Blab Music
29th Rainforest World Music Festival Highlights Tradition-Modern Fusion in Sarawak
The 29th Rainforest World Music Festival (RWMF) opened its gates on June 25, 2026, and ran through June 27 at Sarawak Cultural Village near Damai Beach—a venue that has cradled the event for almost thirty years. Over the three days, more than 200 performers from 13 countries took the stage, while Malaysian icon M. Nasir, British acid‑jazz outfit Incognito, and American funk pioneers The Commodores headlined a lineup that also included 12 acts probing the boundary between heritage and innovation.
A highlight was the return of Indonesia’s Sambasunda, a 14‑piece ensemble that re‑appeared at the RWMF for the first time since its 2004 debut. Led by composer Ismet Ruchimat, the group opened the second night with a gamelan intro before launching into compositions that fuse Sundanese scales with rock, jazz, and world‑music textures. Ruchimat explained that the group’s goal is “not choosing between tradition and modernity, but finding a balance between the two.” The set also showcased bajidoran, a contemporary Sundanese style that blends traditional instruments with modern arrangements and has become a hit among younger listeners.
The festival’s theme of living tradition came alive through acts like Sarawakian duo Ta’Dan, who performed the kulit bungkau—a mouth‑harp from the Kadazandusun community of Sabah. Prostasindra Agatho of the duo emphasized that preserving traditional music hinges on people’s willingness to keep practicing and loving it. Musicians from Thailand, Spain, and Benin joined the program, fusing folk instruments with jazz, hip‑hop, rock, and electronic beats, illustrating how local sounds can converse on a global stage without losing cultural identity.
The RWMF began as a mission to preserve the sape, the boat‑shaped lute of Borneo’s Orang Ulu communities, and has since evolved into one of Asia’s premier world‑music festivals. Sarawak Tourism Board chairman Dennis Ngau told reporters that the event “keeps the momentum and the interest, especially in indigenous music that you cannot find anywhere else in the world.” The festival’s roots run deep in the Sarawak Cultural Village, situated between Mount Santubong and the South China Sea.
Attendees praised the festival’s blend of familiar stars and hidden gems. Michael Capel, a 39‑year‑old visitor from Kuala Lumpur who returned after a decade, said he had come primarily to see M. Nasir but was equally drawn to performers he had never heard before, naming Ta’Dan as a standout discovery.
M. Nasir opened the event with classics such as “Gerhana Dalam Jiwa” and “Satu Hari di Hari Raya,” closing with “Raikan Cinta,” a song celebrating rain, oceans, and love that echoed the rainforest backdrop. The festival’s finale featured Incognito’s high‑energy rendition of Stevie Wonder’s “Don’t You Worry ‘Bout a Thing” and selections from their latest album music.magic.ironic. Bandleader Jean‑Paul “Bluey” Maunick remarked that the band maintained the momentum until the very last note, hoping the experience would linger in attendees’ conversations.
With Sunday’s closing act, the 29th RWMF delivered a clear message: traditional music in Southeast Asia is not fading but evolving, propelled by artists willing to experiment while staying rooted in heritage and by audiences eager to explore new sonic landscapes. Organizers have already begun planning the 30th anniversary, slated for June 25–27, 2027, and are working to assemble an even stronger lineup with fresh headliners.
A highlight was the return of Indonesia’s Sambasunda, a 14‑piece ensemble that re‑appeared at the RWMF for the first time since its 2004 debut. Led by composer Ismet Ruchimat, the group opened the second night with a gamelan intro before launching into compositions that fuse Sundanese scales with rock, jazz, and world‑music textures. Ruchimat explained that the group’s goal is “not choosing between tradition and modernity, but finding a balance between the two.” The set also showcased bajidoran, a contemporary Sundanese style that blends traditional instruments with modern arrangements and has become a hit among younger listeners.
The festival’s theme of living tradition came alive through acts like Sarawakian duo Ta’Dan, who performed the kulit bungkau—a mouth‑harp from the Kadazandusun community of Sabah. Prostasindra Agatho of the duo emphasized that preserving traditional music hinges on people’s willingness to keep practicing and loving it. Musicians from Thailand, Spain, and Benin joined the program, fusing folk instruments with jazz, hip‑hop, rock, and electronic beats, illustrating how local sounds can converse on a global stage without losing cultural identity.
The RWMF began as a mission to preserve the sape, the boat‑shaped lute of Borneo’s Orang Ulu communities, and has since evolved into one of Asia’s premier world‑music festivals. Sarawak Tourism Board chairman Dennis Ngau told reporters that the event “keeps the momentum and the interest, especially in indigenous music that you cannot find anywhere else in the world.” The festival’s roots run deep in the Sarawak Cultural Village, situated between Mount Santubong and the South China Sea.
Attendees praised the festival’s blend of familiar stars and hidden gems. Michael Capel, a 39‑year‑old visitor from Kuala Lumpur who returned after a decade, said he had come primarily to see M. Nasir but was equally drawn to performers he had never heard before, naming Ta’Dan as a standout discovery.
M. Nasir opened the event with classics such as “Gerhana Dalam Jiwa” and “Satu Hari di Hari Raya,” closing with “Raikan Cinta,” a song celebrating rain, oceans, and love that echoed the rainforest backdrop. The festival’s finale featured Incognito’s high‑energy rendition of Stevie Wonder’s “Don’t You Worry ‘Bout a Thing” and selections from their latest album music.magic.ironic. Bandleader Jean‑Paul “Bluey” Maunick remarked that the band maintained the momentum until the very last note, hoping the experience would linger in attendees’ conversations.
With Sunday’s closing act, the 29th RWMF delivered a clear message: traditional music in Southeast Asia is not fading but evolving, propelled by artists willing to experiment while staying rooted in heritage and by audiences eager to explore new sonic landscapes. Organizers have already begun planning the 30th anniversary, slated for June 25–27, 2027, and are working to assemble an even stronger lineup with fresh headliners.
