WOMADelaide 2025 featured PJ Harvey and Khruangbin, but newcomers shone brightest

Perhaps unintentionally, this year's WOMADelaide music festival coincided with International Women's Day. Strolling through the botanical gardens, one could encounter a talented female artist performing in front of hundreds, if not thousands, of enthusiastic fans every hundred meters or so. This happy coincidence added a special layer of appreciation to the event.

The festival didn't overtly emphasize the gender balance of its cleverly curated second-day lineup, so it didn't feel like a contrived display. But for discerning attendees, it proved that diversity is not only achievable but also a secret weapon for enhancing the quality of a music festival, a lesson worth emulating by festivals brave enough to embrace it. The subtle approach allowed the talent to speak for itself.

Having successfully run for 33 years, WOMADelaide has the clout and resources to take chances on lineups that other festivals might deem risky. Not every act will resonate with everyone, but the festival has the capacity to test the waters and even boost artists' careers by introducing lesser-known music to Australian audiences. This willingness to experiment is a key to its longevity.

For example, dancehall music superstar Queen Omega's electrifying performance on Saturday night exuded such powerful energy that it instantly turned many into her newest fans. Making her Australian debut, the 43-year-old artist impressively performed a vast selection of songs from her 20-year career. The crowd was captivated by her stage presence and powerful vocals.

The Nana Benz du Togo, featuring female vocals, synthesizers, and hand percussion, drew a crowd of young women to the front of the stage during their Saturday performance, who were in awe of the three lead singers' energy, message, and overall musical allure. The collaboration between renowned singer Eleanor Jawurlngali from the remote Northern Territory town of Marlinja, Dirty Three guitarist Mick Turner, and cellist and vocalist Stephanie Arnold was perfection. Hearing Eleanor's voice is a privilege in any setting, but lying under a Moreton Bay fig tree on Saturday night, listening to such moving music, felt profoundly special. This blend of traditional and modern sounds created a truly memorable experience.

In fact, Nigerien rock band Etran de L'Aïr was one of the few highlights of the weekend without female involvement. They launched straight into gear from the first note, playing a hypnotic brand of Tuareg desert blues that ignited the crowd on Sunday night. WOMAD has hosted some of the best bands in this genre, such as the legendary Tinariwen, modern guitar master Mdou Moctar, and Malian masters Songhoy Blues, and Etran de L'Aïr's performance was every bit as good. Their raw energy and captivating rhythms were a highlight of the festival.

The South African a cappella group The Joy enriched our spiritual world with their perfect harmonies, while Vietnam's Saigon Soul Revival gave us a smooth lesson in Southeast Asian psychedelic rock. What sets WOMAD apart is its broad and ambitious programming, which leads to compelling new musical discoveries, alongside, of course, some more familiar acts that draw the crowds. This eclectic mix ensures there's something for everyone to enjoy.

Indie rock icon PJ Harvey's compelling performance on Friday night was a major highlight this year. Harvey boldly opened the festival by playing her new album, "I Inside the Old Year Dying," almost in its entirety. While these less familiar tracks kept the audience relatively quiet, the silence felt more like reverence than boredom. Later in the set, her hits finally arrived, and Harvey's roaring renditions of songs like "50ft Queenie," "Dress," "Man-Size," and "To Bring You My Love" were particularly satisfying. Her powerful stage presence and iconic songs resonated deeply with the audience.

British producer Nitin Sawhney's earlier performance felt like being transported from the botanical gardens of 2025 to a cafe in 2001, with his relaxing electronica expertly delivered with the help of his outstanding vocalists Shapla Salique and Iyamah, flautist Ashwin Srinivasan, and tabla player Aref Durvesh. The blend of electronic and world music elements created a unique and captivating atmosphere.

Ngaiire brought something completely different in her second year at WOMAD, with the world premiere of her new show, "PAIA." It was a multi-disciplinary feast that was educational, entertaining, and enriching, driven by the singer's incredible neo-soul voice and perfectly integrated with costume, dance, and visuals. It would have been a triumph in any context, but on a festival stage, it was nothing short of a miracle. Calling it world-class doesn't fully express its value. The show's innovative approach and powerful message left a lasting impression.

American-Icelandic singer John Grant's beautiful baritone and engaging storytelling were another familiar highlight, as was the Indigenous hip-hop group 3%, whose packed-out Friday night performance on the Zoo stage proved they deserve all the praise they've been receiving lately. The same could be said of Emily Wurramara, who drew a large crowd with her excellent album "NARA" released last year and captivated them with her friendly stage presence, while radical MC Miss Kaninna used her platform in front of a large audience to articulate her beliefs and showcase her unparalleled microphone skills. These diverse voices added to the festival's rich tapestry of talent.

The astonishing talent of free jazz legends Sun Ra Arkestra is in a league of its own, and the dazzlingly dressed American band presented the genre in an accessible way, but the performance was over far too quickly. Their music is definitely not for everyone, and watching them perform in Adelaide's 36-degree sunshine was an endurance test, but it was absolutely worth it. Their unique sound and vibrant energy were a memorable part of the festival experience.

Perhaps we've been spoiled by the many incredible music festivals that Australia has hosted over the past few decades, but homogenization is one of the main criticisms of the current festival climate. The decline in legitimate festival headliners and the market's frequent preference for safe choices when determining lineups mean that standing out in the festival scene today requires something truly special. This trend makes WOMADelaide's commitment to diversity and innovation all the more important.

The unique experience that WOMAD offers undoubtedly sets it apart, but this doesn't give it any sense of security. Speaking to the ABC last week, WOMAD said that presenting such a distinctive event costs a lot of money, and there is undoubtedly an inherent risk in investing heavily in artists who have not yet been validated in the Australian market. But this risk is important. WOMAD remains an experience that is both educational and spiritually enriching. It unapologetically creates a space where cultural differences are understood and celebrated, and the value of this in an increasingly diverse social and political landscape should not be underestimated. Its commitment to showcasing diverse voices and cultures is what makes it truly special.

Perhaps the biggest regret about WOMADelaide is also its most impressive asset: the sheer volume of artists, talks, and immersive experiences means you can't experience it all. This means that everyone's WOMAD experience is different. While my memories will forever be etched with the performances mentioned above, others may have seen and heard something completely different. But I bet nobody left the festival this year without feeling the power of a strong female artist. The festival's diverse offerings ensure that everyone can find something to connect with and enjoy.