WOMADelaide @ Botanic Park, Adelaide 7/3/2026
It’s day two of WOMADdelaide 2026, and if Friday was anything to go by, Saturday promises to be another jam-packed marathon of world-class entertainment. There is no shortage of early excitement either, ranging from Arrested Development’s hip-hop workshops and Xylourides’ Cretan cooking classes to the wild performances of Hors Surface, Osadía, and roving street theatre Born in a Taxi.
Taking to the Foundation Stage for some mid-afternoon revelry, Dutch-New Zealand three-piece My Baby produce a massive big blues sound with a modern funk twist. Starting off like Bluesfest and ending like Stereosonic, they serve up a vibrant, animated set that has punters cutting up the grass dancefloor. Forget just WOMADelaide, these folks would slay it on any major festival stage, and are the perfect warm-up act for the afternoon.
From Byron Bay to Jamaica, Nattali Rize – formerly of Blue King Brown – brings her signature roots-rock-reggae sound to Stage 2. Armed with thick dub bass and a heavy, late backbeat, the vibe is calssic reggae: laid-back yet upbeat – and almost impossible to not nod your head and wave your arms to. Always straightforward in her message, Rize commands the stage with electric energy, championing issues of social injustice and human rights. Through her poetic rapping and melodic flow, she performs in the true spirit of Rastafarian rebellion.
At the intimate Zoo Stage, the audience is bursting at the seams to witness the soulful rage of two-piece Mama Kin Spender, comprising Australian music stalwarts Mama Kin and Dingo Spender. Sharing stories of relationships and forgiveness, their stirring joint harmonies – fused with Mama Kin’s thumping floor toms and Spender’s rousing guitar – have the audience gripped, particularly during the cathartic track Promises.
As the afternoon sun beams over Botanic Park/Tainmuntilla, American artist and Daptone Records affiliate Jalen Ngonda hits Stage 2 to jubilant applause. Armed with a stunning Fender Meteora, a brown silk shirt, and a falsetto voice that would make the Bee Gees blush, Ngonda and band treat WOMAD to lush, Motown-esque numbers like Just as Long as we’re Together and Come Around and Love Me. Steeped in 60s nostalgia, while adding his own smooth flavour, he delivers a set perfectly befitting a warm autumn afternoon.
Returning to WOMAD for the first time since 1993, legendary pioneers from North-East Arnhem Land Yothu Yindi bring an unmatched spirit of music, dance and cultural celebration to the Saturday night crowd. Boasting a ten-piece live ensemble that bridges generations, the band delivers a signature fusion of modern pop-rock with traditional Aboriginal elements – including the resounding yidaki (didgeridoo), rhythmic bilma (clapsticks), and the stirring moves of traditional Yolngu dancers.
Drawing from a career spanning decades, the set balances modern energy with nostalgia, fuelled by classics like 1991’s Tribal Voice and Djapana (Sunset Dreaming). However, the undisputed highlight of the night belongs to Treaty. As Jodie Cockatoo-Creed’s unmistakable command “Clap your hands and dance!” rings out, the crowd erupts into a frenzy. Thirty-five years on, the power and relevance of this song today cannot be overstated.
As the sun dips into the night, over at Stage 7 Kenyan artist Blinky Bill (aka Bill Sellanga) delivers a rich banquet of East African urban-funk in his first-ever Australian show. Flanked by a pulsating jazz-influenced band reminiscent of The Roots, Sellanga crafts a set of futuristic high-octane African beats. Switching effortlessly between rapping in English and Swahili, he conveys an infectious energy that serves as the perfect party starter for the night ahead.
Icon, legend, trailblazer – call her what you want, but Saturday’s headliner Grace Jones is truly one of a kind. Returning to Adelaide for the first time since 2019, Jones keeps the crowd waiting, until she finally bursts onto the stage with the opener, Nightclubbing. Delivering a set that is part disco anthems, part controlled chaos, Jones is arguably one of music’s most authentic superstars – from singing upside down on a white throne, to hula-hooping in a leotard, or being carried on the shoulders of her crew to the front barrier – she’s earned the right to do as she pleases and takes full advantage.
Between ostentatious outfits, flamboyant headpieces, and hilarious banter, it’s an unforgettable performance backed by a razor-sharp eight-piece touring band – featuring the ridiculously talented Louis Eliot on lead guitar and Andrew McLean on drums. With iconic renditions of Love is the Drug, Pull up to the Bumper, and Slave to the Rhythm, Jones’ debut at WOMAD is a performance that will be remembered for years to come.
Stepping in for Sama Abdulhadi, Australian-Iraqi DJ Motez marks the end of the day by transitioning Stage 7 into full-blown club mode. Spinning a thumping mix of high-energy EDM laced with 90s house, he ensures everyone from the casual dancers to the die-hard ravers are well looked after. His explosive finale marks the close of another versatile day at WOMAD – and we’re not even halfway through.
WOMAD Review By Matt Eygenraam