This summer, I abandoned my annual trip to Reading in favour of Green Man, favouring a line-up closer to my own preference for folk and Americana. I wasn't expecting was such an wonderful festival experience however, perhaps my most enjoyable to date. Whilst the atmosphere my have lacked some of the youthful exuberance of larger events with more mainstream artists, it was friendly, welcoming and relaxing. There was thankfully an absence of VIP segregation, because it wasn't necessary. Everyone could get close to the action, enjoy gourmet food and avoid queues, with an absence of visible security presence or an obtrusive invasion of privacy each time you enter the arena. Instead, the trust placed in the audience, which varied in age from young children to people considerably more aged than me, was rewarded.
Just as important to Green Man is the gorgeous setting in Glanusk Park in a lush, beautiful valley. The mountains may be less dramatic than Coachella's, but the oak trees felt as spiritually nourishing as the palm trees in the desert. Whilst it's not necessary to take layers of warm clothes to the Polo Fields of Indio, anyone who has queued up in the heat there would appreciate being able to walk from your car to the main stage in less than 15 minutes. Perhaps I would feel a little less in love with Green Man had it been a rainy weekend, as so often in this part of the world, but it has an inclusive feel, a chance to enjoy nature alongside the arts, and to understand how inextricably the two are often linked.
Musically, my overall highlight was North Carolina's Jonathan Wilson on Friday, the Laurel Canyon sound feeling perfectly suited to the pastoral surroundings, and seemingly taking a journey back through time. Daughter's set later on that day benefited from imaginative lighting and a hushed atmosphere, whilst it was wonderful to watch Beirut's acoustic instruments close the day. Yet the outstanding discovery was surely the sunny Norwegian pop of Highasakite whom I expect will fill a similar niche to Of Monsters and Men; lead singer Ingrid Helene Havik is a charismatic presence.
Saturday's highlight was as expected my personal favourite Sharon Van Etten, but my first experience of War on Drugs following this set was also memorable, and they made a far bolder impression than on their albums. Another new discovery was the delicate indie folk of Mutual Benefit, whilst the Angel Olsen and Zachary Cale also made a strong impression on me. Sunday was cut short by work commitments, but Oklahoma's Other Lives' orchestral folk had an almost dream like quality amidst this landscape, whilst Samantha Crain was mesmerising in the intimate Walled Garden and Nick Mulvey uplifted a young crowd on a sunny main stage.
There is so much variety of space and sound at Green Man; there really is a niche to allow everyone to find happiness, solitude and communion with others. This festival also places no restrictions on camera equipment, which allowed me to pursue my own passion for photography. This festival, started by a handful of Welsh hippies, has already found a very special place in my heart; I hope to return regularly.
I've posted photographs of my favourite artists at Green Man on separate pages:
Day 1
Day 2
Day 3
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