Review: WOMADelaide 2026 @ Botanic Park 06-09/03/26
The four-day world music festival celebrated culture and togetherness in a time when we need it most.
Words Brad Pine & Tobias Handke // Images Mhari Dougal
WOMADelaide @ Botanic Park 07-10/03/26
There really is no music festival that matches the free-spirited vibes of South Australia’s WOMADelaide. This family-friendly event is as much about the music as it is the atmosphere, with tens of thousands of people from across the globe converging on Botanic Park for four days of revelry.
Whether you were there for the music – with the weekend featuring sets from the iconic Grace Jones, Colombian trio La Perla, Italian songwriter and visionary Jovanotti, UK DJ duo Crazy P, East meets West inspiration Orange Blossom and more – artist workshops, special forums, market stalls or the incredible selection of food trucks dishing up cusines from across the globe, there really was something for everyone at WOMAD.
As a music publication, it was all about the artists performing at this year’s event, and WOMADelaide once again delivered with a stacked lineup of artists from around the world. Check out our thoughts below.
Day 1
After arriving at the wrong gate to pick up my pass, I hot-footed it through the Botanic Gardens to the opposite box office, grabbed my wristband, cracked a cold Coopers and arrived during the opening song of Iron & Wine’s illuminating acoustic set.
Armed with just a guitar and his voice, the bearded Samuel Beam, who one punter mentioned looked like David Harbour, had the growing crowd enthralled with his indie folk tales.
I thought it was a little strange having such a big international act on this early, but his laidback guitar ballads suited the vibe, with the sun slowly setting as Iron & Wine performed an enjoyable mix of old and new songs.
Dressed in all black with no stage setup, highlights included ‘Boy With A Coin’, ‘Grace For Saints And Ramblers’ and ‘Flightless Bird, American Mouth’. Removing his sunglasses during ‘Singing Saw’, a new track from his latest album Hens Teeth, Beam momentarily forgot where he was in the song. “This is a new song,” he laughed, “It hasn’t sunk in that deep yet.”
Finishing up with crowd favourite ‘Naked As We Came’, I made my way over to the Zoo Stage to catch Ashkan Shafiel. This Iranian folk-influenced collective, led by Shafiel, delivered an energetic show, merging the traditional psychedelic sounds of pre-revolution Iran with splashes of folk and modern guitar. Playing the rubab, a lute-like musical instrument, Shafiel was joined on stage by his five-piece band, which included double bass, percussion and saxophone.
Zeitgeist Freedom Energy Exchange took things up another level with a powerful instrumental set that was part hi-tech jazz, part Berlin rave scene. While not for everyone, this quartet, fronted by drummer and producer Ziggy Zeitgeist, had those in attendance up on their feet, moving and grooving to the pulsating rhythms. I would love to see this group perform in a dark and dingy nightclub.
Over at the From Park Pavilion, Ukrainian creative Ganna had a sizeable crowd entranced by her unique vocal styling. As pre-programmed bird and nature sounds echoed around the tent, Ganna played the keyboard while delivering Björk-esque compositions.
Brazilian-born, Melbourne-based Alcides Neto (read our interview with him here), was accompanied by his band as he ran through songs from his just-released debut album, Amú. The addition of a band gave his songs greater depth, and although the crowd mostly sat during his lively set, a few revellers were up and about on the side of the stage, getting their groove on.
My night ended witnessing UK icons Crazy P turn Stage 7 into a mini-rave. Chris Todd and Jim Baron have been crafting house music for over 35 years, and the duo proved they have another 35 more in them with an hour-long set of originals and remixes that had a crowd of all ages, from young kids to elderly patrons, immersed in the frenzied beats blaring from the speakers.
Words Tobias Handke
Day 2
WOMADelaide has always been around. I have never known a time when it was not a part of the Mad March landscape. But I had never been until this year. Utilising the public transport to get to the event was relatively easy, especially during the busy period in Adelaide.
