Take a 10-minute tour of magical music from around the world at WOMAD festivals 40th

The WOMAD festival has evolved over four decades as the foremost organisation founded to promote and support what contentiously came to be known as ‘World‘ music. Providing a platform for musicians and performers, mainly non-Western and often from formerly remote regions, and hailing them as progressive proponents of sound and vision. In turn popularising this wide genre, especially in the UK, where WOMAD has since risen to become a renowned and respected international music institution. An enduring beacon of a festival, amid a sea of many, it is a Pandora’s box of culture, creativity, and discovery, featuring some of the best local and global sounds around.  Wendyrosie Scott, a former freelance BBC ‘World’ music specialist reports;

An atmosphere of revelry and reverence saw the 40,000-strong crowd immerse themselves in what was a dual celebration in 2022. The annual festival jubilantly returned post-pandemic after a resultant 3-year gap, further buoyed by celebrating its 40th anniversary. No mean feat given the politics, logistics, and bureaucracy involved in bringing so many artists from all over the world, to the UK and beyond. Over decades. Cementing its stance as the leader in the genre.

To give WOMAD its full moniker, the World of Music, Arts and Dance was founded to celebrate these many and varied forms of performance and culture around the world. Well known musician and co-founder Peter Gabriel, explains “Pure enthusiasm for music from around the world led us to the idea of WOMAD in 1980 and the first festival in 1982”. Adding “These have always been wonderful, unique occasions which succeeded in introducing an international audience to many talented artists. The festivals also allowed many different audiences to gain an insight into cultures other than their own, through the enjoyment of music. As a universal language, it draws people together and proves, as well as anything, the stupidity of racism.”

To put things into context;

I first attended an early edition of WOMAD while a schoolgirl. My friend and I were somewhat vague with the truth to our parents about staying away for the weekend. We then hitched hundreds of miles (eventful in itself) to a festival in a field. Excitedly aware that bands were coming from all corners of the globe to play native ‘traditional’ music and where, it was the mesmerising and devotional music of Nusrat Fateh Ali Khan in which I unexpectedly immersed myself. From a distant recollection, he and his musicians played throughout the night for hours, way beyond the allotted time slot. Yet along with the few others in the tent, no one left! This historical show has since emerged as one of those had-to-be-there moments, amid several significant editions of WOMAD. Expanding from what was a small underground scene and desire for music from ‘other worlds and lives, it has grown to several festivals around the globe, a music label (REAL world), and a charitable foundation. Ever expanding to encompass for example, ‘talks in tents’ at its’ main Malmesbury site and participatory classes where audiences learn directly from the performers. It’s these elements that make WOMAD the successful entity it is, despite challenges.

World music?

Tradition is ever evolving as is the umbrella term-World music. Morphing since its inception, it remains a contentious term for good reason, as does its definition and exact date of initiation. In essence, it encompasses an enormous range of music including traditional, contemporary, roots, cross-cultural, fusion, native, and more dodgy terms such as ‘ethno’ so the list goes on, as does the multifarious challenges that follow. It primarily refers to non-European or American ‘traditional’ music and was coined from a white middle-class and likely male, perspective, around the 1980s (some say 1960’s) and after the inception of WOMAD…Since then a far more globalised landscape in music has emerged and there are anti-term protesters with good reason. But this warrants an article in itself and I am not about to go there, here!

Check out some old-‘new’ bands!

WOMAD’s ethos on anti-racism resonates as much today as it ever did. Music is a force to forge friendships and ‘fight the fight’ with culture as the vehicle and voice to create change. And while for some music and politics are one, WOMAD consistently and diplomatically manages to manoeuvre and deliver relevant quirky, and cutting-edge artistes. Often against the odds. Celebrating this landmark Birthday after attending many WOMAD’s makes me a very lucky lady! Having experienced countless precious and often life-enhancing musicians over the years, because this festival is all about being close up and captivated. May I, therefore, be so damn bold and suggest checking out some new-old bands?!
Performing in 1993- Ashkhabad from Turkmenistan, whose gold-toothed front man charmed and along with his group of seemingly ‘musical bandits’ played native instruments, archaic in appearance, they crafted romantic and haunting tunes that remain. Given sadly they do not… ..Huun Huur Tu from Mongolia gained a cult following as a result of their WOMAD appearances over the decades, especially in the heavy metal and rock scene where they’re regarded as Demigods! Employing their ingenious, otherworldly throat singing techniques, they held audiences transfixed. And with songs about their horses, what’s not to like! In 2012 the Manganiyar Seductions‘ simple but powerfully effective audio-visual show was a huge hit and highlight. With 38 musicians sitting singly in individual framed squares that illuminated as they played. A mix of Sufi, Muslim, and Hindu ecstatic traditional music transported listeners to the group’s Rajasthan desert origins and for those who saw the show, its simple effects were aesthetically and spiritually luminous long after…… Also, all power to the pertinently feisty Ukrainians, Dhaka Braka, whose fiery sound crackles with intensity and atmosphere in their mix of folk punk, when they performed in 2016. And as defined by all these great artists, their appearance and style duly complement.

