Rainforest World Music Festival (Sarawak, Malaysian Borneo, June 20-22, 2025)
This year’s ‘Rainforest’ fest (RWMF) introduced another colorful line-up of acts from across the globe. Over almost three decades, visiting artists inevitably express excitement and wonder at the unique location, event site and relaxed and welcoming atmosphere. The Sarawak Cultural Village is vast and verdant. It hosts afternoon workshops in longhouses and a theater, a craft bazaar and lakeside food villages. Unlike many large festivals, audiences have no need to run between nightly concerts. The alternating side-by-side main stages kept momentum buzzing over the three evenings.
Local award-winning sapé master Mathew Ngau Jau has been a mainstay of the festival since its inception in 1998, in solo duo and group formats. For RWMF 2025 he assembled a special group incorporating musicians and dancers from several local ethic groups. In Mathew’s latest version of group Lan E Tuyang (‘Among friends’), the Penan people performed for the first time to an international audience. Their distinctive rhythms and melodies brought an almost bluesy flavor to familiar Dayak music.
Sapé players, young and old, melded regional influences. Hand-made aged instruments played alongside modern versions. Their Friday afternoon outdoor session inspired a huge crowd to join an enchanting dance circle led by artists in eye-catching tribal garb. The 2025 theme of ‘Connection: One Earth, One Love’ matched the joyous congregation.
Music from the South-East Asian region was well-represented. Sarawak’s own ethno-rock sensation At Adau opened in energetic modern style before deftly recreating quieter traditional sounds. From their first Rainforest outing as a fledgling act, the now home-grown headliners welcomed a special guest onstage. Ten-year-old Baptista Emmanuell Korintus joined them as the youngest sapé player to perform on the main stage. The original mission of the event was centered on the preservation of local culture. All signs point to success in this goal.
Other popular acts from Sarawak including groups Meruked and Buluh Berkocak. Malaysian instrumental group NAUNGAN blended sapé, gu zheng, tabla and sitar. Also from Malaysia, Buddha Beat featuring Sinaran Collective creatively combined gamelan stylings with jazzy electronica. The Paradise Bangkok Molam International Band from Thailand brought invigorating psychedelic funk. Gaga Gundul (Indonesia/France) is an artistic collaboration between French band Peemaï and Javanese collective Gayam 16. Once again, worlds collided to create unique fusions in the jungle.
Our audiovisual trip around the planet continued. From China, Manhu (of the Yunnan Yi people) with hulusheng and leaf reed. India’s TÃL FRY rendered captivating Carnatic and Hindustani classical traditions with tabla, ghatam, and cajon. La Chiva Gantiva (Colombia/Belgium) showcased the grungy edge of their latest album with wild moves and passionate vocals.
Hawaiian trio Kulāiwi lovingly cooled the night air with story, song, and dance. N’famady Kouyaté (Guinea/UK) and his band totally charmed the crowd. He sang, danced and played guitar, but it was his dynamic turns on the balafon that dazzled and delighted most. Other crowd favorites were Seppuku Pistols from Japan and Rob Ruha from Aotearoa/New Zealand.
Seffarine (Morocco/USA) were a stand-out with Andalusian melodies, flamenco guitar, Persian notes and jazz. A thrilling interlude of flamenco dance ignited applause when their cajon player took centre-stage.
Siberian-Russian group Otyken boasted an extensive line-up of young women in Instagram-able costumes and extraordinary (and gargantuan) instruments. They sent the younger demographic into a techno-metal frenzy. Not your average World Music fan’s cup of tea, they were nonetheless entertaining and wildly energetic. While they include traditional instrumentation and Chulym language, I would like to have heard more throat singing from male keyboardist Ach.
While not strictly in the World Music genre, headliners Earth, Wind & Fire Experience by Al McKay (USA) delivered an electric set of funky grooves and soulful ballads. From the original EW&F line-up, Tim Owens is a natural frontman.
Fellow vocalists harmonized and took turns on lead, while horns, guitars, and rhythm section were slick and sassy – both in backing and solos. Iconic hits (‘September’, ‘Boogie Wonderland’, ‘Fantasy’) set up a vibrant dance party vibe.
I’m always surprised by the unexpected highlights I discover at Rainforest. Kuntaw Mindanao (Tagum City, Philippines) expertly married indigenous music with a modern sensibility. There’s something truly exciting about music that honors heritage while bringing an all-ages crowd to its feet – dancing, cheering and basking in their vibrant presentation. From Kulintang gongs and chimes to hand-held percussion and personality plus, they gave their all. Perfect festival fare.
The festival theme ‘Connections: One Earth, One Love’ projected a celebration of diverse music and cultures but also emphasized a sustainable environmental focus. With 22,000 attendees in 2025, the festival maintained a waste diversion rate above 30%. In partnership with local company Trienekens, measures to minimize environmental impact were embraced by visitors. The ban on single use plastics signalled ‘BYO water bottles’ and volunteers assisted foodies to separate waste into delegated bins. Recycling and composting outcomes reduced landfill and are expected to increase over subsequent events. Under the mythic shadow of Mount Santubong, we remain honor bound to respect and protect this precious part of our world.
[Chris was a guest of the Sarawak Tourism Board and Malaysia Airlines.]
More about the Rainforest World Music Festival.
Author: Chris Lambie