The first steps led me to the markets; some stalls had essentials for the event, while others were more niche and unique. I wandered the grounds to get my bearings. I discovered there were several stages littered through Botanic Park, from the main Foundation Stage to the Academy Stage hidden behind the market.
Saturday saw a very family affair with picnic blankets set up for the rest of the day and beach trolleys packed with all the essentials. As the day progressed, I noticed that some people stayed in the same spot for the day rather than venture out and explore. But the festival has no set rules – enjoy the day as you wish.
First on the Foundation Stage was Samoan-Australian singer Bobby Alu. Mixing tropical roots with reggae and other genres, Alu helped the midday crowd ease into the day. Throughout his set, Alu told his life story, showing how music and dance were embedded in his life. Various traditional dancers came on stage throughout, making the spectacle of the opening act more engaging. Alu showed off his percussive skills alongside his guitar and ukulele playing. His timeslot was all about family connection, with Alu bringing his mum and uncle on stage to perform, something they had not done for three decades. We were all connected at this point, and Alu made it possible.
Making my way to Stage 7, a singing group of bats surrounded the area; noisy due to us keeping them awake during the day. Having previously listened to Tamil Nadu-American artist Ganavya’s albums Nilam and Daughter Of A Temple, I somewhat knew what to expect.
She graced the stage with just a harp and double bass to back her incredible singing. Letting a deep breath out before starting, Ganavya announced that she was 12 weeks pregnant. It may have shortened her lung capacity, but she built up an ethereal experience, nevertheless.
There was a moment of bliss through the shrieking of the bats when I closed my eyes, feeling the vibrations through the ground. The audience took some time to get into her mindset, not really engaging with sing-alongs. “We can get the bats to sing along easier than you,” she jibbed. The crowd finally sang along closer to the end of the set as Ganavya was joined by her son on stage. A highly meditative experience.
As I ventured back to the Foundation Stage, I briefly caught some of Monya on the Academy Stage – set up in partnership with Northern Sound System. I wish I had seen more, but as I sat down for a cold drink and reapplied sunscreen, I enjoyed the sounds of Dutch outfit My Baby. I knew nothing of them but moved closer to find out more. ‘Ain’t No Turning Back’ showed their blend of funk, trance and everything in between.
Back to Stage 7, Adelaide band Any Young Mechanic garnered a large crowd for the smaller stage. They had an indie folk sound reminiscent of the early 2000s – Vampire Weekend, Augie March and even moments of Cloud Control. As the set continued, a cellist who collaborated with them for the new album, The Modern Shoe Is Ruining the Foot, joined the throng of musicians on stage. A highly professional outfit with immaculate pacing for their slow melodic jams.
At Zoo Stage 4, Mama Kin Spender, made up of Mama Kin and Dingo Spender, arrived to a growing crowd. “We’ll hold a workshop about how to make a duo band name,” Mama Kin relayed to us. Throughout the blues-infused tunes, the duo chatted about possible wardrobe malfunctions, perimenopause and life in general. The chatter in between showed how comfortable and at home the two were at WOMADelaide.
Close to Zoo Stage 4, Jalen Ngonda burst straight into some soulful jams on Stage 2. It was immediately evident that Ngonda was taking the lead from the past, with his old school soul energy similar to the likes of Curtis Mayfield and David Ruffin. It was the biggest crowd for the day so far, and Ngonda had Adelaide eating out of the palm of his hand with a simple sing-along. As well as the guitar, he also dazzled on the keys. With a new album on the way in June, it is definitely one to add to the wantlist.
Returning to WOMAD for the first time since 1993, Yothu Yindi were greeted by almost the entirety of the festival crowd. A lone member performed onstage with a yidaki as the band slowly arrived one by one. A text scroll similar to the one that opens the Star Wars films informed us of the horrendous treatment of the Indigenous people of our nation since white settlers arrived.
