Womad Festival Returns: A Celebration of Planet-Spanning Music

The music and the moment

The Womad festival has made a highly welcome return as a celebration of music that spans the planet. The event is characterized by an environment where the line between spectator and performer dissolves entirely, with attendees interacting closely with headliners in queues and engaging in discussions long after main-stage sets conclude. This immersive quality is facilitated by a new arboretum layout that creates a cosier, village-like setup compared to previous iterations.

Musical highlights included performances from artists such as Barrington Levy, who delivered a standout moment by rejecting strict act times to play as long as he liked, and Daniela Mercury, whose set featured a fierce political charge, calling out for democracy. Other musical elements included the Garifuna Collective bringing ancestral grooves from Belize, reminding the crowd of shared heritage, and Oumou Sangaré commanding the main stage with messages of unity, such as 'Love is better, no war'.

The festival’s programming actively confronts political instability and the rise of rightwing populism through its talks stage. Green Party leader Zack Polanski addressed attendees regarding arms sales and rent controls, while The Lincoln Project’s Rick Wilson dismantled the mechanics of Maga. This integration of music with direct political discourse underscores a theme of shared plea for peace and solidarity across the event.

The festival also featured unique artistic moments, such as 83-year-old Aboriginal Australian elder Kankawa Nagarra delivering spellbinding desert blues and gospel, and Sabine McCalla’s vocals which were described as howling mid-song. The chaotic energy was also reflected in the performance of Seppuku Pistols, where a band member sustained an injury but continued playing, mirroring the intensity of the event.

The overall atmosphere suggests that the festival's longevity is anchored in its community, evidenced by stallholders like Marina at Ghana Goods who have been present for twenty-two years and counting. The experience highlights how music can serve as a powerful medium for collective expression and cultural exchange on a global scale.

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The festival is structured to allow for immersive experiences, with attendees interacting closely with artists and engaging in discussions on social and political issues through its talks stage and diverse musical offerings.

The Womad festival has returned, serving as a celebration of music that spans the planet and integrating political themes into its programming.

The festival took place on Sunday, with performances including those from Barrington Levy and Daniela Mercury.

The event took place in Neston Park, Wiltshire, in a new home following a year off in 2025.

The event involves various artists and attendees celebrating 'planet-spanning music,' including acts like Oumou Sangaré, Barrington Levy, Daniela Mercury, and Kankawa Nagarra, alongside political voices such as Green Party leader Zack Polanski and Rick Wilson.

It matters as it demonstrates how music can foster solidarity, address political instability, and create a space where the boundary between spectator and performer dissolves, reflecting broader global concerns.

‘Love is better, no war’ … Oumou Sangaré headlines at Womad festival.

‘Mr Promoter, don’t invite me to your festival and tell me to get off the stage. I’m fucking playing as long as I like.’ – Barrington Levy.

Womad festival review – ​hugely welcome return of joyous planet-spanning music fest

Additional context

The significance of the Womad festival extends beyond mere musical performance; it functions as a tangible demonstration of transnational cultural exchange and resistance against contemporary global divisions. The integration of political discourse, where figures like Zack Polanski and Rick Wilson directly addressed issues such as arms sales and economic policy alongside musical acts, illustrates a deliberate attempt to use large-scale cultural gatherings as platforms for civic engagement. This strategy moves the festival beyond simple entertainment into the realm of socio-political activism, positioning music not just as an aesthetic experience but as a vital tool for fostering global solidarity. Furthermore, the event’s structure, which emphasizes close interaction and shared space—the 'village-like setup' facilitated by the new arboretum layout—suggests an intentional effort to dismantle traditional hierarchical barriers often found in large music events. This physical arrangement mirrors the thematic goal of dissolving the division between spectator and performer, allowing for a more organic exchange of ideas that transcends linguistic or ideological divides. The presence of long-standing community members, such as stallholders like Marina at Ghana Goods who have been present for two decades, further anchors this narrative, suggesting that the festival’s enduring appeal lies in its deep, localized commitment to cultural continuity and shared experience, irrespective of external political turbulence. Consequently, the Womad festival serves as a critical case study in how contemporary music festivals can navigate complex geopolitical landscapes. By weaving together ancestral grooves from Belize with calls for democratic principles, the event actively reframes global concerns into a communal celebration. This holistic approach underscores the enduring power of music to create spaces where diverse worldviews can coexist and contribute to a shared narrative of planetary harmony, offering a potent counterpoint to increasingly polarized global discourse.