 2020, Adelaide, South Australia – March 6-9
Back on the sunny long weekend in March, jokes about the early onset of ‘The Virus’ seemed a lot funnier. While the panic-stricken now hoard supplies like grizzly bears, few among the WOMADelaide crowd (of almost 100,000) could know that memories of our live entertainment fix would have to sustain us for a long time. And what a fix it was! Run like clockwork, WOMADelaide brought all the joy we’ve come to expect, with an inspired range of music, arts and dance. Not to mention the best array of food covering all cuisines and dietary considerations imaginable. Fortunately, the temptation to eat every available treat could be offset by the many steps walked (and danced) across the beautiful Botanic Park setting.
Friday evening opened with The Blind Boys of Alabama, dressed to the nines and sounding mighty fine. Backed by a first-rate band, their gospel crooning won the crowd from the get-go. The Grammy-winning legends were led by original member Jimmy Carter who amused the crowd with his gags and stories from a seven decade career. ‘Amazing Grace’ sung to the tune of ‘House of the Rising Sun’ was but one highlight of harmonies with heart and soul.
Other veterans on the bill included Mavis Staples who was simply delightful and delighted. She smiled, giggled and chatted with fans close to the stage with such enthusiasm you’d be forgiven for thinking it was her very first performance. Among her set was the inspirational ‘Build A Bridge’ and audience sing-along favourites ‘People Get Ready’ and ‘For What It’s Worth.
With ‘Mas Que Nada’, Brazil’s Jorge Ben Jor proved a great hit survives the passage of time. From India, virtuoso violinist and composer L. Subramaniam with accompanists delivered a mesmerising fusion of Carnatic and Western classical traditions. Salif Keita returned to WOMADelaide as part of what was billed as his final Australian tour. The ‘Golden Voice of Africa’ commanded a slick band of West African players including kora player Mamadou Diabate, a star in his own right. Malian Keita’s distinctive bluesy vocals led Afro-pop rhythms from across the legendary griot’s back catalogue and most recent release ‘Un Autre Blanc’. (Translation: Another White)
Highlights among the large ensemble acts: Brass-driven Orquesta Akokán (Cuba/USA) was fronted by effervescent vocalist José ‘Pepito’ Gómez. Creating Mambo magic at each performance, hips were swaying in the crowd as far as the eye could see. It was especially fun to watch the glee on band members faces as various players delivered solos. When performers are having that much fun, you know it’s a win-win for all.
A stand-out for many was the two performance by Brazilian soul and samba band Latin Grammy nominees Liniker e os Caramelows. Their funky Candomblé rhythms and vibrant sense of fun made for one giant party between stage and grassy dancefloor. Most fabulous of all, vocalist Liniker had all the moves and a dazzling infectious smile that won every heart, with the giant people-powered puppets of Company Archibald Caramantran shaking their booties amongst the crowd. The epitome of unbridle festival fun.
Songbird of Paradise, Ngaiire (PNG/Australia), returning to stage and studio after a hiatus, showcased new songs and fine backing band. Her powerful and pristine vocals sounded even better that before. A vision in metallic mini-gown and regal headpiece, she had expressed delight at being one of two PNG acts on the bill. A rarity on any line-up.
The set delivered by her homeland peers Sprigga Mek was a world apart. Frontman Mek (AKA Allan Aufamau) grinned broadly as punters of all ages partied to beats featuring Islander-style reggae and rap. Band members appeared as surprised by the enthusiastic reception as the audience may have been to hear righteous rapping in a mix of Tok Pisin and English. Definitely an act to watch. Formed in 2014, Maubere Timor (Timor-Leste) formed to preserve the music of the Freedom Fighters, telling stories of their struggle for national liberation within East Timor. Elders Domingos ‘Berliku’ and Jose Faria featured alongside Timorese musicians now based in Australia. Women performing tradition dance opened their afternoon set before the warm island rhythms were shared among a welcoming audience. Another example of exposure on a big platform for the diverse and often under-represented cultures close to Australian borders.
Australian artists took their turn to shine too. The Public Opinion Afro Orchestra never disappoint. Their fiery take on Afrobeat combines political messaging with a range of frenetic precision percussion and dancers whose relentless energy could power the entire festival site. From the first strains of exquisite female choral harmonies, Spinifex Gum drew a passionate response from a growing throng of fans. The group was formed from the young indigenous Gondwana Choirs. Backed by a big screen projecting images of Western Australia’s Pilbara region, stories were sung in Yindjibarndi and English with accompaniment by writers and producers Felix Riebl and Ollie McGill (both members of The Cat Empire). Between the beauty of culture and land came tales of colonial oppression and an ongoing fight to be heard. Their workshop furthershowcased choreography and storytelling.
Rising star of stage, screen and social media, ‘Senator’ Briggs employs hip hop and rap to prompt conversations around generational suffering and hope for better outcomes across Indigenous Australia. His black and white band with shredding guitars and DJ wizardry was joined by guests including True Vibenation (on horns) and Ngaiire. Above it all the frontman paced and proclaimed throughout in rocking glory. Other locals giving their all in concerts and workshops were ever-funky The Cat Empire, very pregnant songstress Deline Briscoe (with a killer trio of backing vocalists),singer-songwriter guitarist supergroup Dyson Stringer Cloher, Thandi Phoenix, Kate Miller-Heidke (last year’s local Eurovision entrant), Thando singing with Echo Drama and young vocal star Odette. Multi award-winner Matt Corby scored the tough gig of replacing Ziggy Marley who had cancelled just days before the event.
