The very site of Green Man, nestled amidst the stunning Welsh mountains in Bannau Brycheiniog National Park, enhances its reputation as one of the UK's most magical festivals. With a laid-back, leisurely vibe, enchanting folk traditions, and a diverse music lineup, spending four days there feels like being part of a fairy-tale Welsh commune. There’s no phone signal, delectable food, and a celebration of unique music alongside uplifting new bands; it's widely accepted that there's no place quite like it.
This year's Rising Stage featured an exceptional lineup. Over the past three years, artists like English Teacher, Mandy, Indiana, and The Last Dinner Party have graced the stage, and this year's performances continued to meet high expectations. Kicking off Friday was Liverpool's cheerful A Lesser Version, a delightful indie-folk band whose songs are woven with jangly melodies and soft vocals. The band lots of hands followed on Saturday, fusing DIY emo vibes with fun electronic bursts, humorously stating, "This is our Smells Like Teen Spirit," before playing their sparkling single "mistake." RIP Magic, an electronic rock project influenced by Nine Inch Nails and created by Sorry’s Marco Pini and visual artist Felix Bayley-Higgins, delivered a surreal energy, standing in stark contrast to the equally captivating experimental pop-folk group Truthpaste.
What makes Green Man particularly exciting is its emphasis on Welsh music, showcasing the vibrant diversity of the current Welsh music scene. On Thursday night, the eerie Tristwch Y Fenywod captivated the Walled Garden with their haunting goth rock. Who wouldn't be intrigued by their howling electronic Welsh folk music that explores themes of witches and the moon? On Saturday, the Welsh-Corning pop star Gwenno mesmerized the audience with a performance on the Mountain Stage, combining stunning vocals with a humorous charm. Pys Melyn's laid-back stoner surf rock was delightfully positioned in the Walled Garden early in the day, with the band engaging casually with the audience in Welsh until they humorously declared their connection to Kneecap: "We’re just as Fenian as Kneecap… but maybe not as in your face about it."
A highlight of the weekend came from the psychedelic, country-influenced Melin Melyn, who magically transformed the Far Out stage into Melyn Village, bringing their whimsical flair. The villagers and the band, embodying the millers, celebrated with one last party before the landlord's impending closure of the Mill (and it's worth noting that Melin Melyn means 'Yellow Mill'). The crowd indeed partied hard during their whimsical set, with frontman Gruff Glyn charming the audience through an energetic, hilarious performance, even featuring a captivating Green Man dancer for a euphoric rendition of ABBA’s “Gimme Gimme Gimme.”
Another fantastic venue throughout the weekend was The Walled Garden, which showcased several intriguing acts, from YNWH Nailgun to Alan Sparhawk and Richard Dawson. Greg Mendez, often likened to Elliott Smith, delivered a stunning and intimate set, marking his first festival performance—and it was exceptional. Jasmine.4.t pulled in the largest crowd at the stage this year with her blend of Lucy Dacus-like guitar riffs and gentle folk vocals. A powerhouse on stage, she engaged the audience thoroughly, using her platform to address issues like the UK Supreme Court, Keir Starmer’s transphobia, and the protests against genocide in Palestine.
The Walled Garden also hosted perhaps the most memorable performance of the weekend—caroline. Despite facing some sound and technical issues, their highly anticipated set was gripping, capturing the intimate, chaotic essence of their recently released sophomore album. Beth Gibbons also enchanted her audience with a seamless performance of her solo album, interspersed with beloved Portishead classics like "Roads" and "Glory Box."
However, the weekend truly belonged to CMAT. Attracting one of the largest crowds Green Man has ever witnessed, the Irish popstar delivered a remarkable performance packed with energy, joy, and sheer entertainment. Her ability to engage the crowd instantly is impressive, and it’s clear she was destined for stardom. With exceptional songwriting, powerful vocals, cathartic dance performances, and a vibrant personality, CMAT is undoubtedly poised to become one of the most significant musical talents of this era.
Words: Tilly Foulkes
Photography: Patrick Gunning, Nici Eberl, Sanne Gault
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