Festival Review: Green Man Festival 2024 - Brecon Beacons - Wales
There’s no better location for a festival in the UK than the idyllic setting of Green Man. In the serenity of the Brecon Beacons, and with a weekend of beaming sun, Green Man 2024 was truly an undeniably magical festival experience.
Green Man lives on its exotic programme of genres, covering techno, folk, indie and beyond. Thus, my Thursday Green Man experience began at the Walled Garden stage. The first act of my weekend was the Welsh band HMS Morris. The art rock group delivered a fascinating set, with a great synth-pop meets indie sound, full of synth riffage. My favourite track of the set was the condensely titled ‘Myfyrwyr Rhyngwladol' - which has a particularly infectious bass part. The Walled Garden stage is a stunning location at Green Man surrounded by foliage and incredible food stalls. A great start to Thursday.
Next I headed to the ‘Far Out’ stage - a visually similar setup to Woodsies at Glastonbury, with a huge tent structure overhanging the second stage. Here I caught the experimental electronic music collective Kokoko! From Kinshasa, Democratic Republic of the Congo, the group gathered a very large crowd with the Green Man faithful enjoying the entrancing rhythms and ‘call and response’ vocal chants.
Following this, Canadian punk rock band METZ performed on the Far Out stage. During this set it hit me just how incredible the sound system was at this arena. METZ heavy riffage and hypnotic drum grooves were the perfect lift in energy needed on Thursday - post the tiredness of carrying and pitching my tent. The set covered heavier noise-punk, to more melodic moments - and it was a great introduction to ‘rock’ at the festival. The mosh pit was thriving.
Thursday night's ‘headliners’ were Sleaford Mods, but instead I decided to check out K.O.G. in the booming Chai Wallahs tent. Kweku Sackey (aka K.O.G) is a multi-dimensional tour de force of a frontman. Backed by a large 8-piece band and brass section, K.O.G delivered one the most grooviest sets of the weekend. The overall sound is Afro-fusion with fierce raps and memorable vocal hooks showcasing his vocal range, with a sprinkle absolutely wicked dance moves. Chai Wallahs was absolutely packed, full of energy and positivity - with the Green Man faithful clearly having the time of their lives - and it was only Thursday.
After a fairly decent sleep in the general camping (shout out to the great facilities and also the incredible friendliness of all neighbours at the site) my Friday experience began at the idyllic ‘Mountain Stage’. This main stage has to be in one of the greatest settings for music in the country, with the Brecon peaks looming over - like something from Lord of the Rings. The first act I caught was the fascinating Mermaid Chunky. The audio visual duo delivered a mesmerising set, featuring beautiful recorder loops, luscious synth textures, and ‘folk like’ dancing creatures entourage surrounding them on stage. It truly was an intriguing performance to witness. The highlight was the recorder driven track ‘Céilí’ which built to a luscious crescendo of echoey textures.
After this I caught the first part of British actor/musician Johnny Flynn on the same stage. His brand of English folk revival songs, backed with flute, resonator guitars and drums went down incredibly well with the crowd. It’s music that suits the landscape of the Welsh mountains. I then headed back to The Walled Garden to catch soulful duo MRCY. It is easy to see the comparisons to Marvin Gaye with this project with vocalist Kojo Degraft-Johnson having one of the most soulful voices I’ve ever witnessed. The band delivered a grooving set of timeless musical warmth paired with socially consciousness lyricism and virtuosic instrumental performances. One of my highlights of the weekend.
I then headed up to the ‘Far Out’ tent/stage to check out Beak> - a supergroup of sorts featuring Geoff Barrow (of Portishead), together with Billy Fuller (Robert Plant's Sensational Space Shifters) and Will Young (Moon Gangs). The trio’s set of bass driven krautrock inspired tracks was entrancing, with vocal moments sounding almost Sabbath-like. My favourite track was ‘The Seal’ - a repetitive, yet groovy breakbeat propelled piece. “I know this crowd is full of Strava dads” humorously exclaimed Barrow at one point - at least they’re self-aware of their demographic. One constant I enjoyed about the whole set was the deliberately lo-fi vocal effects. It was one of the most unique performances of the weekend.
