“Location, location, location” may be the slimy mantra of the real estate world, but boy, does it hold true. It’s one reason Green Man Festival has won numerous awards, including Best UK Festival on five separate occasions. Nestled in the stunning Bannau Brycheiniog (Brecon Beacons) National Park in Wales, the four-day festival offers a vibrant mix of music, comedy, culture, and environmental causes. With a 25,000-person capacity, this medium-sized gem prioritizes vibes over cramming in crowds. Tickets sold out in under an hour last year, proving the festival’s charm keeps fans coming back year after year.
Day 1: Thursday, August 14
This year’s festival delivered a stellar lineup once again. The weather smiled on attendees, with glorious sunshine spilling over the backdrop of Crug Hywel (Table Mountain) and onto the site and campers. The lineup offered a perfect blend of buzz bands, indie heroes, and thoughtful folk. Gates opened Thursday morning, and excited campers barely had time to savor their third beer before crowd favorite Heartworms brought their gothic vibes to the Far Out stage. A quick wander through Green Man’s cozy surroundings—postman headquarters, kids’ theatre, and a man selling mushroom figurines—led straight to W.H. Lung, who once again proved their live show is far more powerful than their recordings. With a good-sized crowd getting down, it was a sign that the band has been steadily growing in popularity. And deservedly so.
Opening days at festivals are usually the quietest, but Green Man bucked the trend by booking Kneecap as Thursday’s headliner. Depending on who you ask, they’re either proudly outspoken or outright controversial, but at Green Man they were one thing—f’ing popular. Thousands watched the outdoor screen projecting the chaos inside the tent, where mosh pits, balaclavas, and cheeky banter made for a memorable set.
Day 2: Friday, August 15
On Friday, the festival and fans were in full swing. On the Rising Stage, Liverpool’s A Lesser Version delivered some effective DIY indie rock to a bleary-eyed crowd. Australia’s Delivery followed, starting off a little low-energy as they wrestled with hangovers. By the end, though, they’d rediscovered their filthy punk energy and had everyone back on board.
Over at the Mountain Stage’s world-class setup, South Africa’s The Joy delivered exactly that. Performing Mbube—the Zulu tradition of a cappella singing—the five-piece brought upbeat calm to the thousands lounging on the amphitheater-style grassy knolls. A change of pace was needed, and Pennsylvania’s Pissed Jeans rose to the occasion, revving up the crowd after hours in the sweltering heat. Their mix of hardcore energy and humorous lyrics proved the great tonic. And no, no jeans were actually soiled.
Rumors had swirled all day about who would play the surprise set on the main stage, and it turned out to be another Cone favorite: BC Camplight. Backed by a full band, his sardonic Beach Boys-meets-Elton John numbers were a real treat. The songwriter also looked like he was having the time of his life. He was the perfect lead-in to John Grant, who reimagined some of his greatest tunes—“GMF,” “Black Belt,” and more—in an electro style. It was a fun experiment, though stretched across a full set, it left you wishing some of the original majesty had remained.
Exploring the smaller stages, Hiro Ama’s entrancing tones caught the ear. A blend of bewitching flute and hypnotic synths, the Teleman drummer’s “music for harmony” captivated everyone. It was a nocturnal discovery you hope for when wandering aimlessly. But such peaceful moments were short-lived as Wet Leg took the Mountain Stage for their headline set. Their last tour had seen the band in giddy disbelief, suddenly performing on some of the world’s biggest stages and awards ceremonies. This time, the cottage-core aura long gone, they took the stage ready for war.
Frontwoman Rhian Teasdale brought a mix of brash Y2K aesthetics and a hench boxer’s physique, raising the band’s charisma to a whole new level. Big numbers like “CPR,” “Wet Dream,” and of course “Chaise Longue” thrilled the largest crowd yet. Faithful followers, casual listeners, and anyone just ready for a good time danced together in a wash of lights, fog, and confetti cannons. Their meteoric rise shows no signs of slowing anytime soon.
