WOMAD 2025: THE VEILS & NZTRIO

Photo: Karen Inderbitzen-Waller & Delphine Avril Planqueel

In a powerful and stirring collaboration, The Veils, led by the enigmatic Finn Andrews, join forces with NZTrio—Amalia Hall (violin), Ashley Brown (cello), and Somi Kim (piano). 

Known for their haunting melodies, poetic lyricism, and brooding intensity, The Veils have carved out a distinctive place in the alternative music scene. NZTrio, smashing preconceptions of classical music being stuffy or intimidating are celebrated for their exceptional artistry and captivating repertoire.

The Veils

The band are now Finn Andrews, Sophia Burn, Dan Raishbrook, Henning Dietz, Uberto Rapisardi but began in a different formation back in the early 2000's. 

Finn Andrews is London born but spent his teenage years living with his mother and sister in his grandmother's house in Auckland.  

Largely uninterested in school, he played in many bands (one of which played at a folk club on Mt Victoria, Devonport).  It was then that he started to write material for the band that would later become  The Veils' debut album 'The Runaway Found'.  

At 16yrs, he sent a set of demos to record companies overseas and The Veils were signed almost immediately to Blanco y Negro, an indie/major hybrid imprint led by Rough Trade's boss Geoff Travis. 

On 19 August 2002 the band released a promo only single "Death & Co.".  Three months later they released 'More Heat Than Light'  and then "The Leavers Dance" in February, the following year.  

With contractual disparities and artistic differences kicking off between the head of Warner and Geoff Travis the album was delayed. The Blanco Y Negro label was eventually disbanded.  The dispute turned into a nasty court battle.  The Veils eventually regained ownership of their master recordings from Warner Music and by mid-2003 Geoff Travis had signed them to Rough Trade Records.

They recorded four more songs with producer Bernard Butler (ex-Suede), and the band finally released its first Rough Trade single, "Guiding Light" in July 2003. 

Single releases of "Lavinia" (November 2003) and "The Wild Son" (January 2004) led to 'The Runaway Found' finally hitting the shelves in February 2004 and receiving rapturously reception by the critics.  

But by the time of its release Andrews was unhappy with the direction the band had taken and, allegedly following altercations between him and other members, The band's first incarnation split mid-2004, just 2 months after their debut release.

Andrews left the UK early 2005 and toured solo around America and Japan, eventually returning home to Aoteroa.  He spent the summer working with high-school friends Liam Gerrard (keyboards) and Sophia Burn (bass) and then the trio returned to London they were joined by Dan Raishbrook (guitar) and Henning Dietz (drums). 

They recorded with producer Nick Launay in LA in early 2006, with the resulting album being the well regarded classic 'Nux Vomica' whch had a darker, heavier, more complex sound and augmented by string arrangements by ex Lounge Lizard Jane Scarpantoni.  Many of the songs reminded of Johnny Cash and Nick Cave, goth and Americana combined.  The singles were 'Not Yet' and 'Jesus for the Jugular' follow by "Advice for Young Mothers to Be" (September 2006) and "One Night on Earth" (April 2007). 

The band followed up with another 4 albums 'Sun Gangs' (2009), 'Time Stays', 'We Go' (2013), 'Total Depravity' (2016), '…And Out Of The Void Came Love' (2023) and two additional EP’s, 'The Troubles of the Brain' (2011) and 'The Abbey Road EP' (2013). 

Finn’s debut solo album 'One Piece At A Time' was released in 2019. 

The Veils have toured consistently throughout their twenty year history and garnered a formidable reputation as one of the world’s greatest live bands. 

They have also been praised by film directors Paolo Sorrentino, Tim Burton and David Lynch who have all used their music on their soundtracks. 

Together, they will bring a fresh dimension to The Veils back catalogue alongside a focus on tracks from the beautiful forthcoming album 'Asphodels', set for a 2025 release. This will be their  seventh studio album, recorded live to tape over five days at Roundhead Studios, Auckland.

WOMAD audiences will get to sample material from their back catalogue alongside the new works, including their latest single, 'The Ladder', supported by the NZ Trio (who the collaborated with Finn Andrews in 2021).  

NZ TRIO

Somi Kim (piano), Ashley Brown (cello), Amalia Hall (violin) Photo: NZTrio

From their website: "Described as a “national treasure” and “New Zealand’s most indispensable ensemble” (William Dart, NZ Herald), NZTrio is renowned for its eclectic repertoire, outstanding talent and warm kiwi stage presence. Any preconceptions of classical music being stuffy or intimidating are smashed by edgy repertoire, venue ambience, and post-concert manaakitanga. Bringing together three incredibly accomplished artists: Amalia Hall (violin), Ashley Brown (cello) and Somi Kim (piano), every NZTrio performance powerfully reaffirms the importance and cathartic nature of a live musical experience in today’s digital world. Expect to be affected."