Claiming they’d not played an outdoor afternoon set before, Ifriqqiya Electrique, (Maghreb/Eur) provided a brilliant, high-octane burst of the unexpected. Their unique blend of ancient Sub-Saharan sounds met with Trance rhythms with industrial-techno rock grunge. It was surprisingly infectious – better appreciated close to the stage than as a passive; listening exercise from a distance.
Bringing their own brand of New Wave jazz from London, Ezra Collective repeated a message of positivity and hope between songs. The Cockney-accented words were to become more relevant in ensuing weeks. Echo Drama featured Zimbabwean-born Melbourne vocalist Thando adding a soulful sound to the group’s reggae, dub, hip-hop palette.
Instrumental Scottish trio RURA ensured fans of Celtic rhythm and riff got their chance to reel and holler. Gelareh Pour’s Garden Ethnomusicologist Gelareh Pour showed her expertise on Persian instruments including the Kamancheh (spiked fiddle) and Qeychak Alto (bowed lute). Her group provided another taste of the previously unheard, an Iranian-Australian fusion of modern and ancient, world music influences, avant-garde and pop-rock.
No world music line-up would be complete with a splash of Maloyan melody and dance. From Réunion, Destyn Maloya provided one of the most dynamic and beguiling such sets I have seen. Their particular take on the Maloya tradition, incorporating reggae and ska beats with dazzling acrobatic moves, had the whole crowd calling for more. Marina Satti & Fonés truly represent ‘world music’ with the young Greek-Sudanese singer fronting a choreographed all female-polyphonic vocal group.
Masters of sublime instrumentation, Catrin Finch (UK) & Seckou Keita (Senegal) combined classical harp and West African kora in a back and forth conversation, highlighting the roots of each with lyrical blends between. The artists in conversation spoke of their own journey to their chosen instruments and how they work together.
Trio Da Kali offered added griot magic from the Mande culture. Their first performance of the weekend featured a local string quartet alongside ngoni, balafon and vocals to create another surprising fusion. Always among the most thrilling line-up inclusion, Korean drums came out from a slow burn to breathtaking climax. Alone or accompanied, beaming percussionist Kim So Ra seemed to defy space and time. Her solo outings on Janggu (double-headed drum) demanded swift shutter speed adjustment.
Malaysia’s Orang Orang Drum Theatre travelled to WOMADelaide to the beat of a different drum or two…or, well, many. The group of around a dozen performers pounded rhythms on giant Chinese drums and small frame drums with the evocative tinkling of hand-held natural materials, gamelan and acrobatic dance. The oh so soothing strains of the sapé (Sarawak’s boat-shaped lute) lent a hypnotic contrast between the vigour.
Collaborators (and partners) Rhiannon Giddens (vocals, fiddle, and banjo) & Francesco Turrisi (accordion, percussion)appeared in trio format with double bassist Jason Sypher. Since her time in the Carolina Chocolate Drops, Giddens has grown to be an international festival favourite. Her crystalline voice and flowing instrumentation carried the listener to mountainside and marketplace. A story she told of the latter from the history of America’s slave trade made hearts heavy in tragic poetry. Giddens is a keeper and amplifier of old time tune-smithing like few other voices of her generation.
Between lively performances, King Ayisoba from Ghana hosted an even livelier storytelling and dance workshop. A virtuoso from a young age of the two-stringed kologo (with a calabash gourd resonator), he was joined by dundun and a swathe of percussion as audience participation grew feverish – and often hilarious – under the blazing sun. Dancing to different time signatures, audiences for Tami Neilson (Canada/NZ)had plenty of laughs with her down-home patter and sass. She belted out old school R & B, country swing and soulful blues as if born to do nothing else. She and her band-mates were dressed to kill like rockabilly rebels in Vegas.
I almost didn’t make the effort to walk across the vast parkland to hear Japan’s Minyo Crusaders. But I’d heard a bit of buzz among other punters and thought I’d take a look. I was rewarded with a truly memorable communion as the irresistibly joyous group uplifted all souls present. Carefully reading an English translation, guitarist Katsumi Tanaka explained the group’s wish to revive the folk music of ‘Min’yō’ culture. Members of the group variously exposed to Latin influences played around with their repertoire, injecting cumbia and Caribbean flavour around the traditional folk. So conga, horns and keys accompany guitar where shamisen might be expected. Fresh and beguiling, the group are a perfect example of the possibilities realised through cultural exchange.
Contrasting with the large and loud ensembles, Aldous Harding (NZ), American Bill Callahan (formerly known s ‘Smog’) and Laura Marling (UK) provided contemplative acoustica for those seeking seated respite. Of course, there was so much more that I missed as well. At WOMADelaide, we’re always spoilt for options.
On Friday evening, it had all begun with a traditional Kaurna welcome by the indigenous custodians of the region. Although there is no word for ‘welcome’ as such in the local language, the ceremony says, “It’s good to see you here. We’re glad that you have come here to be with us.” The feeling was unanimously mutual. Let’s hope it’s not too long before citizens of the world can again gather safely for such life-affirming celebrations.
Author: Chris Lambie
