The 26th Rainforest World Music Festival – Sarawak Cultural Village, June 23-25 2023

For the traditional close of Rainforest World Music Festival (RWMF) in 2019, technical director Niall Macaulay pressed ‘Play’ on Sister Sledge hit ‘We Are Family’. The sentiment perfectly captured the annual sense of fellowship and celebration. It was a dream run, before the enforced hiatus of the iconic event separated us from our festival family. Without a 2020 installment, an online retrospective compilation offered some comfort to fans. In 2021, a virtual event featured live-streaming of in-studio performances by local acts with recorded memories and highlights from past internationals. Last year, a hybrid event was held with acts returning to the village main stage, interspersed with others shown on screen. This June, around 19,000 fans filled out the picturesque site once again. The two main stages – Jungle and Tree – were back in business. Workshops returned to the theater, longhouses, and lakeside rotundas. All in all, a promising rebirth.

The line-up featured 13 local acts and a dozen internationals. There was a mix from East (Sarawak) and West (Peninsular) Malaysia. On the opening night, among mostly local acts, Iranian ensemble Rastak provided a musical taste of the ancient from further afield. In Farsi, ‘Rastak’ means a newly born plant that grows at the bottom of a tree. Borrowing from their cultural roots, the group (co-founded by tar player Siamak Sepehri) add 21st century enrichment to time-honored songcraft and storytelling. Ending with joyous chorus-line dancing, the crowd wanted more. Outstanding musicianship was featured by: Farzad Moradi (lead vocal, tanbur, divan, setar, dotar, qupoz, oud), Behzad Moradi (lead vocal, daf, percussion), Dina Doosti (kamancheh, kamancheh alto, gheychak), Akbar Esmaeilipour (oud, tar, setar) Majid Poosti (percussion) and Sahar Rashidi (qanun).

Headlining a sold-out Saturday night, Gipsy Kings Featuring Tonino Baliardo showcased familiar hits plus songs from 2022 album Renaissance. The Eagles’ “Hotel California” is not my favorite song, but the GKs Catalan-rumba flavored cover lifted its appeal in language and rhythm. Lead guitarist Baliardo heads this iteration of the Spanish Flamenco rumba group. [Gipsy Kings featuring Nicolas Reye is led by the original group’s former vocalist.] The French guitarist of Spanish Gitano descent, Baliardo was accompanied by sons Mikael and Cosso among the band.  Combined flamenco strumming was faster than the eye could see. Catalan rumba and salsa were peppered with pop influences.

Tanzania’s Safi Theatre group got everyone’s hips shaking with their traditional ngoma music. At home, the group offer music and dance workshops to local schoolkids in need. Combining drumming and dance, acrobatics is a pivotal component of the latter. They had anticipated the regular tuning of drums required for their concert (with sound adjustments at the desk), the rainforest humidity being a far cry from the dry conditions of Dar es Salaam where their instruments are made. Along with fiery marimba playing, the rhythms backed some extraordinary moves by the female dancers, who also provided vocals.

London-based Afriquoi combined African Mandinka-style percussion, Congolese guitar, and electronica to create a dance club vibe.  They delivered a predominantly contemporary soul/house music sound. Although the steamy night air played havoc with their programmed backing, the crowd were in party mode, recreating a singalong and dance moves learned in their afternoon workshop. Unfortunately, their Gambian kora player was unable to join them at ‘Rainforest’. It would be interesting to hear their set with his inclusion.

Fasylive (Maldives) were a complete surprise. Lead guitarist and vocalist Fasy left none in doubt that Rock & Roll was their game. His benign manner pre-show was in complete contrast to the front-of-stage guitar shredding that ensued. Full of volume and dynamic energy, it was a world away from the mellow islander set expected.