Their list of collabs is astounding with many projects spanning the spectrum of contemporary pacific dance (Pacific Dance NZ, 2022-2025), contemporary dance (BalletCollective Aotearoa, 2021; New Zealand Dance Co., 2012/13), visual arts (Simon Ingram 2021/2022), taonga puoro (Horomona Horo, 2022/2019, Forest & Bird / PACT, 2022-2023), contemporary folk (Nadia Reid, 2022), alternative/indie (Finn Andrews, 2021), animated film (David Downes, 2009), theatre (Massive Co., 2013), voice (Simon O’Neill, 2016) as well as cross-cultural music with masters of Chinese guzheng and Cambodian traditional instruments."

 

Get Ready! WOMAD 2025 Starts tomorrow!

Get ready, Aotearoa! 

WOMAD Aotearoa 2025 is set to bring you a weekend filled with incredible music, and endless fun.

Nestled in the beautiful Bowl of Brooklands, this world-renowned festival offers a unique blend of live performances, workshops, and global cuisine, all in a stunning outdoor setting.

This year, as always, features new and fresh local talent.  Jordyn with a Why, a soulful Māori-Samoan R&B artist who blends neo-soul grooves with occasional pop twists, to its already stellar lineup.

She will perform alongside an impressive mix of international and local talent, including Nitin Sawhney, the UK-based musician and composer renowned for his genre-defying music; Queen Omega, the powerhouse reggae artist from Trinidad and Tobago; Róisín Murphy, the iconic Irish electronic pop artist known for her bold, boundary-pushing sound; and Aotearoa’s own indie rock-power-pop group, The Beths.

The Dell has been transformed into a new and unique space. Relabelled the Tūī Stage, this will offer a relaxing sanctuary by day, featuring shaded seating, delicious food traders, and a refreshing bar. As the afternoon fades, it will transform as some of Aotearoa’s hottest DJs spin a mix of house, techno, and bass-heavy beats, flowing well into the night.

Over the three days of WOMAD, the revamped Tūī Stage will feature a handpicked lineup of DJs, each known for their ability to fuel the dancefloor.

Don’t miss Poppa Jax, a proud Wahine Māori, bringing an electrifying mix of future beats and international sounds.

Also on the lineup: Pixie Lane, with her unique blend of house, techno, disco, electro, and bass; Tim Richards, whose sets bring the heat with futuristic house and bass-driven analogue techno; and LittleWild, delivering high-energy house, indie-dance, and techno to keep you bouncing.

Ben Parkes will skillfully blend deep house, tech house, and progressive house, going B2B with Stace for a session packed with infectious energy, big rolling basslines, and feel-good vibes.

Representing Taranaki, Slimo brings his roots in hip-hop DJing and turntablism, while Hoetz delivers high-octane drum and bass, loaded with heavy basslines and signature double drops.

The full 2025 stage schedule is up now. 

In true WOMAD tradition, most acts will be performing multiple times across the festival’s diverse stages, giving fans ample opportunity to catch their favourite artists.

As well as the four diverse music stages, The Kunming Garden will once again host the World of Words, featuring poetry slams, author talks, podcasts, and comedy.

The OMV STEAM Lab will offer captivating sessions with innovators and visionaries across various fields, including marine biology, chocolate making, song creation, and the science of sleep—giving attendees the chance to explore new ideas and challenge the status quo. 

Te Paepae will celebrate Māori culture, while TOP Taste the World will offer interactive cooking demonstrations paired with live music, storytelling, and cultural anecdotes to nourish both body and soul. Artists will also share the artistry behind their traditional techniques in workshops held throughout the festival.

For young festival goers, Kidzonewill provide a whirlwind of imagination and colour and the Global Village will offer an array of food, fashion, art, and unique treasures with over 100 exciting stalls.




The full 2025 stage schedule is up now. 

In true WOMAD tradition, most acts will be performing multiple times across the festival’s diverse stages, giving fans ample opportunity to catch their favourite artists.

As well as the four diverse music stages, The Kunming Garden will once again host the World of Words, featuring poetry slams, author talks, podcasts, and comedy.

The OMV STEAM Lab will offer captivating sessions with innovators and visionaries across various fields, including marine biology, chocolate making, song creation, and the science of sleep—giving attendees the chance to explore new ideas and challenge the status quo. 

Te Paepae will celebrate Māori culture, while TOP Taste the World will offer interactive cooking demonstrations paired with live music, storytelling, and cultural anecdotes to nourish both body and soul. Artists will also share the artistry behind their traditional techniques in workshops held throughout the festival.

