WOMAD 2025: Sensory overload and solidarity

It’s not every day you see an act using PVC piping, a suitcase, and ceremonial voodoo pots as percussion. But WOMAD isn’t your typical festival.

Everyone from infants to the elderly were in attendance to watch Nana Benz Du Togo perform on night one, splayed on the grass, or moving in unison to the West African rhythms.

The band extolled the virtues of voodoo to a majority Pākehā crowd. Coming from three lead singers with such exuberance they undoubtedly converted some people.

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A strong smell of incense hangs over the merch tents. Nearby the Global Village has stalls offering masala dosa, pāua pie, paella and plenty more.

Some people wear shiny silver garb. Others gold. A good percentage of the 10,000 people in attendance are lacking footwear. Wigs are dotted throughout the crowd, as well as headgear like coiled fairy lights, neon bunny ears, and sequined fedoras.

WOMAD is a huge operation, descending on New Plymouth each year, and reliant on help from volunteers. One called Ana says she’s made the 6.5hr drive from Ōhope to help out every year since 2020. This time she’s transporting artists to the stage via buggy. She shares a name with one of her favourites: Cuban musician Ana Carla Maza.

Maza played on Friday and Saturday while the sun was still high, with only her cello and rhythmic claps from the crowd for accompaniment. She sang about the joys of her homeland and a love of coffee.

At the same time on the Bowl Stage, nestled in the venue’s natural amphitheater, The Veils were joined by NZ Trio for a spine-tingling selection of ballads. Nitin Sawney and band tore through UK soul, jungle, and jazz, for a head-spinningly diverse set. And Laughton Kora’s Black Comet were joined by a snazzy light show and custom visuals as they debuted their cosmic reggae-funk hybrid.

There are times in between sets when the music stops, and there’s just the gentle hum of conversation. In these moments WOMAD doesn’t really feel like a festival, more like a pleasant day in the park. The vibe is congenial first and foremost. Areas for over-65s to sit down are in front of each main stage.

A smaller one, the Tūī stage, hosted local DJ Poppa Jax, who commanded the space with her infectious energy. “I’ve got a little something for everyone”, she said earlier, and went on to provide just that.

Jordyn with a Why (real name Jordyn Rapana) is no stranger to a live show, but this was her first time at WOMAD. Before she played she said it was likely her largest crowd yet. With a full band including some impressive vocalists backing her up, she shone.

Performing on the Bowl stage, which only a few weeks ago hosted Te Matatini, it was only fitting Rapana let her reo Māori fly, in songs like the Maioha Award-winning 'He Rei Niho'. On the back of her white shirt, written in marker pen, was 'Toitū Te Tiriti'.

A kapa haka workshop ran later that day. In the same space a day earlier there had been a bachata dance class. For a period the only amplified sound was a repeated “one, two, three, four”, as dozens of people moved in unison to silent Dominican Republic rhythms.

Also on offer over the three days: yoga, tarot readings, and cooking classes from the musical guests. Scottish band Talisk hosted one of these, explaining haggis and ‘builder’s eggs’ with an abundance of charisma.

A small Tongan shop can be found nestled in the corner of the markets, a hard sight to miss with a chain of Tongan flags adorning the entrance of the stall. Selling a variety of tapa cloths, artwork, bags, fans, and even lamp shades, the owner says she’s been coming down to WOMAD for the last five years, provided the event doesn’t clash with Tāmaki Makarau’s Pasifika festival, which took place last weekend.

The second day wound down with another eclectic series of acts. O. made their saxophone sound like an alien death ray. Róisín Murphy’s carnival-pop transfixed an attentive crowd at the Bowl stage. Delgres sang songs of freedom with plenty of French charm.

There was an emotionally-charged set from Palestinian collective 47Soul, who dedicated their single ‘Ghost Town’ to “those still fighting to bring an end to the ongoing genocide in Gaza” to huge cheers. Their fusion of electronic heft with traditional Arabic styles was a high point of both nights.

The last act on the Gables stage was WHO SHOT SCOTT (Zaidoon Nasir), with fellow Iraqi musician Mikeyy in charge of the decks, and Tauranga Native Tia Drumma on percussion. They provided some of the highest energy of the event, with a noticeably younger crowd hanging on every beat.

More locals are on Sunday’s bill, notably Persian-NZ hip-hop artist Chaii, and power-pop favourites The Beths, alongside repeat performances from some of the international acts.

There’s so much to hear, eat, and experience at WOMAD, it can initially feel like sensory overload. But let yourself get swept up in it and the feeling you’re left with is one of solidarity.