Live Review: WOMADelaide 2015 - Day 1

This writer can only imagine what the Woodstock Festival was like back in 1969. Without doubt it was revolutionary and an experience that can never be replicated. But the essence can be deduced to a degree through such a beautiful idea as WOMAD Festival, which rewards with the open mindedness and talent it brings to the remarkable city of Adelaide every year.

The honour of introducing the thousands of attendees making their way into the beautiful botanical gardens to WOMADelaide 2015 went to folk/brass/rock nine-piece The Painted Ladies, featuring singer/songwriter Brisbane-based Luke Peacock and the distinguished Vic Simms. The band recreated the once forgotten, now acclaimed Indigenous “protest” album, The Loner, recorded by Simms in Bathurst Gaol in 1973.

Generating an atmosphere similar to California’s Doobie Brothers, it was simply delightful to be exposed to such an inspirational selection of. Stranger In My Country was exquisite and oddly calming even though the song was written in such a tumultous time for Simms. This scribe was barely half an hour into his first WOMADelaide experience and already felt like he’d inherited years of knowledge about Australian art, music, culture and history.

Trying to involve oneself with everything the festival had to offer, it was time to venture to a smaller stage to witness one the most hyped WOMAD performers in Osadia. Blending hairdressing, make-up artistry, trance music and some perplexing gestures, it was a peculiar, mystifying experience that was unquestionably filled with talent. Imagine Baz Luhrman directing a rave party version of Moulin Rouge and that almost describes what was on display.

An impossible to resist production was The Colour Of Time. Combining live music, dance and art, it was an act that was mesmerising, infectious and joyful. Each artist was draped in white clothing and interacted with each other through creating images in the grass with coloured sand or ashes or dancing with one another. Incorporating hip hop and street-inspired dance as well as some incredible ballet-inspired acrobatics, the main event occurred when the paint powder was smeared across each performer who was then to select audience members. What a way to advertise what one had seen than being coated in all the colours of the rainbow?

Returning to the simplicity of excellent live music, this was now being supplied by the enthralling Bombino, aka Omara Moctar, the unbelievable Tuareg guitarist from Niger. Singing in his native language of Tamashek and playing his guitar like it was actually an extension of his physical body, his performance was an out of this world display. Inspired by some of the greats of the guitar world – Stevie Ray Vaughn, Eric Clapton, Gary Clark Junior and even at times Sting – it was a splendid way to bring in the sunset. This was accentuated perfectly by the other players in his band, who respectively showcase a chemistry and aura that would be very hard to contest.

It was time to be transported to another part of the world and be a part of a very special farewell to arguably the most gifted traditional Cuban outfit in Orquestra Buena Vista Social Club. These veterans are maestros of the music world and flawless in their execution in a live scenario. The enormous crowd was incapable of standing still and the image of an inconceivable number of fans dancing and singing side-by-side made it all the more memorable. Joined by 84 year-old Omara Portuondo, who incomprehensibly sings more angelically than professionals of any era, still shakes her hips in pure excitement of performing – it was sensational. Quizás, Quizás, Quizás, better known as Perhaps, Perhaps, Perhaps, to the English-speaking world, was extraordinary and unforgettable. What was most fascinating about the whole experience was how impeccable and faultless the sound emitted by the ten-piece outfit was. It’s sad to have to say “adios” to these musicians of an unsurpassable calibre, but, as the outfit covered so wonderfully, they transported Adelaide “Somewhere over the rainbow.”

Another move in both music and cultural heritage – it was time to be crooned by the rock’n’roll gospel dancehall blues of C.W. Stoneking. His presence is so genuine it almost seems fake or seems to overreact, but that, amazingly, is just who he is. With a background involving being born in Australia but having a father, Billy Marshall Stoneking, American royalty, the ability is undeniable. Good Luck Charm, Tomorrow Gon’ Be Too Late, The Jungle Swing, Jungle Blues, Get On The Floor, Gon’ Boogaloo and Mama Got The Blues all made magnificent appearances and it was, in a word, magnetic. This was also possibly because of the all white suit outfit Stoneking was sporting, evoking the appearance of a prison chef but also forcing him to glow during his night time slot.

At this point the masses invaded the main stage to close out their night by being serenaded by the astonishing Rufus Wainwright, making it literally impossible to get closer than the treeline to observe his spectacular crooning. Whilst it was a charming way to conclude the night, it was to an extent a little too mellow to close out day one of the festival. There’s no doubting his cover of Leonard Cohen’s Hallelujah was divine, but proved more like having a night cap of Cointreau instead of a double vodka. Nevertheless, the ocean of people sitting and standing in the gardens in awe of this musician were testament to how radiant Wainwright is.

Formerly WOMAdelaide was only held every two years. Now annual, it’s four days and one of the most admired and desired festivals to visit our city. For day one it more than lived up to its reputation, exceeding all expectations and so much more. Twenty-sixteen seems almost too far away, but it’ll be a wait worth every day of torment just to be apart of it again.