In heatwave conditions, WOMADelaide rose to the challenge delivering a long weekend of festivities that balanced crowd and artist care with entertainment.
A new site layout ensured easy flow between stages, plenty of access to shady trees, misting systems, and respite, within a vast under cover area for the WoMarkets. Programming adjustments were made to allow later starts for performances and Stage 7 closed during daylight hours to protect the large, local population of bats (grey-headed flying foxes).The crowds were noticeably smaller than last year, when broadly popular artists and perfect weather brought a sell-out crowd and pushed resources to the edge. This year, it felt like a return to the heart of what WOMADelaide is – an opportunity to discover, explore and expand rather than sit in the familiar.
With an abundance of preparation and bathed in half a bottle of SPF50 sunscreen, I waited until late afternoon to tackle Saturday at the festival and found abundant shade at the Moreton Bay stage for the Baba Maal Band workshop, where we were treated with complex syncopated drum displays and dances.
Across the site, a call and response got the crowd amped up for Streb Extreme Action, a group of acrobatic performers who wowed with their antics, bouncing on trampolines, jumping from a pivoting ladder, and spinning on a giant hamster wheel. It was a heady experience.
Ready to turn up the musical energy, The Budos Band from Staten Island got everyone dancing at the Foundation Stage with a bombastic horn section, wild congas and blistering guitar pumping out an irresistible set of funk and psychedelia. The crowd was left sweaty and exhausted with smiles a mile wide.
Jose Gonzales - image © Saige Prime
By taking the tempo down a notch, Jose Gonzales held everyone captivated, seemingly unflappable in the searing late afternoon sun playing to a packed crowd. Gonzales revisited his 2003 album 'Veneer' in full, before ending with a run of excellent covers including Joy Division' 'Love Will Tear Us Apart' and Massive Attack's ' 'Teardrop'.
Sundown brought Tropicalia trailblazer Gilberto Gil's expansive set to the Foundation Stage, showcasing his superb blend of samba, reggae, funk, bossa nova, and more from six decades of hit-making, as he farewelled the adoring crowd with a musical serenade.
One of the glorious things about WOMADelaide is discovering something new, and Son Rompe Pera brought an onslaught of fun, irresistibly danceable sounds that smashed cumbia, punk and metal into an all-in sonic feast performed on marimba, conga, guiro, drums guitar and bass.
The crowd couldn't stop even if they wanted to, getting caught in the rhythm. For the last two songs the energy doubled, as they were joined by Dubioza Kolektiv, who had created a huge buzz with their opening set on Friday night.
Seun Kuti & Egypt 80 - credit Morgan Sette
Sean Kuti & Egypt 80 kept the good times rolling, beginning their set by paying respect his father and Afrobeat pioneer, Fela Kuti. Joined by a tight band and back up dancers and singers, Sean's stage presence was exceptional as he caught everyone in his groove.
On the walk back to the car, ready to rest before doing it all again, I had a last little taste of festival magic, bumping into roving performers Born In A Taxi – Illuminated Angels, three shining white angels wandering the site.
Born In A Taxi - credit Morgan Sette
My approach to Sunday was to arrive a little earlier and seek cooler spaces rather than high-energy dance vibes. Compagnie On Off - Le Chant de L'eau was an immersive performance within the air-conditioned Botanic High School auditorium.
Volunteers were blindfolded and then shown to deck chairs to enjoy a swirling aural experience as four characters circled the room, explaining how song and vibration helps with well-being and then bursting into harmonies accompanied by harp. A mesmerising and meditative experience to set the tone of the day.
A shady tree by the Zoo stage was a great setting for a workshop with AURUS aka Bastien Picot, who hails from Reunion Island. Picot explained the culture and music of his home, introducing us to Maloya music and its rhythms, including the traditional percussive instrument, the kayamb.
Handspring Puppet Company took me by surprise as I turned a corner and met two large elephants and their baby making their way across site. Propelled by at least four people in each, the scale and detail of the puppets was breathtaking, drawing enchantment of young and old with children reaching out to pat and play with the baby.
Compagnie On Off - image © Kerrie Geier
Despite searing heat and piercing sun, it was busy front of stage for Jen Cloher and T'HONI, who played a gorgeous set, dipping into songs new and old, with Jen reflecting on her time growing up in Adelaide and dedicating 'Regional Echo' to the city and the heat of the day. She also shared stories of connecting with her Māori roots and T'HONI performed traditional songs and a Kapa Haka.
Dubioza Kolektiv gathered a huge crowd ready to dance, jumping onstage with bright yellow jerseys and a bounce that didn't stop, the Balkan ska and punk energy found its way into my soul as they belted out a whirlwind hour of great music, funny antics, and pure joy.
The meandering jazz of Yussef Dayes gave an opportunity to catch my breath before curiosity drew me to South Korea's Leenalchi, who defy description as they mash operatic singing and trills, rapping and dance to tell the traditional Korean tale of Sugungga. It was weird, it was wild, it was spectacular.
Ibibio Sound Machine wrapped up my night in the best way possible. Fronted by charismatic Nigerian singer Eno Williams, they electrified the crowd with irresistible dance hooks that didn't stop. Despite needing to get up early the next day, I simply couldn't drag myself away until the end of their set.
Monday at the festival was a quieter affair, starting at Taste The World, where Mauscovic Dance Band members cooked a Dutch-Curacao fusion of andijvie (endive) stampot with sauce krioyo while talking about the culture and music of both countries.
Lying on a sarong under a shady tree was the perfect setting for Thee Sacred Souls playing sweet, soul grooves. With voices that dripped of honey and smooth instrumentalisation, it was simply glorious and put everyone in a great mood.
WITCH & Sampa The Great - image © Saige Prime
Zamrock pioneers, WITCH created a psychedelic rock party sprinkled with funk and were joined by surprise guest Sampa The Great for the last few songs, getting the audience out from the shadows and sweaty in the sun. It was fun to spot children dancing along and spraying each other with water as they enjoyed the music.
I was determined to soak up as much as possible and a clash left me torn between the mesmerising neo-soul of Noongar artist Bumpy, and undeniable legend, Angelique Kidjo.
In a bid to see everything, I walked a huge loop, with a dip into the front of each stage. Thankfully, the WOMADelaide crowd is a friendly bunch, so I was met with smiles and dancing partners as I made my journey, and thoroughly enjoyed my taste of each artist's show.
Morcheeba were the grand finale to my festival, starting with unmistakeable guitar riff of 'The Sea' and complemented by Skye's gorgeous vocals, they set course through a wonderful set filled with gentle downbeat melodies and energetic dance-floor fillers.
Morcheeba - image Kerrie Geier
With my cup full and body exhausted, I said goodbye to WOMADelaide for 2024 with the same happy melancholy that I feel each year knowing this all-encompassing artistic haven is gone, just like a dream.
The good news? Event funding was confirmed for another five years, so I just need to count the days until I get to do it all again.