For young festival goers, Kidzonewill provide a whirlwind of imagination and colour and the Global Village will offer an array of food, fashion, art, and unique treasures with over 100 exciting stalls.

Plus, don't miss out on our interactive workshops, where you can learn new skills, dive into different cultures, and connect with artists up close.

WOMAD 2025 Bowl Of Brooklands 14, 15, 16 March 

Check it all out at the WOMAD website

Musician and Actor Marianne Faithfull dies at 78

Fashion Shoot for The Independent in the 1960's

By her own admission, Marianne Faithfull "didn't do conventional".  She was often known as the convent-educated teenager who abandoned school after meeting the Rolling Stones.  But there was so much more.  On one hand she was a picture of innocence, giddy with the highs of music chart success, before falling hard to alcohol and drug addiction. 

It was her 'whisky-soaked' vocals, made cracked and dusky by years of painful life experiences and addiction, that became her most endearing brand in later years.  

Her most famous song was 'As Tears Go By' and her 1979 No-wave classic 'Broken English', which spawned a string of hits including the title track and the 'Ballad Of Lucy Jordan'. 

Marianne Evelyn Gabriel Faithfull was born in Hampstead on 29 December 1946.

Her mother was Baroness Eva Sacher-Masoch.  She was a Hungarian, half-Jewish former ballet dancer, who fled her native country to escape the Nazi invasion during WWII.

Her father, Mjr. Glyn Faithfull, was widely known as the eccentric British MI6 agent who became a professor of Italian literature in later years.

Young Marrianne - Belfast Telegraph

Young Marianne was to spend her early years at Braziers Park, which was basically a posh hippy commune, founded by her father at an Oxfordshire country house.  In her autobiography, 'Faithfull' (1994/2000) she described the place as a "mixture of high utopian thoughts and randy sex".

Lady Sacher-Masoch later divorced Mjr Faithfull and moved in with her then six-year-old daughter, Marianne, to a terraced house in Reading.  She discouraged any further contact with her father.  Bitterly, Marianne said she was raised like "one of her mother's cats".

Marianne was often sick with tuberculosis.  She was sent to St Joseph's Roman Catholic boarding school.  Her father objected, she says in her book, He complained that the nuns would "give her a problem with sex for the rest of her life".

While at the convent, Marianne began singing folk songs a cappella at coffee-houses in Reading.  Before long, her unique and exquisite style, and obvious talent, opened a gateway to 'Swinging 60's London'.  

With the Rolling Stones

During a Rolling Stones launch party in 1964, as a guest of British artist John Dunbar, and was 'spotted' by flamboyant record producer Andrew Loog Oldham.  He, famously, described her as an 'angel with impressive vital statistics'.

Oldham was also the Rolling Stones' manager at the time, and saw an opportunity to package her up as a new pop star, - a useful vehicle for songs that weren't quite right for the Stones, who at the time were predominantly a rhythm and blues band.  Jagger and Richards wrote the gentle ballad, 'When Tears Go By', but they dismissed it as a "piece of tripe".  Oldham gave it to Marianne Faithfull and it became a major hit for her. 

It "fitted me so perfectly it might as well had been", she said.  The melancholy classic, sung in her detached, husky,wintry voice, reached the UK Top 10.  Not to be out done, the Stones, disappointed by missing a hit, they recorded their own version a year later.

Marianne, then did follow up singles, including 'Summer Nights', 'This Little Bird' and - her highest chart success - 'Come and Stay with Me'.

Inspired by her doe-eyed looks, Bob Dylan wrote her a poem - but tore it up when she turned him down.  

Instead, in 1965, Faithfull married John Dunbar, and birthed their son. Yet, soon afterwards, she left the family home and moved in with Mick Jagger, who was not her first Rolling Stone. "I slept with three of them," she later said, "and then I decided the lead singer was the best bet."

Either way her influence on the Stones proved significant.  The hits 'Let's Spend the Night Together', 'You Can't Always Get What You Want' and 'Wild Horses' were written about her, apparently.

'Sympathy for the Devil' was so-called inspired by 'The Master and Margarita', by Russian author Mikhail Bulgakov was introduced to Jagger by Marianne.

And due to her fame, as one of the faces of the 1960s, Marianne was also able to carve out a side-career as an actor, appearing at London's Royal Court in an adaptation of Chekhov's 'Three Sisters' with Glenda Jackson.

Infamously, she became the actor ever to utter the F-word in a mainstream movie, Michael Winner's comedy drama 'I'll Never Forget What'sisname', in 1967, which also starred Orson Welles.

