"I love Jimmy Barnes and Cold Chisel," he says. "Especially Flame Trees. That song has a good feeling."

Ask Maymuru what he writes about and the shy father-of-six pauses to find the right words. "I sing about the land, the environment and the people," he says.

Set in the stringybark trees overlooking the Gulf of Carpentaria, Garma, which opened on Friday and finishes today, is in its 12th year. It has grown to become Australia's best established indigenous festival, showcasing the music and culture of the local Yolngu people.

As the festival unfolds, visitors from interstate and beyond mingle and chat with the locals, while indigenous policy experts meet to discuss everything from housing and fire management to this year's theme of education and training.

The festival is entering a new phase this year with the appointment of Rhoda Roberts as creative director. Roberts, who hails from Bundjalung country in northern NSW, says she was thrilled to be given the role by Gumatj clan leader and the festival's founding father, Galarrwuy Yunupingu.

He had seen her work at mainstream festivals - she founded the Dreaming Festival in 1996 and headed the Sydney New Year's Festival - and decided she offered the right touch.

"Galarrwuy was right," says Roberts, 51. "He said: 'We've been watching you. It's your time now.' "

For Roberts, the term festival fails to capture the spirit of what she describes simply as a gathering. "Every Australian should make a pilgrimage to this event," she says of Garma. "It's unique. We have the oldest race in the world and here we are running a festival open to the world to experience. It's just a taste of our first nation's people of Australia.

"For me it's about seeing the pride and empowerment in the young people and most importantly the inclusiveness and ownership they have of this event."

Roberts, who is also in charge of the artistic program, says Maymuru was an automatic selection.

"He's an incredible young talent," she says. "I actually think that if anyone here will make it to the bigger main stage, it's him.

"He an incredible songwriter and lyricist, combining contemporary but also traditional stuff. He also has a great understanding of rhythm and the highs and lows in songs and is a very centred performer."

While much of Maymuru's repertoire contains traditional songs, it's a self-penned song titled Bayini, about a spirit woman who protects the land, that is bringing him a lot of attention.

In a sign of his burgeoning influence, Maymuru has sold Bayini to musician and friend Geoffrey Gurrumul Yunupingu, who covers the song on his upcoming album. "It's a very clever move strategically," Roberts says.

At the festival Maymuru launched a solo, four-track EP called Local Knowledge. With a large family and a full-time job as an Aboriginal educational liaison officer, though, Maymuru has little time to record and perform live.

But he's happy this way. Family is his priority and he sees music more as an "arts project", touring when time permits and mentoring younger Yolngu artists.

"When I was on tour with Yothu Yindi I missed my family a lot," he says as he cradles his 11-month-old son. "My wife is very supportive. She's there when I need help."

Another fan is central Australian guitarist and Greens senate candidate Warren H. Williams. He says singing in native languages does not prevent Aboriginal artists breaking into mainstream markets.

"It's more a question of promotion and good management," Williams says.

"You need to train or hire someone to do it. And you must never give up."

As for her three-year tenure, Roberts hopes to incorporate more green initiatives into the festival's infrastructure, which copes with about 3000 people.

"This should be a great green event in the bush, but it's the infrastructure that holds us back," Roberts says.

"But in a way that's a great thing. Your mobile phone mightn't work and you might not get all your email but you get to take a breath for a moment. And we all need to do that."