I then returned to the main stage to watch This Is The Kit - one of my favourite artists. Fronted by British songwriter Kate Stables, the band delivered one of the most emotionally touching sets of the weekend. The show culminated with the poignant ‘Keep Going’ - accompanied with a Green Man-choir singalong outro. Kate’s voice was beautifully pitch perfect and partnered with gorgeous textures of guitars and harmony vocals. It was a delightful show of warmth and quality songwriting that was a pleasure to witness.
The wholesomeness continued through English singer-songwriter Arlo Parks and her band. Arlo’s set is an entrancing watch, as she meanders gracefully through emotionally charged hits ‘Eugene’, ‘Caroline’ and ‘Too Good’. Backed by her skilful band and tape machine stage set, Arlo enchanted the large Green Man crowd. The set climaxed with the 2022 single ‘Softly’, a wonderfully dazzling chorus and singalong track. Arlo continues to deliver R&B infused indie perfection, and was a welcome dose of pop at the festival.
Following Arlo, I headed to the Far Out stage once more, to catch the much less-wholesome rock band Fat White Family. The band performed manically, whipping up a frenzy in the crowd. A deep red mist descended at Green Man as the band frantically performed cuts including fan favourites ‘Touch The Leather’ and ‘Without Consent’. They put on an incredible showing and proved themselves to be one of the nation’s best chaotic bands. It truly feels like a rock show on the brink of collapse.
I then briefly watched the intro of Scottish alternative legends The Jesus and Mary Chain. Accompanied by a visually stunning lighting arrangement, and some of the biggest sounding guitar tones I’ve ever heard, the band went down a treat at Green Man. The quiet moments are gorgeously textured, while the louder drops fill the tent, the bass especially slicing through in a lovely heap of fuzz.
Sadly I had to promptly leave in order to check out electronic pioneer headliner Jon Hopkins back on the main stage. As Hopkins’ set time approached and then passed, the crowd’s anticipation grew into a mix of excitement and confusion. Finally, after half an hour, the lights dimmed, and from the very first note, the audience was captivated. Turning around, you could see the wide-eyed expressions of sheer adoration as the crowd was enveloped in his intricate textures.
Despite technical difficulties that left the show without its AV screen, there was no sense of anything missing. The set's pacing was impeccable, guiding the audience on a journey that felt nothing short of transcendent. As the penultimate track - a remix of Flume’s ‘The Difference’ - played, the entire crowd was entranced, fingertips stretching toward the sky, reaching out for whatever divine place Hopkins’ beats seemed to emanate from. A euphoric end to Friday night at Green Man ‘24.
Saturday began at a new stage for me, The Green Man Rising, a gateway for new talent to be discovered by audiences and industry tastemakers. Here I checked out Welsh rock band Slate - dubbed as Wales’ answer to Fontaines DC. Slate really has got the indie charm. The supremely arrogant and flamboyant front man Jack Shephard flails across the stage to the new-wave riffs and hypnotic drum rhythms. They are a band to keep a keen eye on, and are a great example of what Green Man thrives on, introducing new talent to a willing audience.
The antithesis of this new young band was 74 year old Lonnie Holley back on the main stage. In what felt like a ‘legends slot’ of sorts, Lonnie and his band performed a fascinating set of soul meets gospel meets New Orleans jazz. With a unique vocal style, and a tight all-American band, Lonnie’s show was a fascinating watch and felt like an almost religious performance. Following Lollie was Dead Oceans signed alt rock band Wednesday from North Carolina. The band's sound ranges from melodic shoegaze tinged indie pop, to heavier scream led alt rock. Vocalist Karly Hartzman was in peak form as she leapt through her vocal range, accompanied by the invigorating mix of rock riffs and pedal steel. It’s like an indie band dressed in its Nashville best.