One year later, she appeared opposite Alain Delon, playing a doomed, leather-clad glam girl in 'The Girl on a Motorcycle' - an erotic, romantic drama film directed by Jack Cardiff, also starring Alain Delon.  Her character's psychedelic fantasies and erotic scenes made the the film gain the first ever X-rating in the USA.

Then there was the drugs.  A lot of drugs. 

During raid on the Sussex house of Keith Richards' Marianne was caught naked, draped in a fur rug (which she took 'indecent pleasure in occasionally letting slip'.)  There were filthy allegations involving a Mars bar.  Marianne insists this was complete fiction.  

Yet the continuous drug busts and addiction took a great toll on her reputation. "It destroyed me," she has said, reflecting back on that time. "To be a male drug addict and to act like that is always enhancing and glamorising", she explained.  But, "a woman in that situation becomes a slut and a bad mother."

In 1969, Marianne wrote one of the Stones most chilling songs, 'Sister Morphine' with Jagger and Richards'.  Under contention, the lyrics -later the subject of a legal dispute with the band - provide a terrifying insight into the effects and impacts of heroin and cocaine addiction.  Especially the lines "The scream of the ambulance is sounding in my ears. Tell me, Sister Morphine, how long have I been lying here?"

Finally, her relationship with Jagger, fell apart at the turn of the decade and consecutively, Mariannel lost custody of her son.  Then her life really began to spiral out of control.

There was a suicide attempt, which left her in a coma.  She became an alcoholic and an anorexic heroin addict.  She took to living in a bomb-damaged building in London's Soho district.

Looking back on those years she told the BBC in 2002 that she considered her addiction as a 'kind of brutal therapy'... "I was in agony and I healed myself as best I could," she said. "One of the ways was with drugs, because they are painkillers...It was all too much for me... I really didn't like my gilded cage."

Vocally, her voice changed, impacted by drug abuse, laryngitis, continuous sickness, giving her a  permanently rough, gravelly, lower pitch.

Then, almost a decade after splitting with Jagger, Marianne returned with a triumphant New Wave album, 'Broken English'.  Shedding the 1960's innocence, replacing it with harsher post-punk world-weary experience.  The final track, 'Why'd Ya Do It?', a rant from a woman reacting to her man's infidelity (Jagger, we think) is the most personal.  The Rolling Stone party-girl becomes the sophisticated gravel-voiced muse. 

The album was a milestone for many New Wave artists.  The title track had the cold uncertainty of the early-80's Cold War, Reagan era.  Critical success was varied, but now has recovered, doing well in Germany, France and Europe. But, oddly only #57 in the UK charts.  But it did earn her a Grammy in 1981.  

Marianne moved to the USA, where her record company, Island Records insisted she go to  rehab.  Still under the spell of addiction, she had a string of accidents, likely induced by drugs, including a jaw break, and her heart stopping.  But she finally brought it all together and went on to release more than a dozen albums over the next thirty years.  

Always worried about money, she's auctioned off many of her 1960's memorabilia, most lately last year, claiming she 'preferred gardening to looking back'.

In her late 70s, she'd inherited her mother's ancient title and became, technically at least, a baroness .  She was of late living in Paris.

Illness continued to plague her, including breast cancer and hepatitis C scares leading her to cancel concert tours.  Then there was complications from a broken back and hip, and complications from Corona Virus, that made her think she'd never sing again. 

But she never gave up.  One her last projects was a record that put the words of Keats and Wordsworth to music.  And then her 21st album 'Negative Capability', which was described by the Guardian as  "masterly mediation on ageing and death", notable for 'They Come at Night', a wild, furious response to the Bataclan shooting in Paris in 2015.

The album also dealt with Marianne's own increasing frailty and loneliness and the loss of close friends, such as fellow Rolling Stones muse Anita Pallenberg.

We'll remember Marianne Faithfull for her connection to the Stones, her drug addiction, but also her remarkable output, her charm and her wit.  Her insistence to do things her way.  - proof a rock star's muse can become a respected musician and actor artist in her own right.

New Artist - WOMAD 2025 - Jordyn With A Why

Just announced: Jordyn Rapana, aka Jordyn with a Why, is a Māori-Samoan R&B artist making her mark with soulful, dynamic performances. Winner of the 2024 APRA Maioha Award for He Rei Niho and nominated for Best Māori Artist at the Aotearoa Music Awards, Jordyn’s music blends R&B, neo-soul, and pop to tell powerful stories of identity, cultural heritage, and language reclamation. Her unique sound and commanding stage presence have earned her recognition as an emerging talent in Aotearoa’s music scene. With a voice that resonates deeply and a passion for storytelling, Jordyn’s journey is one to watch as she continues to rise.

Discover new sounds, double up on your favourites, and curate your must-see lineup! With so much global talent packed into one weekend, the hardest part will be deciding where to start!