India’s Chatusram featured four players, as suggested by their name. Nishaant Singh, Surojato Roy, Supratik Chatterjee and Suvasis Sarkar balanced solo and combined Carnatic Folk and classical percussion pieces with tabla and Dhrupadi pakhawaj. Depicting traditional tales from Bengal and India, meditative loops built to thrilling improvised crescendos. They demonstrated the innate interplay of musicians who can communicate with the slightest look. Ethno Thai Fusion Sound Band – Thailand’s traditional instrument the Ranat Ek was showcased with a blend of modern others. ETFS Band’s energy abounds with World Music producer Sanu (Kevin Locke, Debashish Bhattacharya) at the helm. Rizal Hadi & Folk (Indonesia) – multi-instrumentalist, producer, and social activist Rizal hails from West Java. Working with bamboo, the instrument maker introduced his unique Rasendriya – a hybrid of guitar, didgeridoo and celempung (percussion). A bluesy lap steel resonance with folk balladry, rock, and reggae driven by traditional beats.

From Malaysia and USA, Steve Thornton & AFROASIA served up evocative Cuban rhythms. Their version of “Chan Chan” (made famous internationally by the Buena Vista Social Club) was as smooth and smoky as a hand-rolled cigar. 

Classically-trained Olena UUTAi provided the biggest ‘Wow factor’ of the weekend; the caliber of performer regular attendees have come to expect, with a gift to surprise and inspire. A classically trained doyen of the ancient xomus (or “khomus”), a type of jaw harp, the Russian artist is from Yakutsk. (The region boasts a unique landscape of continuous permafrost.) I first heard a sample of her craft in a press room. Without seeing her, I wondered who had brought a didgeridoo, a coyote, and a kookaburra into the room.  Strikingly clad in traditional garb, she later channelled the sounds of nature and emotion on stage, with everyone riveted to her otherworldly performance. 

Members of Big Mountain hail from Jamaica and USA, with the current line-up including brothers Quino and James McWhinney. The (mostly) dreadlocked members pumped up the crowd with reggae beats, big smiles, and energy to burn. They closed the final night’s concert with a 1994 radio and chart hit, their version of ‘Baby, I Love Your Way’.

Sarawak’s own Nading Rhapsody returned to the ‘Rainforest’ line-up after some years. The group were at hit at evening concert, workshop, and pocket performances. Vocalist Opah Aspa graced the various venues with her soulful and dynamic vocals, the band also in fine form.

Popular singer Zee Avi is one of Sarawak’s most famous performers, now based in the USA. She proved a major draw card for locals, who gathered at the front of the stage to hear her once again. Fellow artists from the state At Adau were received in fervent fashion. Their rise to fame has extended beyond local shores in recent years. Their call and response choruses had them almost drowned out by excited fans. At Adau‘s set was a little more rock-orientated than in previous times, with more contemporary costuming and fewer of the mellow traditional songlines.

More recently formed local group Maruked saluted At Adau as inspiration for their musical journey. Certainly, the resurgent practice and popularity of the sapé (Sarawak’s boat-shaped lute) can be attributed to these young musicians, and others such Alena Murang who performed at RWMF 2022. The ethereal sound of the instrument was almost lost a decade ago with the passing of old masters.

Regularly named on international ‘Best World Music Festivals’ lists (eg. Songlines magazine), the truly ‘World Music’ aspect has been a major draw card for tourists featuring global stars and unearthed keepers of culture. The return to open borders should allow more scope for this going forward. While workshops and less formal outdoor ‘pocket performances’ were well attended, the mix-and-match format was missing this year. The improvised sessions linked performers from different acts like nowhere else in the festival world. These moments often inspired future collaborations, bringing together the most unlikely mix of artists and artisans. Afternoon theater shows were formerly less Q & A-style; Essentially intimate concerts, with the soundproof air-conditioned space suiting more contemplative or acoustic shows. But overall, it was great to be back in my festival ‘home away from home’.

RWMF has always stood out among the myriad of music and cultural festivals. Superb location, idyllic venue, unique programming, seamless technical management, a warm Sarawakian welcome and world-class acts. The theme for this year’s event was ‘Reflections’. The return to a live, in-person gathering was caused to celebrate. Reflecting on RWMF’s unique appeal, I anticipate the recapturing of even more of those trademark features in coming years. The one-of-a-kind gathering is a worthy candidate for UNESCO’s intangible cultural heritage list. 

Chris Lambie was a guest of the Sarawak Tourism Board

(headline image: At Adau at Rainforest World Music Festival, 2023)

More about the Rainforest World Music Festival.