What’s new in 2022?

Fantastic Negrito

This year’s Birthday bash secured the usual inspirational and an exquisitely offbeat kaleidoscope of musicians. Whether emerging or surviving, some are clearly on the brink of making it BIG. Cue the Californian-based Fantastic Negrito, headed by the multi-vocalist and superbly dandy frontman with a grandiose name to boot; Xavier Amin Dphrepaulezz. His repertoire ranges from soul, blues, gospel, and new wave punk, especially attitudinally. Add some New Orleans Mardi Gras jaaaaaaaaaaazz and a voice so soulful and capable he seems to channel several solid, mainly black and reverential musicians of old. Think Lead Belly with touches of Howling Wolf, Stevie Wonder, Prince, and Outkast. Plus a touch of early Rolling Stones-naturally given their influences, while retaining his unique sound. Backed by a stellar group of musicians and a keyboardist surely paying tribute to the one and only, Bill Withers. The most criminally underrated band around, and worth the price of the ticket alone. (I first saw them at Black Deer Fest 2019. A revelatory performative powerhouse, upon congratulating, he was very humble. Likely due to really living life. And also almost dying).

Across the 4 day festival, it’s always a game of figuring out what to see. New to me was the London-based Mariachi Las Adelitas an international mix of women from around the world, subverting norms and playing the standard mariachi repertoire as well as contemporary interpretations, such as Amy Winehouse’s noted Back to Black. Their potent concoction of dynamism and tenderness resulted in tunes that touched the heart and head. Equally, it’s such a rarity to see so many powerful, capable women in what remains a male-dominated music industry, and where the immediacy of their aural and visual presence overwhelmed and unexpectedly made me shed a tear! I was fortunate to be in the photographer’s pit (up front, taking pictures) and felt the full force of the two trumpet players, accompanied by sorrowful vocals. But it was the effusive, contagious joy and good humour of the band that triumphed. All red costumed, smiling, sombrero-wearing women! (Apparently a favourite of actress Salma Hayek)
Another exciting discovery was Johanna Juhola with Reaktori from Finland whose accordion interpretations of Argentinian tango traversed tradition and eras past, to firmly forge forwards to the future. Employing electronica, deft key-work and in hand with her band- Reaktori amped up the accordion to reshape it with her striking Scandinavian sound and style.
While likely to not be received well to say, the Rizwan Muazam Qawwals as the related successors to Nusrah Fateh Ali Khan were disappointing-personally seeing them for the first time after much hype. Perhaps like anyone, they were having a bad day but I watched several people leaving their evening performance, where they never seem to fully ‘find their footing’ and establish their sound. Admittedly such devotional performance is more often meant to be played for far longer than the sets allotted. Perhaps then WOMAD, it’s time to bring back the ability to allow this? In contrast, Nitin Sawhney was the musical antidote. Forever adapting, transgressing, morphing, producing, DJing, and inviting other guests to participate, he is a musical polymath. Of course, the Qawwals healing meditative music is altogether more ‘pure’ and ‘traditional’ (though they too have collaborated previously) Sawhney is a stalwart veteran and a consistent crowd pleaser used to enveloping himself in all that WOMAD propagates, such as unity, diversity, and spirituality. His performance was as well received as ever, especially the well-known and truly beautiful song Nadia, (with Nicki Wells).

WOMAD is the festival where specially selected artists imbue the music with an animal quality, human and non-human. Delivering the finest purveyors of ancient sounds often found beyond the urban environs many of us reside. In turn transporting audiences to other places, eras, and landscapes- initially at a time when the ability to travel to outlying regions was far from easy or accessible. And the notion of internet and digital was unimaginable! As a reformed festival addict, (read as older and not as ready to rough it) visiting a host of sensational festivals around the world including Burning Man and Glastonbury, WOMAD is the fest that brings me back, more than any other.

Check out their forthcoming festivals around the world

For more info visit www.womad.co.uk

By Wendyrosie Scott