For the past 21 years music lovers of all kinds, from leathery looking hippies who park their Combies behind the festival gates to middle aged woman nibbling camembert cheese, have flocked to Adelaide to take part in this four day event.
Over the years WOMAD has hosted some of the globe’s most recognisable and respect performers. The festival predominately features world music, but in recent times has showcased some more mainstream acts, such as The Beautiful Girls and Tim Finn.
With music sales slumping and some festivals packing it in all together, WOMAD remains strong and this year saw record breaking ticket sales.
As always, the line-up was a mismatch of acts sourced not only from far and wide but close and narrow as well. Billing acts such as the Soweto Gospel Choir, playing the same day as Aussie hip hoppers The Herd simply shouldn’t work. However, year after year fans come and enjoy this truly unique long weekend.
Day 1
The Tallest Man On Earth (aka Kristian Matsson) had the doubled edged honour of being one of the festival’s opening acts. Yet while other acts billed at the same time struggled to draw an audience, Matsson’s fans – some of whom had obviously come straight from work – were lining up awaiting his arrival.
The Adelaide audience fell in love with The Tallest Man in 2008 when he played the iconic (and tiny) music venue, The Grace Emily. He was also part of WOMADelaide’s spin off festival Woman Earth Station in 2010, where legions of adoring fans practically mobbed the post-show autograph signing.
Walking out onto stage, Matsson was met with rapturous applause. He launched straight into opener ‘The King Of Spain’. The crowd was delighted with this choice and the mood was set for a great show to come.
Throughout the sadly too short hour-long set, Matsson’s raw, honest style was a delight to watch. As he played, his body twisted into strange contorted postures that would look contrived on any other musician, but for The Tallest Man fit so well.
The more upbeat single ‘The Gardner’ really showed off the beauty of Matsson’s rough, gravelly singing style. One audience member was heard to loudly remark “he sounds a bit like Jimmy Barnes(!).” Whether this was meant as a compliment, insult or mere observation remains unknown.
With the show quickly coming to an end, Matsson treated the adoring mob before him to a cover of the much-loved Paul Simon classic ‘Graceland’. For this he had the help of his wife Amanda Bergman (aka Idiot Wind) on backing vocals.
Finishing up with ‘Revelation Blues’, The Tallest Man held his audience till the very end. He proved that commercial hype, auto-tune, and sexy music videos are not necessities to ‘make it’ today, as he displayed the supreme power of one man and his guitar.
Four years after their last WOMADelaide performance and two years since the full band has been in town, The Cat Empire came back for a knock-out first night performance.
No introductions necessary, the energetic octet took to a stage festooned with flowers and launched into 2003 Hit ‘Sly’; under the spell of the infectious rhythms and Harry Angus’ trilling trumpet playing, what else could those gathered do but get down and get their groove going?
In a wise move, the group brought down the communal heart rate and followed up with ballad-like ‘Til The Ocean Takes Us All’. This tune, from 2007 release So Many Nights, tackles the subject of global warming, which fit right in with the environmentally conscious ethos of WOMAD.
Amping up the excitement again, three dancers clad in red bikini tops and flowing skirts appeared on stage and danced Spanish-style throughout ‘Hard to Explain’.
For most of the crowd this was clearly not the first time they had seen The Cat Empire live, however no one expected the trio of performers to pop on stage. The combined effect of music and dancers took the show to the next level, leaving many transfixed and forgetting about busting their own amateur moves.
Over their remarkably-long-for-a-festival set the band piloted three songs from their new album, due to be released in May.
Of all the tracks, new single ‘Brighter Than Gold’ received the warmest reception. The other two tunes, ‘Steel The Light’ and ‘Still Young’, gelled with some of the crowd but others looked like they would still need some more convincing.
For a band like The Cat Empire that has so many well-worn favourites, the process of breaking in new material is always tricky. Happily for the boys, numbers like ‘The Darkness’ and ‘Til The Ocean…’ were sometimes met with lukewarm crowd appreciation when first aired, are now accepted as old friends.
If these three teasers are anything to go by, it seems that the new album will be a return to the more fun-loving, heavily brassed-up, shake-it-til-it-falls-off original sounds of The Empire.
Many bands today seem to think it’s enough to get up on stage and play through an album without any concession towards the fact that they are performing live. Some seem to barely acknowledge the assembled mass in front of them. These bands could learn a lot from The Cat Empire, whose freshness and spontaneity has kept up for over a decade now.
It was great to see that the boys kept their extending soloing in check for this gig. In the past the band has taken some criticism for what has lent towards self-indulgent jamming.
The latter part of the set was a big nod to the early albums. Fans squeaked one by one as they slowly recognised the introduction of ‘The Wine Song’ being played on the keys. In an uncharacteristic mistake, Angus launched into the wrong verse, and die-hard fans spotted the blunder immediately (perhaps even before he did).
