If a country is nicknamed the ‘Land of Song,’ you can be sure that the quality of its folk repertoire and the talent of local songwriters are hard to match. Thus, standing out in the Welsh songwriting scene is no easy feat. However, since 2022, when we had the revelation of listening to Edyf, her second full-length release, we would have very few doubts if someone asked us to suggest an up-and-coming Welsh artist…

Cerys Hafana‘s sound is deeply rooted in the Welsh tradition, despite her being born in Manchester—yes, the very place where Womex will take place this October! At the same time, her music is challenging and goes far beyond traditional boundaries. Cerys’ approach to music is both reflective and iconoclastic, rethinking the triple harp—her chosen instrument of disruption since she was eight—to uncover its raw, emotive power. This has placed her at the forefront of a movement that both preserves and shakes up Welsh musical heritage, suggesting new possibilities for the role of traditional instruments in contemporary music.

We reached out to her to dedicate a Musical Road to Womex episode featuring a Q&A and a playlist handpicked by Cerys herself.

Could you briefly introduce your music to someone new at Womex and share the key influences and origins of your unique sound?

As I child I studied classical piano and traditional Welsh harp music. I then decided that I liked alternative pop music and electronic music in my teens, and then briefly joined a 6-keyboard ensemble who played minimalist and post-minimalist music. Though I mostly perform on the Welsh triple harp these days, I like to think that all of these influences are part of my ‘sound’ and compositional process.

Could you share a personal anecdote or experience that impacted your musical journey and the evolution of your sound?

I think one of the most influential events of my musical journey has been the Festival Interceltique de Lorient. I’ve been almost every year since 2018 and each year have a memorable or strange experience. The first time I went, I performed with an ensemble of traditional Welsh triple harpists in a disused underground reservoir. Another year I had the chance to perform in the city’s football stadium for 8 nights in a row. Last year I got to hear one of my own compositions being performed by a bagad (sort of like a 60-piece Breton bagpipe orchestra) in the festival’s prestigious bagad championship, which was probably a career (and life) highlight.

In a world full of diverse musical genres, styles, and traditions, how do you believe your music stands out and brings something fresh and exciting to the audience’s ears?

I think that the harp has a lot of stereotypes attached to it. People see a harp and immediately start thinking of angels and Celtic goddesses. I don’t really identify with any of that, and often have people tell me at the end of gigs that they don’t usually like harp music but liked my harp music. I try to approach the instrument in a much more rhythmic way than people expect from a harp, and also think my particular harp has a much more ‘raw’, imperfect sound (combined with my imperfect playing technique!), which I try to embrace.

As Womex is not only the Worldwide Music Expo but also a lively global music funfair, are there any showcases you’re looking forward to attending and enjoying or artists participating that you would like to meet during those five days?

Apart from the other two Welsh artists who are performing at WOMEX this year, Gwenifer Raymond and N’famady Kouyate, I’m not very familiar with any of the other acts playing there, which is exciting! Usually the gigs I enjoy most at festivals are the ones where I had no expectations, and just found myself there by accident.

This edition of Womex will take place in Manchester, a city with a vibrant cultural scene and rich music history. Are you particularly passionate about any act coming from the city and how has the city’s musical heritage influenced your work, if at all?

I was actually born in Manchester, and lived there until I was five. My parents met in a band run by Manchester-based performance artist Edward Barton. It was called Pudding and I think the peak of their career was having their Christmas song included on the Observer’s list of the top 10 alternative Christmas songs (the song was called “Little Christmas Eve Thieving” and I think it’s up on Youtube). As it’s the reason my parents met each other, I guess it has to be the Manchester band that’s had the biggest impact on my life!

Womex is a unique opportunity to share and showcase your music with new people and inform them about your upcoming projects. Could you reveal some of your plans for the future?

I recorded a lot of solo piano compositions at the beginning of the year, and will be releasing the first batch of those in September to coincide with the two-year anniversary of my last album, Edyf. Otherwise, I’m hoping to get more time in the autumn to work on new harp material. I’m going to be touring again in early 2025, both in the UK and in mainland Europe, so I want to have some new things to play then!

Aside from that I’m also very keen to play a pipe organ, if someone would like to let me into their church.

If you had to draft an invitation card for our readers to join you at Womex and enjoy your showcase, what would you write in it?

Come and listen to some sad Welsh harp pop. Hopefully it will make you cry.

Cerys Hafana will grace WOMEX with her sad Welsh harp pop and hopefully make you cry
on Friday 25th October at the Horizons Stage, Albert Hall, from 9PM

PLAYLIST: CERYS HAFANA X RHYTHM PASSPORT

- You can find all the previous episodes of Musical Road to Womex HERE -