To briefly step away from the music for a moment, Green Man has some of the finest array of festival food vendors, shops and stalls. Throughout the weekend I ate incredible food ranging from simple burgers/pizza, to South Indian and Jamaican infused meals. Also the selection of vintage clothes stores, vinyl record pop ups and interesting shops puts Liverpool’s Bold Street to shame. There’s even a stall where you can have a ‘gong massage’ - if you’re into that kind of thing.
Back to the music, and I headed to the Far Out tent once more to witness the excellent Ibibio Sound Machine. The English electronic afro-funk band really got the Green Man crowd moving. Their unique disco sound infuses elements from 1980s afrobeat with '90s drum-and-bass. Vocalist Eno Williams soars above the infectious concoction of rhythm, singing elements in her mothers native tongue, Ibibio. I then returned to the main Mountain Stage to catch desert rock pioneers Tinariwen. The collective of Tuareg musicians from the Sahara region of southern Algeria and of northern Mali, were genuinely entrancing. Their guitar driven, crunchy, minor pentatonic and steel-string twang riffs, crafted the perfect mid afternoon set.
Later that evening I caught the penultimate main stage act Devendra Banhart. The Venezuelan singer-songwriter delivered one of the most diverse sets I’ve ever seen - touching on disco, psychedelia, and folk throughout. From beautifully introspective, to exclaiming ‘Wales it’s time to disco’, Devandra and his band's set was incredibly engaging - featuring several efforts to perfect his Welsh speaking between songs. Banhart was light, engaging, and eager to let the audience be part of the show.
Finally it was the turn of Big Thief - the set I have been eagerly anticipating for months. Out stepped Adrianne Lenker and co. and suddenly the whole field shifted, engrossed in every minuscule movement of each band member. The show began with Adrianne performing two tracks solo acoustic: ‘Orange’ and ‘All Night All Day’. Adrianne is one of the most remarkable singers/performers on the planet. She’s a vessel, delivering the most emotionally charged perfect storytelling, and there wasn’t a dry eye in the whole of the crowd. The band kicked in through the masterpiece that is ‘Simulation Swarm’. Buck Meek and Adrianne traded intricate guitar riffs atop a bed of rhythmical percussion and musical drums. This was a band in their prime - the finest example of what Green Man does - bring the best artists to the middle of Wales.
Mid-set during the stunning Vampire Empire, Adrianne stopped the show to address someone who needed help in the crowd. It was easy to get knocked off balance due to the pure emotional power of each track Big Thief glided through. One of my favourites was the unreleased track ‘Sweeter Skin’ with its perfectly familiar chorus “but I do love you…”. Adrianne tells us exactly how we feel, and her words resonate deeply within your soul. It’s an almost religious experience. The sublime headline set ended with another unreleased track ‘Incomprehensible’. A ballad that puts ‘Knocking On Heaven's Door’ to shame, the song was the final kick in my heart.
“But the soft and lovely silvers are now falling on my shoulder
My mother and my grandma, my great-grandmother too
They wrinkle like the river, sweeten like the dew
And as silver as the rainbow scales that shimmer purple blue” - sings Lenker. She is one of the greats.
Incomprehensible resulted in a mass singalong of a track no-one has even heard before. Throughout the night Big Thief performed 7 new songs - and they all felt like old friends I’d known my entire life. This was truly the greatest headline festival set I’d ever witnessed. Once the music had finally stopped, I looked around at those near me. We were all in an emotional state. It was magical.