WOMAD Taranaki - Tui Chill and DJ Space announced

WOMAD Taranaki have just announced their re-purposing of the The Dell space.  This area, left of the main stage, will be re-imagined, drawing inspiration from the vibrant beauty of Pukekura Park, the home of WOMAD Aotearoa. 

By day,  the new 'Tui' space will be a laid-back sanctuary with shaded seating, food traders, and a refreshing bar.   But as the afternoon fades, the tempo rises and some of Aotearoa’s hottest DJs will take over, spinning house, techno, and bass-heavy beats deep into the night. The DJ line Up is below: 

POPPA JAX - AOTEAROA 

Auckland-based DJ, Poppa Jax is a force on the decks, known for her high-energy, genre-blending sets. A proud wāhine Māori, known for her eclectic influences and a love for Hip-Hop and Global Club sounds, she’s earned a reputation for dynamic, unforgettable sets that take you on an unforgettable sonic journey. Dubbed “New Zealand’s Queen of the Club”, she’s a standout on the EDM festival circuit.

PIXIE LANE - AOTEAROA 

Pixie Lane is an artist leaving her mark on the Aotearoa electronic music scene. As a George FM resident, she blends house, techno, disco, electro, and bass into a sound that’s all her own. Known for her talent for connection, Pixie’s sets take audiences on a journey like no other, where you should always expect the unexpected. With her innovative style and passion for pushing musical boundaries, she’s a selector who creates moments that stick long after the music stops. 

TIM RICHARDS - AOTEAROA 

Tim Richards has a rich history and has been involved in the New Zealand music and events industry for nearly three decades.  The award-winning DJ/producer has been a driving force in electronic music in both New Zealand and abroad and has earned support from global leaders like Carl Cox, Richie Hawtin, and John Digweed. His sound is a blend of futuristic house, bass-driven analogue techno and all the influences that make up the roots of these genres. 

LITTLEWILD - AOTEAROA 

Crafting cosmic musical journeys that transport listeners to otherworldly realms, LittleWild delivers high-energy, house, indie-dance and techno sets that are emotionally-fuelled and pack a punch. Infused with a distinctly retro-futuristic flavour, her signature sound bounces through synthy soundscapes, layers of percussion, warm melodies and existential vocal samples, over bed of uplifting and rolling basslines creating an electrifying journey of light and dark that captivates and connects. A proud wāhine and queer artist, LittleWild’s music celebrates diversity and inclusion, uniting the dancefloor in joyous energy. 

BEN PARKES - AOTEAROA 

Auckland-based electronic musician Ben Parkes is known for his vivid and energetic dance music, skillfully blending deep house, tech house, and progressive house. With his infectious melodies and meticulous production, Parkes creates a dynamic soundscape where the dance floor transforms into a haven of rhythm and movement. His music showcases exceptional attention to detail, from intricate percussion to hypnotic basslines, delivering an exhilarating experience that leaves audiences entranced and wanting more.  

SLIMO - AOTEAROA 

With roots in hip-hop DJing and turntablism, Slimo brings a cheeky lively energy to his sets that blend across genres to keep dance floors moving. His sound can be described as a funk-driven house groove with influences stemming from hip-hop and soul. With residencies locally at The Most FM and Our Place, and playing alongside the likes of Scribe, Body Ocean and Pixie Lane, he has established himself as a diverse selector with a taste for curating music that is sure to get you grooving

STACE - AOTEAROA 

Stace has been a driving force in the Taranaki dance, party and club scene for over a decade. From running the legendary Club 55 to co-founding the renowned Purple Paddocks music event, he’s left an indelible mark on the local music landscape. While Stace has shifted focus to a new career, his passion and love for house music remains. Returning to the decks for WOMAD Aotearoa, expect infectious energy and big, rolling basslines with feel-good vibes. 

HOETZ - AOTEAROA 

Taranaki-based Hoetz is a force on the decks, delivering high-octane drum and bass loaded with heavy basslines and signature double drops. A resident at Crowded House and a familiar name on the Aotearoa festival circuit, his sets are pure energy—built to shake the floor and ignite the crowd. Hoetz turns every set into an unstoppable, full-throttle experience. 

For more - check out  the full line up at https://womad.co.nz/

WOMAD 2025: PROTOJE + THE INDIGGNATION

Announced in November last year, Jamaican reggae artist Protoje and his band The Indiggnation will be joining the huge international line-up at WOMAD 2025 at Taranakie this year.  

The Roots reggae revivalist has gained international acclaim with a number of hits, including 'Who Knows'  ft Chronixx (215 million YouTube views and counting) – an anthem that was heard blaring through every sound system and party in Jamaica. 

