WOMADelaide @ Botanic Park, Adelaide 10/3/2025

Just like last year, WOMADelaide 2025 was a scorcher. Monday’s high reached nearly 100°F, but thankfully, the music was just as hot.

Nitin Sawhney (Foundation Stage)

First up on the Main Stage was Nitin Sawhney from England, a veteran artist with a twenty-album career dating back to 1993. His music is an eclectic fusion of Indian, jazz, and electronic influences, often exploring themes of spirituality, multiculturalism, and politics. Having already seen his Friday set, I was eager to experience it again.

Sawhney and his band delivered an uplifting performance, featuring tracks from albums such as Beyond Skin, Identity, and Immigrants—titles that reflect his deep-rooted beliefs. Accompanying him on stage were vocalists Shapla Salique and Iyamah, flautist (and singer) Ashwin Srinivasan, and long-time tabla collaborator Aref Durvesh. My personal highlights were Sunset, Homelands, and Breathing Light.

Owelu Dreamhouse (Stage 2)

Next up was Owelu Dreamhouse, a new Melbourne-based band formed by Nkechi Anele and Nic-Ryan Glenie, both formerly of the excellent Saskwatch. Their dynamic sound, blending Afro-soul with rhythmic horn and flute lines, created an electrifying atmosphere.

The only track I recognized was their debut single, Africa Baba, which featured an infectious groove and stunning vocals. However, the entire set was a joy. Nkechi’s smooth delivery on My Love is a River was mesmerizing, and her scatting on several songs showcased her impressive range. Early in the set, she promised the audience joy despite the heat—and they certainly delivered.

Jess Johns (Northern Sound System Stage)

I then made my way to the Northern Sound System (NSS) Stage to catch Jess Johns, one of my favourite local Adelaide artists. WOMADelaide has been partnering with the NSS Academy to showcase local talent, with twenty seven artists performing on the NSS Stage this year. Jess never fails to impress, her soft vibrato and alt-indie stylings captivating as always.

Emily Wurramara (Stage 2)

Emily Wurramara has been on my radar for years, and I was thrilled to finally see her perform. Originally from Groote Eylandt, NT, and raised in Brisbane, she has released two albums: Milyakburra (2018) and Nara (2024).

She played Midnight Blues from Nara, sharing its deeply personal inspiration—her mental health journey and self-acceptance. Her set featured other standout tracks like It’s You (a love song about finding one’s soulmate), Magic Woman Dancing (about a childhood idol), and Lordy Lordy (a reflection on injustices faced by her community).

Emily explained that Nara means “nothing” in the Anindilyakwa language—after losing everything in a house fire, she embraced a creative rebirth, becoming fearless in her musical choices. She closed with my favourite track, STFAFM” (Stay The F** Away From Me*), a high-energy anthem that left the crowd buzzing.

Digable Planets (Foundation Stage)

On the Main Stage, Digable Planets brought their signature jazz-rap fusion and alternative hip-hop. The trio—Butter Fly Butler, Doodlebug Irving, and Ladybug Mecca—delivered a nostalgic yet fresh performance, backed by a stellar live band.

Their set opened strong with classics like It’s Good to Be Here, The May 4th Movement, and the irresistibly catchy Where I’m From from their 1993 debut album. They reminded us why we were all there: for “jazz, rap, vibes, peace, love, and all the good things in life.” My personal highlight? Rebirth of Slick (Cool Like Dat), their iconic 1992 hit—one of the smoothest tracks in hip-hop history.

Bonny Light Horseman (Stage 3)

The standout performance of the festival for me was Bonny Light Horseman, a folk supergroup featuring Anaïs Mitchell, Eric D. Johnson, and Josh Kaufman. Formed in 2020, the trio boasts impressive solo careers, and their chemistry on stage was undeniable.

With three phenomenal albums under their belt, their set was a perfect blend of gentle ballads and lively folk tunes. Mitchell and Johnson alternated lead vocals, their harmonies intertwining beautifully, while Kaufman’s intricate guitar work added depth to their sound. The banjo made an appearance, transforming the atmosphere into a rollicking folk jam.

Highlights included Deep in Love and Blackwaterside from their debut, as well as Keep Me on Your Mind and I Know You Know from their latest release. The only disappointment? They didn’t play my favorite song, Old Dutch—but that’s just an excuse to see them again.

Talisk (Zoo Stage)

After a long walk to the Zoo Stage, I caught Talisk, a high-energy folk trio from Scotland featuring Mohsen Amini (concertina), Benedict Morris (violin), and Charlie Galloway (guitar).

Word had clearly spread about their electrifying performance the night before—crowds packed the small stage, with most of the audience dancing. Their instrumental music built in intensity, culminating in frenetic, foot-stomping climaxes. Lava, featuring a vocoder effect and electronic percussion, set them apart from traditional folk acts. Abyss started slow but gradually built into a whirlwind of sound, while their closer, Farewell, sent the crowd into one last frenzied dance. Expect them to hit the Main Stage next time.

47SOUL (Stage 2)

One of my most anticipated acts was 47SOUL, a Palestinian-Jordanian electronic group whose signature Shamstep sound blends traditional Middle Eastern folk with pulsating dance beats.

Originally slated for 2024 but postponed due to community protests in Australia, their return felt momentous. The audience waved Palestinian flags in solidarity as the band tore through a set filled with infectious rhythms and politically charged lyrics. Tracks like Mo Light and Don’t Care Where You Come From ignited the crowd, but my favorite moment came with Intro to Shamstep, an undeniably addictive anthem. They closed with Moving Around, a song reflecting on displacement and resilience.

Khruangbin (Foundation Stage – Closing Set)

Closing the festival on the Main Stage was Khruangbin, the Houston-based trio known for their dreamy, genre-blending instrumentals infused with Thai funk, soul, and psychedelia.

Their hypnotic grooves, enhanced by a hazy stage setup and captivating visuals, enveloped the audience. While their Australian tour featured a full performance of their latest album (A LA SALA), their WOMADelaide set mixed newer tracks with fan favorites.

Early highlights included Dern Kala, Pon Pón, and So We Won’t Forget. As the night progressed, Evan Finds the Third Room and Maria También showcased their dynamic energy. They closed with People Everywhere (Still Alive), a fitting finale to a spectacular festival.

Another incredible WOMADelaide has come to an end, and I already can’t wait to see what 2026 has in store.

WOMAD Review By Richard De Pizzol