(headline image: DakhaBrakha at Womadelaide 2024 – Photo by Chris Lambie)
The Australian event is WOMAD’s longest partnership and its longest-running festival in the same stunning location. This year, 72 artists from 40+ countries performed across the four days. Despite a weekend-long heatwave, attendees reveled in the annual feast of music, art, and dance. Organizers made effective provisions for the heat. A few daytime performances were rescheduled for times and stage locations. Water refill stations, misting sprinklers and expanded shade areas were most welcome.
Headliners upheld their reputations as worthy favorites with local fans. Ukrainian quartet DakhaBrakha delivered their unique mix of gravitas and glee. Distinctive harmonies, bird calls (voices and hand-held gadgets), video backdrops and superb instrumentation washed their performances in an otherworldly radiance. Sharing lead vocals, the group were always in synch. Marko Halanevych (accordion, harmonica, guitar) demonstrated his impressively broad vocal range. Percussion, strings, accordions, jaw harp and keyboard combined to castshades of Portishead, retro pop and wrap around time-honored sonic traditions.
Brazilian icon of Tropicália, Gilberto Gil (vibrant as ever at 81) graced the main stage, as part of his Aquele Abraço farewell tour. He was joined by family members among his backing band. Celebratory sambas included ‘The Girl from Ipanema’, sung with his granddaughter. Bob Marley’s ‘No Woman, No Cry’ got the crowd singing along.
A resplendent Baaba Maal (Senegal) returned to WOMADelaide with timeless art from his four-decade career. Seun Kuti led Egypt 80 – the pioneer Afrobeat collective founded by his late father Fela. Frontman Kuti sizzled on keyboard and saxophone. In a surprise cameo, they were joined by Pongo (Angola/Portugal) in a funky meeting of festive rhythms. The last-minute cancellation (for medical reasons) of headliner the UK’s Nitin Sawhney was disappointing. His replacement by Beninese icon Angélique Kidjo was a master-stroke in crisis management. Kidjo sang, moved and inspired in classic fashion. Local singer Sampa The Great was welcomed onto stage for a guest appearance alongside Kidjo.
Illapu (Chile) have survived exile under the Pinochet regime to continue their rendering of Andean folk traditions. Familiar tunes got the crowd dancing despite the blazing afternoon sun, with cuatro, cajón, quena, guitar, pan flutes and sax. Likewise, a wild reception for the funky Caribbean energy of the UK’s Cymande (featuring cracking solos) defied the elements. Moonlight Benjamin (Haiti/France) brewed another taste of the Caribbean with Voodoo-inspired power.
WITCH (We Intend To Create Havoc) from Zambia were a huge hit in their first visit to Australia. Original member Emanyeo “Jagari” Chanda rejoiced at the reception to their Zamrock revival.
Other high-octane acts to inspire dance frenzies included: Son Rompe Pera (Mexico), Mauskovic Dance Band (Netherlands), 8-piece Dubioza Kolektiv (Bosnia & Herzegovina) and Afro-funk specialists Ibibio Sound Machine (UK) fronted by the charismatic Eno Williams who brought her Southern Nigerian roots to the party. The Budos Band (USA) kept up the pace, also teaming up with Daptone labelmates Thee Sacred Souls. TSS vocalist Josh Lane was just one of several festival artists to jump off-stage and stroll through the crowd, mic in hand.
Before a seated audience, two generations of classical Indian virtuosity were captivating in the cooler night air. Pt Tejendra Narayan Majumdar (sarod) and violinist (son of Dr. L.) Ambi Subramaniam delivered a musical masterclass in jugalbandi performance. With percussionists Tanmoy Bose and V.V. Ramana Murthy, each reveled in the others’ skilled and emotive delivery.
Other contemplative and mesmerizing acts cooled the atmosphere. The Good Ones are a duo of Rwandan farmers, Adrian Kazigira and Janvier Havugimana. They shared their difficult stories with exquisite voices and graceful instrumentation. So too Emel Mathlouthi (Tunisia), Swedish guitarist José González (Sweden) and Estonian multi-instrumentalist Mari Kalkun on kannel, keyboard, drum, and voice. Kalkun’s workshop set offered a soothing reprieve from the whirlwind of vigor on other stages. The contemporary Celtic balladry of Lisa O’Neill & Cormac Begley provided a similar contrast. Also from Ireland, the Sharon Shannon Big Band, who had earlier set a rollicking tone with reels and jigs for enthusiastic followers. Réunion vocalist and percussionist AURUS got hips shaking in the coolest possible way with infectious Maloya rhythms and electronica.
Superstars of Oceania combined their talents and influences in the showcase of Wantok Sing Sing Featuring (Sir George) Telek. The songlines of artists from PNG, Solomon Islands, Vanuatu (TIO)and First Nations Australia (Frank Yamma) mesmerized under the artistic direction of David Bridie. Always compelling, the Oceanic blend of sound and story was an immersive highlight.
There was an impressive line-up of Australian acts with multicultural roots. Black Jesus Experience (Ethiopia/Aus) were a highlight with genre-bending jazz. Award-winning singer-songwriter Mo’Ju (Filipino/Wiradjuri) proved their chops as one of our finest vocalists. The Cambodian Space Project (based Downunder) have revived old-school Cambodian pop/rock with splashes of psychedelia.
Jen Cloher + T’HONI (Aus/NZ Aotearoa) taught fans about culture and yes, the irresistible power of the Haka. Singer/rapper. A.Girl is a Maōri woman raised in Sydney. She surprised us with Willy Wonker song ‘Pure Imagination’ among her soulful set, getting a little emotional in the process. (She revealed, “I always have to stop myself crying when I sing that one.”)
Alice Springs musician/rapper Katanga Junior who was born in Tanzania showed why his star is on the rise. Wildfire Manwurrk (Maningrida, Arnhem Land) sound for all the world like successors to the legendary rocking Warumpi Band. The Rostron family group, led by elder Victor, sing in their Kune (koo-nay) language. Live music magic.
A further cornucopia of rhythm and melody was revealed, uniting citizens from far and wide: Grammy Award winner, Arooj Aftab (USA/Pakistan), Leenalchi (South Korea) with pansori pop and AL-QASAR with members from France, Türkiye, Armenia, USA.
Contemporary, less traditional acts included: Corinne Bailey Rae who sang several tracks from her latest album ‘Black Rainbows’ plus earlier hits; Morcheeba lit up Monday evening with their best-known songs ‘Rome Wasn’t Built In a Day’ and ‘The Sea’, frontwoman SKYE in fine vocal form. Drummer/composer Yussef Dayes from South London ignited a beat-hungry following with contemporary jazz backing.
Pre-event controversy followed the rescinded invitation of Palestinian band 47Soul. Organisers initially stated concern that the band’s safety might not be guaranteed. They later admitted this decision was flawed, as Jamaican Ziggy Marley, (a reported IDC supporter), remained on the line-up. Peaceful protesters held Palestinian flags stage-front during Marley’s performance. The reggae star opened with his 2003 song ‘Shalom, Salaam’, a possible olive branch offering. With an impressive backing band, he delivered versions of his father Bob’s ‘Rastaman Vibration’, ‘Could You Be Loved’ and ‘Get Up, Stand Up’. He rounded out the set with ‘Circle Of Peace’ and ‘One Love’. We can only hope the community spirit of events such as this spread much needed healing across our wider world.
Author: Chris Lambie