The song was declared a false start and off the band went again. Special mention goes to trombone player Kieran Conrau for a mad solo that proved once and for all that the trombone can be a damn sexy instrument!
Felix Riebl’s crooked grin beamed as Angus played the introduction to a much loved, but now rarely played tune. Punters could not believe their luck when they realised that yes it was happening: The Cat Empire was about the play their first mega hit ‘Hello’.
What followed was a few minutes of cheering, screaming, frenetic dancing and ecstatic bliss. This is a band that knows how to make their audience happy.
Rounding out a solid program with another big hit, ‘The Chariot’, demands for an encore echoed around the Botanical Park, however due to festival rules this could not be. Once again, The Cat Empire proved why they are one of Australia’s longest touring and best loved acts.
Day 2
Fans who had danced late into the night meandered through the park gates in the early afternoon of day two, ready for another day full of music, roving artistic performers, and mung bean salad. Some started the day with a local cider and a look around the many stalls while others headed straight for the stages.
Nothing could prepare WOMADelaide-goesr for the powerhouse of rock fusion that awaited them when East Journey took the stage. Formed in 2010 the Arnhem Land-born group have been playing their unique version of contemporary Aboriginal rock, with a large helping of Australian tinged reggae style, from coast to coast.
Audiences were floored at the band’s hit-you-in-the-face charisma and almost hyperactive energy.
Mandawuy Yunupingu, the frontman of legendary Aboriginal band Yothu Yindi, has personally mentored lead singer Rrawun Maymuru, and has publicly commented on East Journey’s position as leaders of the next generation of Aboriginal music.
Although still fledglings in the industry, they not only play like seasoned professionals but show a deep respect and understanding for their cultural roots. This is a band that not only wants to make music but also wants to serve a greater position in society.
The set began with only a spattering of curious punters milling around the stage. However, two songs in, the magnetic power of East Journey’s tunes had caused the crowd to swell dramatically.
In addition to the traditional rock style six-piece band were two dancers and a didgeridoo player. Most of the tunes from the band’s 2012 release Guwak were played. Clear crowd favourite was the first single ‘Songs of Arnhem Land’, which was launched late last year, and the album’s title track, which was also met with warm approval.
East Journey is definitely a band to listen out for; their songwriting skills and unique performance style show maturity beyond their young career and promise great things to come.
After kicking around the scene for the last few years, Kingfisha seems to have finally come into their own with the release of their 2012 self-titled album.
The dub steppers from Brisbane are rarely seen as far south as Adelaide, so their appearance at WOMAD delighted starving fans. However, the overall reaction was pretty mixed. Some cheered, screamed and begged for more while others stood still, never even breaking into a lazy groove.
Over the years Womadelaide goers have been treated to some of the reggae’s greatest. The Wailers played to a full house a few years ago and Jimmy Cliff was waiting in the wings to perform the next night. This was always going to be a tough gig for a group of six white guys who looked a little lost on the grand, outdoor stage.
As they have done in many of their recent shows, Kingfisha played through most of their self-titled album. Highlights of the set included ‘Fallen Empire’, which featured some truly inventive, rather spacey electro effects. ‘Piece Of The Puzzle’ was also a hit with the still sceptical crowd.
The smoothness of frontman Anthony Forrest’s voice pleased some and seemed oddly out of place to others. Many of the tracks just seemed too clean cut and polished with no real soul or skank. After a while the entire set blended into one long, bland washout.
Kingfisha might combine reggae roots, dub and electro in a really unique way, but for the afternoon audience at Womadelaide it just wasn’t enough.
Day 3
Crowds trickled back for more festivities and by midday some punters already looked red in the face as, true-to-form, Adelaide had decided to throw a March heatwave. The brave (or foolish?) refused to be denied their right to have a good time and continued moving and shaking in opposition to the 40º heat.
Zoe Keating is one of those irresistible artists whose quirky style and sheer ingenuity draws crowds. The idea of a performance using just cello and a loop pedal is enough to interest most. Keating is a remarkable one-woman-band and not just another stuffy classically trained player trying to grab some mainstream fans.
Keating spoke softly as she explained the mechanics of her craft to an already spellbound audience before playing her second piece, ‘Seven League Boots’.
Starting with a simple riff, then playing pizzicato style for the next loop. After the foundation was set, she played a delightfully smooth, swan-like melody over the top.
The loops worked perfectly and those with their eyes closed would have easily believed there were three players on stage. Keating even managed to add the sound of the birds flying overhead to the loop during the performance of her next work, ‘Sun Will Set’.
A world of close intimacy was created over her hour-long set. The only intrusions of reality came from food vendors calling out names for orders of fish and squid, a real shame.
