‘The World’s Festival’ returned to Adelaide to host some of the hottest new acts (and some oldies but goodies) from around the globe, and was met with the most pleasant weather the event has seen in years. Usually hosting extreme heat as well as its multi-national artist roster, festival-goers this year were treated to sunny, warm autumn weather as they flooded in for headline acts including Rufus Wainwright, Orquesta Buena Vista Social Club (featuring members from the famed Cuban band), Youssou N’Dour and Sinead O’Connor.
Friday saw the festival kick slowly into gear, with acts featuring only from the early evening. One to watch was Aussie duo Willow Beats, a fairly new partnership of Narayana Johnson and niece Kalyani Mumtaz. The one-time triple j Unearthed outfit had their throng of supporters gyrating before long, and had a good energy flow as they swapped instrument for mic. Finishing the set with some dirty wobble/glitch always leaves a good taste in the mouth. Later in the evening, showing us how it’s done were Buena Vista Social Club members, well-seasoned professionals in Latin American and traditional Cuban music. It was one of two sets for the festival, two of the last sets the band is due to play before the brand retires for good. A great experience to be part of. Over the other side of the pond, Romania’s true gypsy spirit took no prisoners when Fanfare Ciocărlia took the stage. Known to most as the guys who covered Born To Be Wild for blockbuster Borat, just 11 of the 80-strong outfit made it to Australian shores to deliver WOMAD their own big fat gypsy wedding. From piccolo to tuba, they rocked our socks. Rufus Wainwright rounded off the evening with a stripped-down set featuring the man himself on piano and guitar, and a guest spot from sister, Lucy Wainwright. His crystal clear voice was laced with equal parts sentiment and cheek, and his rendition of Leonard Skynyard’s Hallelujah was not to be scoffed at.
On the performance art side, a group worth a mention was the UK’s Smashed. Comprising of professional jugglers, circus performers and rhythmic gymnasts, they were an unexpected afternoon drawcard with their eccentric characters and tendency to not only throw and catch, but throw and purposely drop things. If you’re a fan of fine China, I wouldn’t recommend this one. Aussie hip hop represented with Astronomy Class, who had fans grooving along to their smooth beats. On the other end of the local music sphere, C.W. Stoneking impressed with his unique brand of Australiana/Americana. A definite highlight for the early evening was Balkan Beat Box, a modern take on Balkan gypsy music that incorporates hip hop, exotic Asian beats, electronica and of course, a bit of sexy sax. Brazilian pocket rocket Flavia Coelho rocked her way into our heart and was farewelled with a big cheer from a bunch of new fans.
Another of the Aussie songwriters featuring at this year’s festival was Adelaide’s own Max Savage. With a voice that defies his age, his gruff growl enchanted the afternoon audience and if that wasn’t enough, the a cappella My Darling Adelaide sealed the deal. Swedish sisters First Aid Kit illustrated stunning vocal harmonies as they breezed through their relatively small back catalogue with a couple of covers including Paul Simon’s America and Jack White’s Love Interruption. Day Two rounded off withYoussou N’Dour, complete with hype man who made sure we knew N’Dour was the “king of African pop.” The infective energy that seeped from that stage was incredible and the dancer’s smiles could be seen from the very back. Festival buddy Neneh Cherry also popped in for a guest appearance on Seven Seconds & Waiting.
The final day featured Australia’s Fourplay String Quartet, who performed a mixture of old and new songs turned string compositions. Lara Goodridge replaced violin for vocals and delivered Mississippi swagger: a modern take on a classic sound. Someone who has definitely earned her place on the WOMAD stage was Buffy Sainte-Marie, the Native American dynamite. Her politically-charged music flooded the speakers with decades of determination and deliverance, and her songs spoke of Keshagesh (being a greedy guts), destroying nature and human rights. She also sang (and at times bleated – literally, bleated) what many people don’t realise was her own composition, Up Where We Belong, and one of her best known anti-war songs, Universal Soldier. She finished in style with a traditional dance. The last of the Aussies with guitars was Timberwolf, definitely one to watch in the folk rock scene. An amazing vocalist and songwriter, he already had his groupie work cut out for him. People packed into one of the side stages for Gotye’s indigenous collaboration with Djalu Gurruwiwi, which saw Gotye duet in traditional Aboriginal songs and blend cultures in bilingual storytelling. Neneh Cherry, a mystery for the best of two decades, returned to the stage with some new sounds. Embracing the electronic age, she had energy beyond her almost-50 years. However, though her music sounded more polished, her punk roots still showed through the politically themed back screens and raw conversation with her audience. And last but definitely not least, Sinead O’Connor showed she still has one heck of a voice and dogged determination to not be ‘the star.’ However, she may have taken offence to hating the bright lights that little bit too far, keeping her sunnies on for almost the whole gig. She sang of Margaret Thatcher, cynical women, cucumbers in places they shouldn’t be, and everything else that features in a day with O’Connor. And of course, Nothing Compares 2 U. And nothing does compare, especially when she trails the dying note to her biggest hit with “And a double-ended dildo.” Stay classy, WOMAD.
BY JEN WILSON
Loved: Getting my gypsy on.
Hated: Youssou N’Dour’s unnecessary hype man.
Drank: South Australian wine.