Joined by members original and new, Yothu Yindi continue to blend culture and music with rock and synth. Their biggest hit, ‘Treaty’, got a massive response and got everyone moving. The importance of a band like Yothu Yindi cannot be understated. Watching them was a gift and a moment that will stay with me, knowing that Australian music would not be where it is today without this band and its members.
I returned to Stage 7 to see Blinky Bill, but there wasn’t a koala in sight. Still plenty of bats, though. Named after the character from the iconic children’s show, The Adventures of Blinky Bill, the Kenyan artist and his band had just arrived from Nairobi City and brought funk and soul beats to the masses. It was a huge crowd packed around the trees, all grooving as one.
At the Academy Stage I saw Maybe Hugo. Having just performed at LIV Golf, their star is on the rise. My friend Alex was chilling on the guitar and provided backing vocals. Hugo had some brilliant vocals that complemented the tight instrumentation of the band. If you want a nice dose of smooth, jazzy funk rock, check them out soon.
Speaking of stars, the one and only Miss Grace Jones was the final act for day two. Usually, I write my notes on my phone, but packed tightly into the crowd, that was impossible. She was fashionably late, of course, but the buildup was worth it.
A large curtain dropped to reveal the icon draped across an immaculate high-backed throne. In a silvery grey pantsuit with a winged matching headpiece, she sauntered into ‘Nightclubbing’, slowly descending from the backstage. As the song ended, she continued to speak in the darkness. “I’m taking my jacket off, but it’s really dark back there.”
Jones’ between-song banter ranged from telling the crowd, “Adelaide – Here to get laid!” to talking about fellatio. Her naughtiness continued throughout the night. Changing costumes for ‘Private Life’, she sparkled against the stage lights before ascending back to her throne for ‘My Jamaican Guy’.
Covers of ‘Amazing Grace’ and ‘Love Is The Drug’ showcased Jones’ still impressive vocal range before she closed out her headline set with the one-two punch of ‘Pull Up To The Bumper’ and ‘Slave To The Rhythm’.
Words Brad Pine
Day 3
Sunday lived up to its name with not a cloud in the sky as the gates for WOMADelaide opened. The perfect start for International Women’s Day was made possible by Kaurna female collective Ngangki Warra, who led us in a foot-stomping welcome to get us ready for the day.
First on the Foundation Stage was epic collective Meganesia. The group highlighted the connection of Papua New Guinea to Indigenous Australia with traditional percussion and modern soul, hip hop and rock. If you were not awake before, Meganesia definitely shook you up. Vocalist Merani Masani and rapper Justin Wellington were among the collective to blend genres effortlessly and received rapturous applause for their effort.
The well-hidden Stage 3 saw Nusantara Beat, a psych folk outfit from Amsterdam, get the crowd grooving for their full set. Inspired by the Dutch psych scene, their sound is rooted in traditional Indonesian music, with every song sung in Indonesian. It was like an alternate universe exploitation film soundtrack. Their amazing vibes even had the crew dancing along in the mixing tent. Songs like ‘Kupu Kupu’ and ‘Mang Becak’ had singer Megan de Klerk moving along with all of us.
Back to the Foundation Stage, I sat down in the shade as Džambo Aguševi Orchestra got in tune. But as soon as the set started, I was up and ready to dance. The Balkan jazz outfit was loud and funky, making it obvious that music can transcend culture. As much as the orchestra were instrumental, there were moments for a sing-along, which the crowd was more than appreciative of.
Making the trek back to Stage 7, the immediate sound of the bats outshone the noise from other parts of the venue. Soulful singer Annahstasia took her place onstage, guitar in hand, to perform alongside the chorus of bats. At times, her deep, soft vocals were overshadowed, but that just made us move closer to her and engage fully in her set. “It’s really hard for the way my brain is set up,” she quipped in relation to the outside noise. But on the hauntingly beautiful ‘Stress Test,’ the shrieks from the bats actually helped set the mood.
After a break for dinner and some wandering through the markets, I returned to the ethereal Stage 7 for My Chérie. Raised in South Africa, she moved to Adelaide at the age of 12. For almost a decade, she has been releasing music influenced by the likes of Kate Bush and Florence Welch.
Several adoring fans lined the barrier, soaking in the incredible stage presence of Cherie. “I love who I am and that I’m here.” Her music is deeply embedded in her own life, especially on the new single ‘Stuck Inside My Head.’ The elongated melodic jams were reminiscent of that 1980’s ethereal/darkwave that held the audience captivated throughout.
The big drawcard for the day was Baker Boy. Out of all the artist t-shirts I saw throughout the day, Baker Boy was displayed on the most. He might appeal to a younger demographic, but all ages were squashed in as he kicked off his evening performance with a massive rock intro.
Baker Boy then burst onto the stage, swapping between rapping, dancing and playing on the yidaki. He was definitely the loudest act of the festival. Behind me, a dance pit had formed by the younger members of the crowd, displaying their own unique dance moves. “It’s always been deadly here,” Baker Boy stated, playing his fourth WOMADelaide. Even though the whole set was intense, the cover of Blur’s ‘Song 2’ had the loudest sing-along (I mean, it is just woo-hoo), and everyone was enjoying it.
Colombian female trio La Perla combines traditional Colombian Caribbean rhythms with innovative contemporary sounds, crafting a unique sound that’s made for dancing. They began with a song that was reminiscent of Ennio Morricone’s ‘The Good, the Bad and the Ugly’ – if Morricone took acid and played the gaitas, a Spanish version of the bagpipes.
Despite singing in Spanish and not understanding a word of what the three were saying, everyone was dancing up a storm to La Perla’s vibrant playing. There was even a little sing-along and plenty of clapping and grooving.
Directly after was Nigerian-English artist Obongjayar on Stage 2. I decided not to read up anything about him and go in blissfully unaware. I’m glad I did. Obonjayar erupted on the stage, slinked through the first track and immediately took the shirt off. It was probably a good move as Obonjayar did not stop and was dripping in sweat by the end. His vocals reminded me of Sananda Maitreya blended with afrobeat, soul and a little bit of punk rock. “I think I just cracked my tooth… Bloody rock ‘n’ roll mate.” He loved to play with the crowd and was incredibly charming. His backing band were very tight and knew how to read him and the audience.
“Busted my teeth and broke my ring. Means I really must love you guys,” Obonjayar proclaimed to a cheering audience. Songs like ‘Message In A Hammer’ and ‘Point And Kill’, his collaboration with Little Simz, had the crowd singing along with him. But there were slower moments with ‘Prayer’ and ‘I Wish It Was Me.’
‘Prayer’ was dedicated to the world. “The world is on fire by people who don’t care.” However, after a moment of solace, we got to continue to shake our asses with the final track, ‘Talk Olympics’, bringing to an end a highly entertaining day of world music.
Words Brad Pine and Tobias Handke
Day 4
Another sunny, cloudless day greeted the WOMADelaide crowd for the final day of the festival. Jack Kanya Kudnuitya Buckskin and his daughter Mahleaha welcomed us to Country before gospel powerhouse Annie & The Caldwells opened the Foundation Stage. It was very much a family affair for the band as Annie, her husband, sons and daughters are all involved. And all of them are obviously blessed with musical talent. The highlight of the set was a fifteen-minute spiritual moment, which made us all feel a part of the family. The disco-soul-infused gospel had everyone ready for the day with all the worries of the world left behind just for now.
For the first time during the festival, I returned to see an act I had already seen. Obonjayar again presented on Stage 2 – but this time I was able to be right at the barrier. An audience member immediately asked how his tooth was. He said he was fine, maybe just being a bit dramatic. He played a slightly different set for this lazy Monday afternoon, but it was still filled with massive amounts of energy, which infected the crowd, especially during ‘Not In Surrender’, with us singing back “Hallelujah” with as much passion as we could.
The Bat Stage, or officially Stage 7, had Georgia Knight and her band ready to be the darkwave in the sunlight. A jumbled recording started the set, with the other instruments building around it. Knight sang with a whispered tone initially before building through the opening track. “It’s crazy that all these songs are about bats. And they came!” she joked.
The moody set combined elements of trip hop, neofolk and other genres in between, with the addition of a pump organ and an autoharp, demonstrating that Knight and her band love to experiment. Further to that, she turned on live FM radio during the set and sang vocals through a distorted landline handset – yeah, just the right kind of experimental music I wanted to see.
Picking from the wide variety of food on offer, I eventually stumbled upon some paella and listened to Orange Blossom on the Foundation Stage. It was a real mix of everything for everyone. Definitely the loudest for the day for me. The influences from Eastern and Western music blended with such impact that it made everyone pay attention, no matter where they were.
For the rest of the day, I switched between the Foundation Stage and Stage 2. The latter featured Fantastic Negrito for all to enjoy. The Grammy Award winner brought that real old school blues and funk energy we needed to keep the day going.
Dressed in shimmery pants, the afternoon sun reflected directly off them, and nobody could keep their eyes off him. “You got a look in your eyes,” he flirted with the front row. The raspiness of his voice cracked through perfectly at times, exemplified in ‘I Hope Somebody's Loving You.’ The sun did affect him for a brief moment before someone handed him some shades so he could continue to blast on through.
According to my music listening last year, I needed to see Marlon Williams as he was one of my top played for 2025. Joined by his backing band, The Yarrabenders, Williams showed off his impressive vocals and duality of language. Singing in English and te reo Māori, he had the audience all swaying in their own unique way.
The songs from the album Te Whare Tīwekaweka were more of a chilled-out vibe in comparison to older tunes like ‘My Boy’ and ‘Vampire Again’ (which had quasi-Split Enz moments in them). For ‘Kāhore He Manu E’, he played piano solo on stage before bringing out Ngā Mātai Pūrua, a kapa haka group. They remained on stage for the rest of the set and performed my most-played song of 2025, ‘ Rere Mai Ngā Rau.’ So, a fitting end for the festival for me.
BADBADNOTGOOD transported everyone to another dimension, with the Toronto instrumental collective taking the audience on a trip-induced journey through time and space with their trip hop meets jazz informed psychedelic compositions. This was one of the few performances where almost everybody was throwing shapes, even those at the back of the crowd. Flailing limbs, fist pumps, weird body contortions – people were losing their shit as BADBADNOTGOOD revelled in the feel-good energy rising from those near the front of the stage.
Hip hop greats Arrested Development closed out this year’s WOMAD with a joyous celebration of music, good vibes and connection. Performing the majority of tracks from their seminal debut album, 3 Years, 5 Months and 2 Days in the Life Of..., the group were in hot form, with Speech and One Love’s rhyming as tight as ever, while singer Tasha Larae melted hearts with her powerful vocals.
A medley of Kriss Kross’ ‘Jump’ and House of Pain’s ‘Jump Around’ led into Arrested Development’s ‘Mr. Wndel’ before they ended with an electric version of their global smash ‘Everyday People’.
My verdict for my first ever WOMADelaide? Well, it did not disappoint by any means. I experienced so much diversity, not only in culture but in genre, identity, and performance. To all the performers, crew and everyone involved in the festival, you are all amazing individuals.
The biggest takeaway for me is the idea that music is always evolving, and so should we with our music taste. To anyone who says new music is not that good – dig deeper. Go outside the programmed music delivered to you and discover something unique. You might be surprised at what you will find. I had never heard of many of these artists before the festival, and now I think they will be on high rotation for a while.
Words Brad Pine and Tobias Handke
Want more pics of WOMADelaide? Check out our full photo gallery here.