Over the past 20 years, Protoje's recorded seven albums and many collabs with artists such as Jorja Smith, Alicia Keys and Wiz Khalifa.  

In 2015, he stepped into the mainstream as part of the “reggae revival” movement, gaining attention because of the addictive melodies and conscious lyrics.  

Born in Saint Elizabeth, to singers Lorna Bennett (Breakfast in Bed) and calypso singer Mike Ollivierre, Protoje blends hip hop, soul and jazz into the sounds of his native reggae and dancehall. 

He has performed on shows such as The Tonight Show Starring Jimmy Fallon and NPR’s Tiny Desk, toured to festivals including the Roots Picnic, Coachella and Glastonbury and received two Grammy nominations for Best Reggae Album, for A Matter Of Time (2018) and Third Time’s The Charm (2022).

His song "Switch It Up" with Koffee shined as the 2nd Song Selected on Barack Obama's 2021 Summer Playlist. 

He has toured with Ms. Lauryn Hill, headlined sold out shows and appeared on major festivals including Roots Picnic (U.S.), Coachella (US), Glastonbury (UK), Afropunk (US), Reading & Leeds (UK), Sole DXB (Dubai) and Lollapalooza (Chile), reaching audiences far and wide with his genre-fusing sound. 

He also founded his own label and management company Indiggnation Collective, "a significant incubator for Jamaica's new emerging soundscape" (NYLON) which signed talent from the island.  

In 2020, he inked individual deals for himself and Indiggnation Collective artists Lila Iké, Sevana and Jaz Elise with RCA Records. 

Protoje is an artist acutely aware of the passage of time, as evident by his album discography: 7 Year Itch, The 8 Year Affair, Ancient Future, A Matter Of Time, In Search of Lost Time and Third Time's The Charm. He received his two Best Reggae Album GRAMMY nominations for 2018’s A Matter Of Time and 2022’s Third Time's The Charm.

WOMAD 2025: Delgres

French power trio Delgres reinvent the blues into a sound that is a mix of hypnotised rock, earthy soul and caustic, anarchic garage. 

The Band is named after a hero in the fight against slavery in the French Caribbean, where singer-songwriter Pascal Danaë’s ancestors were once enslaved. His ancestors were enslaved on the French Caribbean island of Guadeloupe.  That ancester was Louis Delgrès, who led the fight against the re-institution of slavery there in 1802.  The island is where their musical journey begins, with the title track from their new album, '4 Ed Maten' (4 a.m). 

They're based in France, but their lyrics are mostly sung in Creole – and they tell stories, both lyrically and musically.  Their music is a vibrant vehicle for expressions of Danaë’s personal adventures, inner journey and family history. 

Building on his Caribbean touch, is the powerful beat of Baptiste Brondy’s drums and Rafgee’s reptilian bass lines on the tuba. A singer, songwriter, composer and musician, Danaë has worked with Peter Gabriel, Youssou N’Dour, Laurent Voulzy, Neneh Cherry, Ayo, Gilberto Gil and more, but feels that everything in his life so far has led to this moment and to Delgres.  

WOMAD 2025: Not Drowning, Waving + Talek

Not Drowning, Waving formed in Melbourne in 1983 by David Bridie and John Phillips making music which comprises elements of rock, ambient music and world music; their lyrics dealt with characteristically Australian topics: word-pictures of landscapes and people, the seasons, and some political issues – such as Indonesia's invasion of East Timor. 

The group have released six studio albums and two soundtracks before disbanding in 1994 (and briefly reformed in 2001, 2003 and 2005–2006).  From 2005 to 2007, they issued three compilation albums. Not Drowning, Waving won the ARIA Award for Best Independent Release at the ARIA Music Awards of 1992 for Proof, their soundtrack for the 1991 film of the same name. 

In 1991, Bridie and fellow members of Not Drowning, Waving, formed a side-project, My Friend The Chocolate Cake to play more acoustic-based material.  

They reunite with renowned Papua New Guinean musician George Telek to celebrate 35 years of Tabaran.  George Telek Mamua MBE, commonly known simply as Telek, is a musician and singer from Papua New Guinea. He has won one ARIA Award for this 1997 self-titled album. Telek sings in his native language, Kuanua, and in Tok Pisin. Many of his songs are sung in three-part harmonies that are characteristic of the Tolai.

Inspired by the rhythms of Rabaul, a culturally-rich town in PNG, the album fuses the band’s avant-garde pop-rock with local harmonies, melodies, and instruments. Rabaul is a township in the East New Britain province of Papua New Guinea, on the island of New Britain. It lies about 600 kilometres to the east of the island of New Guinea.

Their WOMAD Aotearoa performance unites original Tabaran musicians with dynamic new talent from PNG and Australia, honouring both the album’s legacy and PNG’s upcoming 50th anniversary of independence. 

