WOMADelaide 2025, held from March 7 to March 10 in the Botanic Park / Tainmuntilla, was a hot one again this year, as audiences sought refuge beneath Morton Bay canopies. This iconic open-air festival, set on the traditional lands of the Kaurna People, brought together a diverse lineup of artists, including many First Nations representatives from around the world, meaning colonialism and was a strong theme of this year’s festival.
One of the standout performances was by Majnun, whose name means “madman” in Arabic. Majnun’s eclectic mix of Afro-beat, jazz, funk, trance, and Latin music, combined with his nomadic roots, created a psycholomagical ritual aimed at healing the souls of the audience. His performance included a powerful sing-along and a poignant song about true freedom, “Last Free Man’.
Mariza, the renowned Portuguese Fado singer, captivated the audience with her statuesque stage presence and soulful voice. She looked a little like a James Bond character; just a magnetic, enigmatic presence. Born in Mozambique and raised in Cape Verde, Mariza’s performance was a beautiful blend of love, longing, and happiness. Her new record, “Amore,” and her message that festivals bring love resonated deeply with the crowd.
Yoann Bourgeois and his art company presented “The Unreachable Suspension Point,” a mesmerizing performance that broke down the barriers between dance, theatre, music, and visual art. The rotating staircase and acrobats synchronised to Radiohead’s Daydreaming created a surreal experience, leaving the audience in awe.
Elisapie, an Inuk artist from Arctic Canada, brought a unique blend of modernity and tradition to the festival. Her haunting cover of Blondie’s “Heart of Glass” and her tribute to First Nations communities highlighted the need for social change and the resilience of Indigenous cultures.
47SOUL, a band formed in Jordan, melded hip-hop, electronica, and R&B with traditional Dabke music from the Levantine region. Their energetic performance and thought-provoking lyrics explored political and philosophical themes, calling for the recognition of common humanity.
John Grant, known for his sumptuous ballads and electrifying pop, delivered a powerful performance that delved into dark, introspective spaces. His self-effacing lyrics and dramatic soundscapes captivated the audience, making his set one of the highlights of the festival. His lyrics celebrated difference: “maybe you’re not strange, maybe you’re the only one who’s ever been right”. Towards the end of his set, Grant, who has previously skewered Trump in song, pointedly said “fuck those douce bags who are ruining my country”. When he approached the end of his set, the audience cheered out “five more”. He laconically responded: “do you really want to be that depressed on a sunny day?”
Ngaiire, a Sydney-based artist from Papua New Guinea, premiered her new project, PAIA, at WOMADelaide. This multi-artform collaboration showcased her visionary artistry and vocal command, blending alternative pop and future R&B. Like Genesis Owusu, Ngaiire has a stadium ready live show.
Bela Desejo’s performance was a delightful fusion of Brazilian rhythms and contemporary sounds. Their vibrant energy and captivating stage presence had the audience dancing and singing along. Like many acts, they had an ability to blend their traditional Brazilian music with modern influences.
Saigon Soul Revival brought the soulful sounds of Vietnam to the WOMADelaide stage. Their performance was a beautiful mix of traditional Vietnamese music and modern soul.
The legendary Sun Ra Arkestra delivered a cosmic and otherworldly performance that transported the audience to another dimension. Their avant-garde jazz and experimental sounds, combined with their theatrical stage presence, created a truly immersive experience. The Arkestra’s ability to push the boundaries of music and performance art left a lasting impression on all who witnessed their set.
Talisk’s performance was a high-energy celebration of Scottish folk music. The trio’s virtuosic playing and infectious enthusiasm had the audience clapping and dancing along like it was a Highland fling, though the balmy March evening was a reminder we were not in Scotland.
Ela Minus performance was a mesmerizing blend of synth-pop and techno, creating an atmospheric and immersive experience. Ela Minus’s ability to connect with the audience through her music and stage presence made her set one of the most memorable of the festival.
Nils Frahm’s performance, amidst a barricade of instruments, was a masterclass in contemporary classical music. His intricate piano compositions and innovative use of electronic elements created a captivating and emotional experience. Frahm’s ability to seamlessly blend classical and electronic music makes him a modern Mozart.
WOMADelaide 2025 was a celebration of cultural discovery, bringing together artists from diverse backgrounds to create a sense of community and shared humanity at a time when we need to be reminded of this.
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