WOMADelaide @ Botanic Park, Adelaide 10/3/2024
A modest but dedicated group gathers at the Foundation Stage for Day 3’s for opening act Illapu (meaning “lightning bolt”). There’d be a bigger crowd mind you, if not for the irrepressible midday heat, already in the high-thirties. The Chilean group entertain a dedicated early crowd with their powerful traditional Andean and Latin American arrangements, featuring the sound of gorgeous pan flutes, classical guitars, and rousing saxophone. Once forced to flee their home country by a brutal dictatorship, the band convey stories of grief, exile, freedom and hope in their music, with vocalist, guitarist and composer Roberto Ramón Márquez possessing a voice as passionate and powerful as they come.
The sun’s doing its best to tell the WOMAD crowd not to dance, but with Wildfire Manwurrk playing, just try and stop them! All the way from Central West Arnhem Land the band play a brand of rock and metal straight from the 70’s and 80’s Aussie pub scene, equipped with crunchy guitar riffs and ripping classic-rock solos. Singer and lead guitarist Sires Rostron showcases his shredding prowess up and down his Fender Stratocaster as he and his bandmates perform songs from their 2022 EP The Next Future including Mararradj and their public health-themed Don’t Smoke, with all songs sung in the ancient language of Kune. Singer, digeridoo player and band leader Victor Roston leaves a lasting impression on the crowd, sharing personal stories of community, family heartache, and an overarching theme of “caring for Country”.
Shade is at a premium at Stage 3 as Zamrock legends WITCH (We Intend To Cause Havoc), perform their unique blend of psych rock, garage, and afro-beat to a warm but no less enthusiastic crowd. Formed in Zambia in 1970, original members Emmanuel ‘Jagari’ Chanda and Patrick Mwondela are joined by new members emanating from across the globe, including guitarist Stefan Lilov, who’s howling psych-rock guitar solos blast into the thick sweaty air above the Stage 3 crowd. Dual vocalists Theresa Ng’ambi & Hanna Tembo provide gorgeous harmonies throughout the set, taking the lead on the funky Unimvwesha Shuga.
Jen Cloher has been a stalwart of the Australian indie rock music scene for years, but it isn’t all just rock and roll being served up for their set over at Stage 2. Running through a collection of new and old songs with an exceptional backing band, the Ngāpuhi and Ngāti Kahu singer-songwriter is as animated as always, but it’s the moment where Māori collective T’HONI storm the stage during the stirring Being Human that really brings the house down. Cloher momentarily hands over the stage to T’HONI as the group share stories of their Māori culture with traditional song, dance and a quick educational lesson on the Haka, before Cloher and band round out their set with a pulsating rendition of Patti Smith’s Gloria (G.L.O.R.I.A!).
You can hear a pin drop at the Frome Park Pavilion as Ni-Vanuatu reggae and roots artist Tio has an entirely seated audience completely enthralled by every note of his magnificent voice. The deeply touching Black Butterfly and Mumbwe are highlights of the set, Tio’s voice gently balanced with elegant cello and gentle panpipes, and every note sung and played with indubitable passion and meaning.
Playing what looks and sounds like three drum kits with four arms, Yussef Dayes brings the smooth cosmic sounds of contemporary jazz fusion to Stage 2. His band of Elijah Fox (keys and synths), Rocco Palladino (bass) and Malik Venna (saxophone), are all outstanding players in their own right, but with the skins at the forefront of the mix this show is all about the prodigious Dayes. As he stares directly into the scorching Adelaide sun, the highly-acclaimed mentee of Billy Cobham belts out an enthralling drum performance across ninety-minutes, demonstrating just why he is so highly revered in both the studio and live music arena.
It’s a modest but energetic crowd gathered at the Frome Park Pavilion to witness Fijian hip hop and reggae star Ju Ben and his superstar posse rap smooth rhymes in traditional iTaukei language. With his expert flow and cadence evident on tracks like Sema Mai and Moica, the young up-and-coming artist from Lomainasau, in Tailevu Province, doesn’t waste the opportunity on stage to spread his positive message about caring about mental health to the young audience watching on.
“WOMADelaide are you ready to party” Ibibio Sound Machine singer Eno Williams cries as she and her seven-piece band take to the Foundation Stage. With the sun setting and the mercury dipping oh-so-slightly, it’s finally cool enough for WOMAD get up and dance – and who better to provide the soundtrack.
Dressed in a dazzling frock, gold headpiece and bright lime green heels, the cool-as-hell Williams owns the stage as she belts out bangers like The Talking Fish, All That You Want, and I need you to be sweet like sugar (Nnge Nte Suka). With lyrics that switch between English and the Ibibio language from south-east Nigeria, and with musical influences (and members) that originate from all corners of the globe, Ibibio Sound Machine are band that simply cannot be categorised – but who really cares about that when they are making people shake their booty this hard?
Over at Stage 3, it’s a dark and still atmosphere amongst the towering pines as Pakistani singer Arooj Aftab performs deeply emotional songs from her critically acclaimed 2023 LP Love in Excile. Supported by guitarist Gyan Riley and Petros Klampanis on double bass, her phenomenal voice is on display as the reverent crowd watch on with their undivided attention. Whilst it’s a touching set, there’s lighter moments too as she shares personal stories with the audience, and her band even surprise her with a birthday cake – and the crowd are only happy to sing her happy birthday.
Draped from head to toe in a black Victorian-era dress and headscarf, the Hatian voodoo priestess Moonlight Benjamin belts out gigantic, often operatic, vocals in her native tongue of Creole as the crowd watch on in awe at Stage 7. So dimly lit at times, the performance feels almost ceremonial, before raucous guitars and crashing symbols meld with strobing lights in a blisteringly heavy blues-rock noise that is bone-shatteringly intense.
In what is his third appearance at WOMAD since its inception, Senegalese sensation Baaba Maal takes to the Foundation Stage joined by his eight-piece band for his 2024 headline performance. Having toured the globe several times over, he’s showing no signs of slowing down as he treats the WOMAD masses to a classic, ninety-minute performance spanning songs from across his iconic thirty five-year music career. His band, comprising an array of African percussion instruments, paired with drums, guitar, keys and synths, and no less than TWO bass players, are each afforded time to shine as extended song breakdowns showcase each member’s undeniable musical flair. With that trademark timeless voice, Baaba Maal’s show is an immense carnival of music as he opens his heart and soul to the tune of joyous melodies and blissful African rhythms, punctuated with messages of love and hope. And at 70 years young, he’s still got it.
After an earlier schedule change, it’s fortunate that Tunisian virtuoso Emel Mathlouthi is afforded the opportunity to showcase her epic live show in the dark of the night to close Day 3 of WOMAD. Having previously had her songs banned from her home Country, the deeply personal and political artist pulls no punches as her spectacular show interlaces trip-hop beats, electro synths, drum pads and a live string quartet. It’s a dark, haunting and evocative show as an expressive Mathlouthi thrashes across the stage as she hammers her floor tom at every opportunity. With her colossal voice filling the dark night sky, it’s an operatic-like finish to Day 3 of WOMAD 2024.
WOMAD Review By Matt Eygenraam