The WA Music Festival That Doesn’t Focus On Headline Acts: ‘It’s About The Whole Event’

Phaedra Watts has been involved with southwest WA’s Nannup Music Festival for 20 years.

First it was as one of the many volunteers who make it work. 17 years ago she became full-time Programmer and Festival Director/Programmer for 13.

Watts made her name internationally for the free spirit with which the festival operates.

Firstly, it actually started out as a folk music club, in the front room of Bernie and Rubela Wilborn’s home ‘Dry Brook’. The first Nannup Music Festival was held on the Easter of 1990 in the midst of centenary celebrations of the 1890 establishment of Nannup as a town.

With a focus on new emerging and indigenous artists (and an Emerging Artist award presented each year along with a Festival Director's award), it early on showcasing the likes of Gurrumul, Passenger, and Stella Donnelly early in their solo careers.

The festival does not focus on headliners. “Because your headliner will differ to mine,” Watts explains. “Because there are so many performers that for one reason or another haven’t hit the big time but perhaps should have.

“It’s about the whole event, the whole experience. It’s not just an act you are coming to see, it’s many. I’m certain that you will go home with a new previously unknown favourite.”

Out of 500 applications a year, Watts uses her gut instinct to make the choice.

The 2026 edition (February 27th to March 2nd) draws on many from WA, including The Gray Brothers, RatSalad, Timothy Nelson, Rick Neil Jr, Grub, Stella Moon & The Dark Knights, Kangaroos With Machine Guns, Tanaya Harper, Downsyde, Blue & Bird, and Helen Townsend & The Wayward Hearts.

The net is cast wider to NSW (Nathan Cavaleri, Mack & Cook, Emily Lubitz, Vanessa Jade), Victoria (AC Saunders, Albert The Second, Liv Cartledge), Ireland (The Ocelots), Canada (Belle Miners, Inn Echo, Mia Kelly, Nico Paulo) and the US (Steve Poltz, Jeffrey Martin, Rachel Laven).

Others are making the trek from South Australia (Anya Anastasia), Northern Territory (Eleanor Jawurlngali Dixon, Gleny Rae Virus And Her Grass Brazoos), New Zealand (Tess Liautaud), Scotland (Elephant Sessions), the ACT (Fred Smith) and the UK (Winter Wilson).

Watts and her team work closely with the First Nations communities when programming all aspects of the festival.

“Absolutely, this has been something that’s been very important to me for many many years,” she says. 

“It’s really wonderful to have an event that is so welcoming and attentive and to have an audience that trusts my programming and has come to expect to see some of these incredible performers that don’t often get the same opportunities as metro bands.”

Environment

Nannup’s environment also plays a large role in the festival.

Originally a timber town on the Blackwood River, it is surrounded by idyllic rolling hills and forests. There is a united cause by locals and visitors with respect and care for it.

Watts stresses, “Nature is a big aspect of Nannup, being surrounded by so much bushland. All communities, including the festival community are made up of so many people from all walks of life that come together to share in a common love – music! The site and the venues are right in town and within nature.”

The festival draws 4,000 ticket holders, with performers, volunteers, crew and others making up an additional 1,000. About 10,000 come without tickets. The markets and five free venues bring in 10,000 a day. The average age of attendees is between 45 and 60.

First timers to the festival are struck by how friendly and welcoming the place is. Watts describes it as “a bubble of love”. 

Over 100 acts from punk to folk play on nine stages. There are workshops and panels ranging from music skills and singing to death and mental health, along with poetry, camping, food stalls and artisan markets.

Last year they made a massive 10 foot x 5 foot love heart layered with love stories. Next year will see more love themed creations from ticket holders.

Watts is described by her colleagues as running the festival with a “let love rule” creed, working tirelessly to build the event “with vision, heart and an ethos that inspires people and changes lives.”

Her life was already busy when she joined the festival. She had three small children, and her partner (now husband) were owner-building their home brick by brick. She was involved in many community groups in the need for connection and creativity.

With midwifery and women’s health a passion, she was also doing a course for Mature Age entry to study nursing. Four weeks into a nursing degree, music won out.

She also trained as a doula, a non-medical companion who provides emotional, physical, and informational support to a person before, during, and after childbirth.

Working at the festival, she’s delighted to see a major transformation.

“It’s wonderful seeing the change in women and the industry over the years. Women are bloody incredible!” she enthuses. “I love them bringing their babies while they perform, seeing their power shine and shine onto their kin.

“It’s so special. Mums touring and letting their creative forces breathe is an honour to watch. We can do anything!”

We ask her response to the Saudi Arabia music festival last month announcing it was going to introduce female-only spaces. 

“I think that all festivals operate as they need to for their situations,” she muses. “Perhaps in Saudi this is an important space needed within a festival. 

“I don’t feel the need to do so for Nannup, it’s very inclusive. But we are also lucky that we can gather as women, yet The Red Tent idea is always an important part of strength and story. Women nurture and encourage each other ...mostly.”

Tickets for the 2026 edition of the Nannup Music Festival are on sale now.

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