Upon hearing that WOMAD would be returning to Redmond's Marymoor Park for a fourth consecutive year, I immediately began to wonder if some musical revelation might lie in store this time around--each previous annual installment has featured at least one act of unexpectedly tremendous artistry that single-handedly justified the entire festival's admission price. In 1998, it was Algeria's Waldemar Bastos, if only for the fact that his singularly sexy music continues to stand right alongside Marvin Gaye's in my "VIP Romance" section. Next up was the late Bernard Kabanda of Uganda, whose street-corner-bred guitar innovations would have charmed even the most jaded hipster. Last year's festival featured the equally charming Wendo Kolosoy, a pioneer of the timeless Congolese rumba style.

Prior to getting the news that WOMAD was coming back, I doubted that I'd even have the chance to pore over a 2001 schedule. Rumors had circulated that the globetrotting festival's Seattle run was on hold, and the speculations were well founded: One Reel (WOMAD USA's co-producers) had parted ways with WOMAD due to financial and artistic differences--and had even begun to organize a similar festival of its own. Nevertheless, U.K.-based WOMAD (led by Peter Gabriel) persevered, and got things rolling again. Consequently, One Reel's own festival has been drastically scaled back and moved to the Pier, but it's still scheduled to take place during WOMAD this weekend. The resulting conflict reminds me of an old-school Jamaica "sound system" showdown.

However, while the people always came out on top back in those days, this battle certainly does not better the public good. It's a shame that WOMAD audiences won't get a glimpse of Mali's hot-shit Super Rail Band. But make no mistake about it, WOMAD provides far more musical bang for the buck than "World Pop at the Pier," and its uniquely care- and hassle-free festival ambience (replete with numerous artist-led workshops) is a legitimate attraction in and of itself.

I'd like to see WOMAD adopt a less Euro-mad booking perspective next year. A more balanced "World of Music Arts and Dance" would be quite welcome, including, specifically, a few more obscure U.S.-based bands. In deference, geographic considerations ultimately have little if anything to do with value, and an intensive investigation into 2001's consistently formidable multi-stage lineup has turned up enough sure bets and possible hits to justify the $25 discounted daily ticket price. Friday's highlights include Isaac "Shaft" Hayes playing opposite the rootsy-yet-modern Ifang Bondi from Gambia. The Blind Boys of Alabama's fine gospel follows, alongside the often mesmerizing acoustic vibes of Mali's Boubocar Traoré, and the night wraps up with the transcendent Senegalese superstar Youssou N'Dour, who'll surely get plenty of his super-groovy mbalax roots down.

But don't automatically overlook the Trans-Global Underground's funky London fusions, especially if you're in the mood for dancing. Saturday's new arrivals of note (some acts play on more than one day) include Canada's Puentes Brothers (rumba-crazy Cubanos), Senegal's El Hadj N'Diaye (a defiantly eclectic singer), France's Lo'jo (a worldly, multi-kulti cabaret), Nigeria's Lágbájá (a way-funky Fela tribute!), Simon Shaheen & Qantara (oud/violin-led Arabic-fusion virtuosity, featuring three wicked percussionists), Baul Bishwa (Bengali party music), Steel Pulse (U.K. reggae pioneers), Chemirani Zarb Trio (Iranian zarb drum masters), DJ Peretz (Perry Farrell!), the Neville Brothers (possibly amazing, possibly cheesy--a wild card), Oysterband (a British folk-rock institution), and Gregg Allman & Friends (will his flask 'n' leather followers show up?).

Sunday introduces Imbizo (a cool Zimbabwean a cappella troupe, à la Ladysmith Black Mambazo), La Familia Valera Miranda (real-deal Cuban son!), Justin Adams & Salah Dawson Miller (possibly very tasty Anglo-Arabic blues fusions), and Peter Gabriel (solo acoustic and with the Afro-Celt Sound System). Peter's solo set will probably amaze, but I'm not so sure about his collaboration with the Afro-Celt Sound System. Afro-Celt's arranged stylistic marriage has always seemed, to these ears, fundamentally forced. I'll once again hope that I'm able to learn to love this dubious union, but I certainly won't worry about what might have transpired should I divorce myself to my car, hopefully still warmed by one very special memory from the long weekend's numerous trysts.