WOMAD 2025: Talisk

One of the most talked-about folk bands of the 21st century, Talisk has been tearing apart stereotypes and redefining the folk genre for almost a decade. With more than 15-million streams, sold-out shows across five continents and headline appearances at festivals the world over, the Scottish trio has amassed a global following. 

Scottish folk band Talisk (Mohsen Amini, Benedict Morris, and Charlie Galloway) rose to prominence after winning the 2015 BBC Radio 2 Young Folk Award and the MG Alba Scots Trad Music Awards "Folk Band of the Year" category in 2017.

UK Reviewer Neil McFadyen of Folk Radio UK has described their music as being "driving, fiery". Journo Johnny Whalley noted that "their music draws on the Irish as well as the Scottish tradition and generally cracks along at a lively pace with concertina and fiddle vying for the lead, driven by Craig's guitar. The musicianship is phenomenal, the enthusiasm infectious and guaranteed to put a smile on your face."

Talisk are a purely instrumental band. Rob Adams of the Herald Scotland noted in a review that "in the absence of songs to vary the mood and tempo, they employ passages of reflection and trance-like motifs or offer a quiet melodic introduction."

They begun in 2015 with Mohsen Amini, Hayley Keenan, and Craig Irving. Irving left to join Mànran, and was replaced on the guitar by Graeme Armstrong.  The same year year the band won the BBC Radio 2 Young Folk Award.  Then Amini became the 2016 BBC Radio Scotland Young Traditional Musician.  Success continued, being named "Folk Band of the Year 2017" at the MG Alba Scots Trad Music Awards. 

Amini was then named the 2018 "Musician of the Year" at the BBC Radio 2 Folk Awards.  

The band's debut album, 'Abyss', was released in 2016, and their second album, Beyond, was released in 2018. That same year, they received the Belhaven Bursary for Innovation in Scottish Music, the largest music prize in Scotland.

Hayley Keenan left in 2021 to return to classroom music education, replaced by Benedict Morris and Armstrong left a year later to be replaced by Charlie Galloway.

Talisk are a purely instrumental but in the absence of songs, the mod and tempo varies greatly to create 'passages of reflection', trance-like motifs, spiralling themes, or, in contrast moments of tranquil, quiet melodic introductions.

Live they are a force of nature.  Wielding instruments that have rarely seen the likes of their music, At New Year 2022 they played BBC 1’s Hogmanay show to a huge television audience and, as the only folk act, amassed a vast, mainstream audience. 

They also headlined Glasgow’s iconic Barrowland Ballroom in 2024 as part of the legendary Celtic Connections festival. Their star remains firmly on the rise.

Merry Xmas, Groovers

 

https://derekart.com/

WOMAD 2025: NANA BENZ DU TOGO

 

Members of Nana Benz Du Togo : Lady Apoc : lead vocals / Izealedu : lead vocals / Parus Kekeli : lead vocals & synth / David Kasanku : Gazé Tuyau Toto Do It Yourself : drums

Mesmerising and exceedingly cool, this quintet from Togo brings a completely organic sound with electronic rhythms expressed through handmade percussion, drums, a Korg synth and three powerful female voices. Firmly anchored in the group’s voodoo heritage, their songs extol the value of freedom and the importance of respect for the planet and its inhabitants. “We’ve always been ecologists, without knowing it, because Voodoo is in fact Nature,” explains Izeale, one of the three vocalists. Nana Benz du Togo never really intended to put voodoo culture under the spotlight, yet they set alight the Transmusicales de Rennes festival in 2022 with a juggernaut of ceremonial electro-voodoo-soul and released their first album Ago in 2023.  It’s music that grabs you deep inside and makes you want to dance.

From their publicity materials 

"There are five of them, five, like the fingers of one hand, a hand ready  form a st,  slam down hard

on a table but also  gently caress the planet.

They all grew up in Togo, only a few frontiers away from Benin and Nigeria, several decades separa-

ting them from the great Fela, the man who turned a Yoruba proverb into a hit: Water No Get Enemy.

The members of Nana Benz also grew up with the knowledge that water was so precious it had no

price, and that Mother Nature was a figure  be celebrated.

In respect of the planet and its inhabitants lies at the very heart of their catalogue of songs,

songs firmly anchored in the richness of voodoo heritage, songs extolling the value of freedom in

English, French and Mina. Earth, wind, fire and water - Nature : that’s what voodoo is! 

“We’ve always been ecologists, without knowing it, because Voodoo is in fact Nature”, explains Izeale, one of the three vocalists. 