The set closed with ‘Optimist’, a tune Keating wrote while she was pregnant with her son Alex. This was the trickiest combination of loops and tunes yet, featuring melodies from many well-known nursery rhymes, such as ‘Three Blind Mice’.
Many people flocked for the freak factor but stayed upon hearing the beauty and artistry of Zoe Keating.
Gone but not forgotten, Australia fans ecstatically welcomed the home siren of heart-break, Mia Dyson, after her four year absence. Proving their dedication, audiences braved 39º of blazing sun and dry winds to hear Dyson’s gravely yet tender voice once again.
Dressed in her no nonsense stage uniform of jeans and a shirt; Dyson opened with the oh-so-hot ‘Tell Me’ off her fourth studio album, 2011’s The Moment. Those who weren’t already pierced to the core by her haunting stare were transfixed by a voice that’s reminiscent of Janis Joplin and Stevie Nicks, while also being totally unique and beautiful.
It’s rare to find an artist who not only writes incredibly poetic lyrics but performs them well too. The mood continued as Dyson performed ‘Pistol’. The pain and heartbreak rippled through the open air as she sang the chorus, ‘Use this pistol on my heart / Take me out before it starts’.
In the way of all seasoned performers, Dyson was able to whip up and cool down the crowd. The heavy, driving rock force of ‘When the Moment Comes’ caused mini mosh pits to appear over the park and at the end some just didn’t want to stop thrashing along.
This was followed up by the slow, bluesy ballad-style ‘Struck Down’, which featured a soothing and intricate guitar solo. Tears came into some eyes during ‘Jessie’, a song about Australia’s policy of forcing unmarried mothers to give up their newborn babies for adoption from the 1950s ‘til the 1980s. Dyson explained that she penned it after meeting a woman who had been coerced into giving up her baby in the 70s and has never managed to trace the child.
With the end in sight, Dyson pulled out all the stops and threw herself into ‘Cigarettes’, which started with a funky synth solo and continued with a full on, dirty blues groove. Wrapping things up with ‘You and Me’, hopeful crowds begged for an encore that sadly couldn’t happen.
Mia Dyson is a truly remarkable artist; let’s hope she says on home soil and continues with her ballsy, off kilter style for years to come.
Jimmy Cliff is a shining example of the type of artist expected by WOMADelaide-goers. At 64, Cliff has just released a new album, Rebirth, produced by the rather unlikely punk legend Tim Armstrong (Operation Ivy, Rancid) and seems to have given yet another facet to Cliff’s ever evolving sound (which won him Best Reggae Album at the Grammys for his efforts).
Excited fans marked their positions with picnic rugs, low lying seats, and rainbow sarongs long before the set was scheduled to begin. Excitement built up as the hour drew near but then something odd happened. The band appeared and began to play a laid back groove – the sort that normally goes for only a few minutes if that – but Cliff took a full 15 minutes to appear on stage.
Fans eventually grew tired of shuffling along to the beat, and when Cliff finally came out, the reaction was more one of relief than excitement. But like the master he is, the grandfather of reggae was able to quickly win back his audience with his glowing grin and happy stage presence.
Covers were the flavour of the night and they took up most of the hour-and-a-half set. Perhaps the term ‘cover’ is inappropriate to describe Cliff’s music – adaptation would be a better choice, as after the chosen tunes have been given the Jimmy treatment they become something new and wonderful. Sometimes they even end up sounding better.
Fans were delighted by opening song ‘You Can Get It If You Really Want It’, originally recorded by the great-grandfather of ska Desmond Dekker. The joyful, carnival atmosphere intensified as the band played ‘Wild World’, another famous adaptation.
Showing another side of his personality, Cliff took a few minutes to speak about the environment and encouraged the audience to think about how they could do their bit. WOMADelaide is a fiercely green festival that prides itself on being one of Australia’s only ‘sustainable’ music events. Cliff’s environmental focus made the crowd love him a little bit more, and of course the song ‘Too Much Pollution’ was played after the applause died down.
The final two songs of the set were predictable but nevertheless enjoyable. It simply wouldn’t have been right if ‘I Can See Clearly Now’ and ‘The Rivers of Babylon’ hadn’t gotten a look-in. Fans demanded an encore and in an unusual move for WOMAD, it was granted. No-one stood still as the fresh single ‘One More’, with its rich back-beat and catchy skank, was aired for possibility the first time in Australia.
Jimmy Cliff gave his adoring public a tight show that honoured his roots and also promoted his new work. His larger than life personality shone through, as did his years of expertise in his craft.
He was an excellent choice to round off three days and nights of music and festival fun. WOMADelaide really is a festival that offers something to suit all tastes; its unique and irrepressibly cheerful atmosphere is worth making the trip to Adelaide for.
Check out our WOMADElaide Photo Gallery | Day 1 HERE | Day 2 HERE | Day 3 below:
