WOAMD: One Day At the Academy Stage
Discover what went down at the Academy Stage and why it’s an important part of WOAMDelaide.
Words Sarah Duggan // Image supplied
This feature was created as part of The Music Writer’s Lab 2026.
If attending WOMADelaide for the first time has taught me anything, it’s that there is an incredible amount of talent pouring out of South Australia. Northern Sound System’s Academy Stage at WOMADelaide gives emerging local artists a platform at one of the country’s most renowned festivals. Northern Sound System’s purpose is to cultivate creativity within South Australia through developing various programs and networks, and this stage is one of their more recent endeavours.
Across the four days, 25 acts graced the stage, each bringing their own flavour of South Australia’s live music scene to the crowds wandering through Botanic Park. For many of these artists, performing live is a new experience - and what a stage to do it on. With over 100,000 people attending the festival over four days, not only does it offer them exposure to a diverse demographic, but it also allows them to soak in the creativity flowing through WOMADelaide.
But what does an opportunity like this actually mean for local musicians, and what doors can it open? Curious to find out, I parked myself at the Academy Stage for an entire day, immersing myself in the performances and chatting with some of the artists about what it meant to them to be there, and where they were hoping it would lead them.
Singer-songwriter Ashton Fraser kicked things off on Saturday, day two of WOMADelaide. Armed with nothing more than an acoustic guitar, a pedal and a knack for writing charming songs, Fraser’s energy immediately pulled people in.
Playing music since the age of three, and being entirely self-produced, this opportunity felt like a long time coming for Fraser. “The stage is metaphorical and physical… I might have a couple people interested in my music now because they saw me play. It’s one thing to have them on Spotify, but to have a stage where you can actually play your songs, it just makes this so special.”
Next up was Monya, a recent alternative folk trio who instantly proved that they’re an act worth keeping an eye on. Forming in late 2024, Monya have already released an EP, Paper Thin House, with a sound that was perfectly suited to the festival setting. The evident connection between the three bandmates - Grace, Hamish and Scarlett - was beautiful to witness, and their set left me curious, wanting to learn more about them and their influences.
“All of us write stuff - it’s not collaborative, but it is the three of us… One of us will have a song pretty much written, and they’ll bring it to the band, and we’ll arrange it and work on it.” Hamish shares, still riding the high of their performance.
With individual musical influences ranging from ‘70s tunes and funk to modern bands like Geese, they’ve seemed to create the perfect recipe for their sound.
The value of exposure at a festival like WOMADelaide is priceless. All it takes is for the right person to walk by at the right time, which Monya experienced. “Someone from Three D Radio came up and said it was great and she wants to get us on Live From Studio Three.”
Nat Luna followed later in the day, bringing with her a welcome burst of pop. Performing in her wheelchair, Luna made the stage her own, encouraging crowd participation. Her presence on stage was a reminder of how important accessibility and representation are within live music spaces.
Catching up backstage, Luna shared, “I’m really excited to build my community and people that enjoy my music and the message I’m spreading. My goal for this show was that I wanted the people here watching me to just have fun. That’s all I really care about in the moment.”
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Wandering around at WOMAD, it seems like they’ve thought of everything. There are smooth paths over rough terrain for wheelchairs and prams, as well as ample space in every setting.
From Luna’s perspective as an artist performing at WOMAD, they checked all the boxes. “They built me a fuck-ass ramp to get on stage. It was so incredible, and I think they’re really setting a good standard for access at shows and festivals. I came a couple of years ago, and the viewing platforms are great, I rate them.”
As evening hit, Darcy James Cheatle drew the biggest crowd of the day so far. By this point, festival goers were well and truly settled into the rhythm of the day and ready to move, and Cheatle delivered exactly the kind of set that the moment called for.
Closing out the day was Maybe Hugo, who brought the warm folky vibes back to the Academy Stage. With layered instrumentation and a relaxed stage presence, it was the perfect closing act.
This marked Hugo’s sixth-ever performance, but you wouldn’t guess that with such a natural stage presence. “For me, playing here gives me an audience I just wouldn’t be able to reach… Also, the crowd here, they just really love their music. If you watch any acts, there’s barely any phones out… people are in it. It’s amazing.”
Looking back at last year’s Academy Stage lineup, a few acts immediately stand out. Cagefly recently announced they’ll be supporting Stella Donnelly on tour, and effie isobel has been receiving tremendous success, with her single ‘Moon Made’ being featured on triple j and Rage.
It’s easy to see why the stage works so well within the festival itself. Positioned in a space where crowds are constantly passing through, it naturally draws people in. Curious listeners stop for “just one song,” before settling in for an entire set.
As someone visiting from interstate, spending a full day at The Academy Stage was eye-opening. There’s something special about the way Adelaide champions local artists, which was a sentiment echoed by the ones I spoke to. Other festivals could surely take a leaf out of WOMADelaide’s book. The talent I witnessed in one full day at the Academy Stage is proof that Adelaide’s live scene is thriving and the future is looking blindingly bright.