“At a given moment in our lives, we all dived headfirst into this heritage we had left

behind. And there, we discovered the power of voodoo, but also its scales, its incredible rhythms, and its wonderful melodies. And now we dive back in once more, body and soul, because we need to possess enough strength to carry these songs!”

Before walking down the path that led them to convents and voodoo ceremonies, these musicians

experienced many trials and tribulations. 

“When you have been raised in a Christian environment, when you sang the praises of Jesus Christ, it’s not easy to turn to voodoo”, admits Parus. “But when I lost my parents at the age of 13, I ended up in charge of the family, and with my younger brothers and sisters, I was looking for a beacon! And that’s where I discovered that voodoo is not just a question of dolls and all that evil folklore we have made up, but that voodoo is within all of us, it’s life itself. And that saved me...”

From that time onwards, Kasanku, Lady Apoc, Parus, Toto and Izealedu never really intended to put

this culture under the spotlight, yet they set alight the Transmusicales de Rennes in 2022 with a

juggernaut of ceremonial electro-voodoo-soul.

Many years of work in the shadows were required before Nana Benz dared get up on stage. 

First of all, there was a chance meeting during a musical workshop, piloted by Peter Solo (the man

behind the surprise and success of the group Vaudou Games, amongst other achievements). 

The five artists did not know each other yet, but instantly discovered that they were on the same

wavelength. The first musical seeds sown quickly flourished. They started out with this completely

organic rhythm, one that grabs you deep inside and makes you want to shake your hips. The

instrumentarium of the two percussionists became more than powerful despite being 100%

recycled. 

The formidable basslines were in fact created by two PVC tubes (the Gazé Tuyau), and a

suitcase belonging to Toto’s grandfather, “a voodoo travelling salesman who visited the four

corners of the earth”, provided a robust bass drum. Toto added genuine ceremonial pots belonging

to his grandmother to the mix, equipment used to prepare potions for the “voodoo practising older

ladies who would sing all the time, and whose voices ended up imprinted there”. 

These drums, charged with the voices of ancestors, quickly came to life thanks to the bass of the Gazé Tuyau and took on the name of “batterie Do It Yourself” (DIY drumkit). This organic groove gorged with subbass, and complex polyrhythms became a bedrock for the voices of three awe-inducing

electro-soul preachers, accompanied by a small vintage Korg keyboard. The setup is minimalist,

but oh so powerful, and managed to place thousands of spectators in a trance during the

Transmusicales de Rennes festival. 

“The trance in our music is supplied by repetitive energy! It comes straight from the heart, and this is why our message carries Nature within it, as we honour this Nature in all that we do”, explains Lady Apoc. “We compose a lot using the voodoo scales of the snake (Dan) and that of Mamie Wata”, confides Kasanku, a former bass player, who took four years to assemble his incredible Gazé Tuyau.

All that was left was to find a name for this truly atypical quintet carried aloft by three voices and

three very strong personalities. 

The band therefore settled upon Nana Benz, a tribute to the impressive wax print retailers of Lomé central market (Togo) who liked to drive a Mercedes Benz, women the powerful confided in as they knew better than anyone how to thread together the many strains of money and power, with feminist strength .... “We admire these women for displaying such courage and force within our patriarchal societies, but also voodoo, that teaches us that the material corrupts mankind, and that we must search for peace and harmony above all, so we are also far removed from commerce!”, adds Izealedu...

When the music starts, the five men and women who form Nana Benz are rise to this challenge with

flying colours!"

WOMAD 2025: O.

O. – the London-based duo of baritone saxophonist Joe Henwood and drummer Tash Keary – return with details of their highly anticipated debut album “WeirdOs” and a colossal new single titled “Green Shirt”.

The album is due out 21st June via Speedy Wunderground. Honing their fearless sound through a residency at Brixton’s iconic venue The Windmill, as well as on support slots across the UK and Europe with fellow heavyweights black midi and Gilla Band, O. have now distilled their unique live energy into their debut album, “WeirdOs”.

Featuring production from Dan Carey, WeirdOs is Tash and Joe at their most raucous and free. Across 10 tracks of high-octane instrumentals recorded live to tape, the duo encompass everything from cathartic dancefloor drops, to junglist breakbeats, intricate jazz lines, and sludgy, menacing doom metal.

Coming hot on the heels of last November’s debut EP “SLICE” – which won enthusiastic support from DIY, Dork, NME, Louder, and Rough Trade – the new single “Green Shirt” sees the band expanding on their ever evolving, epiphanic sound combining thundering blast beats with labyrinthine sax.

The band describe the single as “a short rock/metal rinse out. To match the distorted amp sounds coming from Joe, we put Tash's drums through distorted guitar amps on this one. It's named after Tash's favourite green flannel shirt, that was lost several times and then eaten by a dog.”