Sunday I awoke with a tangible sadness, knowing this was the last day of the magical festival that is Green Man. My sadness however disappeared watching the slick alt rock outfit ‘The Mysterians’. Opening with the dark and anthemic ‘Sink Ya Teeth’, singer Lia Metcalfe’s uniquely soaring, yet smokey voice rose across the Far Out tent. Partnered with moody red lighting, the thumping guitar and bass riff driven songs got the Green Man crowd in motion. Moving to the main Mountain Stage, I caught the end of LA indie rock outfit Blondshell. The project of Sabrina Mae Teitelbaum, Blondshell’s shoegaze guitar driven tracks sounded huge, despite only being backed by a 3 piece band. ‘Kiss City’ was the highlight, a swooning, swirly ballad.
Keeping with indie, I then returned to the Far Out stage to check out viral Aussie indie-rockers Royal Otis. In less than 12 months, Royel Otis has become one of the biggest exports from the Australian music scene, and it’s no-wonder. Singer Otis Pavlovic’s beautiful vocal was lovingly smothered in reverbs and delays, and sounded incredible amongst the luscious bed of vintage synthesisers and jangly guitars. Indie hits like ‘Oysters In My Pocket’ and ‘Sofa King’ sounded immense - it almost felt like a headline set, with a huge crowd packed into the tent. And of course the famous cover of ‘Murder on the Dance Floor’ popped off - sending the crowd into delirium. It was truly a special set. They’re only going to get bigger.
Now, if you’ve never heard of Omar Souleyman, you need to see him live. If you were to look him up, it says his occupations are ‘Singer’ and ‘Farmer’. The 64 year old Syrian singer has reportedly released over 500 albums, and has become quite a cult hero. And at Green Man festival, who drew an enormous main stage crowd. His music is described as a modernised version of the traditional Dabke - it’s like techno Arabic music, and it is fantastic to witness. The scenes in the crowd as he performed hit ‘Warni Warni’ were incredible, towers of people on shoulders, circle pits of dancing, arms outstretched to the sky. It was a magic thing to watch. Omar is simply accompanied by one keyboardist, who seems a virtuoso in this field, performing incredible scalic solo passages, and even bongo drum solos, all on one Korg piano. He is a charismatic performer, looking out and clapping - it must have been incredible for him to see so many people here in the middle of Wales absolutely adoring his performance. What a man.
A little while later I caught Black Country New Road back on the main stage. The group of 6 multi-instrumentalist wizards performed a lovingly whimsical Baroque meets folk set. They are a band that underscores the idea that music is primarily an art form meant for expression and experimentation. There are quiet moments of beauty, including solo guitar/piano songs, and moments where all instrumentalists perform luscious arrangements. It was a fascinating set. Following them and delivering a more simple objective (to dance) were London quintet Ezra Collective. The group turned the main stage into a party, jumping down into the crowd with their instruments, delivering a mix of reggae, dancehall and fusion bangers. They were the perfect ‘pick-me-up’ festival band to really lose all your fears and worries too. It might have been Sunday night, but it felt like a Friday night disco.
Closing the festival main stage was South London singer, songwriter, musician and record producer Sampha and his band. Firstly, the stage arrangement and lighting was phenomenal, with the band being organised in a semicircle with Sampha in the middle, in what looked like a UFO of vintage synths and drum machines. What a band they were, cruising through the R&B infused electronica, including tracks like the entrancing ‘Suspended’ and ‘Plastic 100°C’. The beautiful ‘(No One Knows Me) Like the Piano’ was a lovingly poignant moment mid set, with Sampha’s pure, pitch-perfect vocals wrapping you like a warm hug. ‘Blood On Me’ was my highlight, a quietly building song, it crescendos into a huge chorus of piano and sub bass. It lyrically shows Sampha at his most vulnerable as he plunges into an extreme form of anxiety. It’s frenetic, and it’s addictive to listen to.
And just like that it was over. From the sublime beauty of Adrianne Lenker and Big Thief, to the verging on insanity that is Omar Souleyman, Green Man truly is a festival that can say it has it all. In a scene with an increasing number of cookie-cutter, boring indie music festivals, Green Man rises above, with its serene setting and fantastic mix of great music.
Words by Euan Blackman