Day 3: Saturday, August 16
Saturday had big shoes to fill, but Green Man is nothing if not generous. London’s Sarah Meth kicked things off, bringing early Radiohead vibes to those sipping coffee and much-needed juices. For something equally ’90s but less atmospheric, L.A.-based Rocket proved grunge isn’t dead with gritty, back-to-basics fuzzed-out rock. Variety being the spice of life, eco-friendly, Afrofuturist-punk Congolese outfit Fulu Miziki brought good-time vibes to the main stage by lunchtime. Funky yet purposeful, the band has been giving a second life to rubbish since 2016, transforming it into instruments, costumes, and masks to highlight global pollution and the world’s treatment of Africa as a “dumping ground.” True crowd-pleasers, they embodied Green Man’s spirit perfectly.
The much-hyped MJ Lenderman & The Wind followed, though the songwriter’s stoned Americana didn’t quite hit live—much like his record failed to do. Traces of Neil Young and similar heroes weren’t enough to sway some crowd members. Perhaps our rain-soaked British souls just couldn’t connect the same way.
What truly landed, and became a weekend highlight, was the chaos of Fat Dog. Song about slugs? Check. Circle pits starting before the set? Check. Fans drenched in sweat and bruises? Big check. An hour of pure adrenaline and wildness. They don’t disappoint.
Saturday’s main draw, CMAT, lived up to the hype as well. The Irish indie-pop princess drew one of the festival’s biggest crowds, whipping through hits like “I Wanna Be a Cowboy, Baby!” and “The Jamie Oliver Petrol Station,” as well as “the Welsh national anthem”—a scrappy run-through of Catatonia’s late-’90s classic “Road Rage.” Hearing 10,000+ Welsh fans belt out a home-turf favorite was unforgettable. The set was, without a doubt, the weekend’s winner.
Day 4: Sunday, August 17
By Sunday, the flesh was weak, but the spirit remained willing. A quick wild swim in the River Usk cleared pores and washed away some of the weekend’s grime. Copenhagen’s Molina provided a soothing start, though perhaps a touch too spooky for the sleep-deprived. Luckily, the visceral sounds of Upchuck grabbed listeners by the neck and jolted them wide awake. They served proper gnarly skate and garage punk to get yourself riled up.
Moving on, New Zealand’s Good Habits delivered indie-folk storytelling in the Chai Wallahs tent, with their aptly named track “Sunday” serving as the perfect accompaniment to the first drinks of the day.
Eccentric power-disco duo Getdown Services’ “secret” set wasn’t much of a secret, as a few thousand people quickly surrounded the Round the Twist Stage. Most couldn’t see anything, but one attendee, for some unknown reason, was launching free bags of bacon-flavored fries into the sky—a classic bar snack, best enjoyed with cider. Being Dead might sound like the latest heavy metal act, but they actually deliver garage-meets-surf rock jangliness suited to summer vibes.
Divorce delivered a show they described as “the most fun they’ve had on stage,” and it was easy to see why. The Far Out tent was filled to capacity, with faithful fans singing every word. From there, the vibes only grew stronger. There’s a special joy in seeing an artist in disbelief at a crowd’s reaction, and by the set’s end—joined by a dancing hype man named Leo—the tent was alight. Intimate yet energetic, the set stood out as one of the festival’s most memorable.
As the sun set, Portishead’s Beth Gibbons proved an inspired choice by the bookers. With an enchanting voice like no other, Gibbons and her talented band of multi-instrumentalists drifted through cuts from her first solo album, last year’s Mercury-nominated Lives Outgrown, and Portishead classics like “Roads” and “Glory Box.” Those rushing back to the campsite for a change of clothes or fresh supplies were soon transfixed, unable to resist staying for a few numbers. It was utterly spellbinding.
By Monday morning, Green Man’s army of litter sorters was already returning the site to pristine condition. The sun had gone, and fog rolled down the mountain peaks. It was a fitting end to a (not quite) midsummer night’s dream. Fiercely independent, eco- and kid-friendly, the festival offered a rich mix of stimulating activities, crafts, and performances. It’s as perfect a festival as you could ask for.
Byline: Sam Walker-Smart
Lead photo credit: Patrick Gunning