Jeremy's Indie Music: August 2016

Edward Shape and the Magnetic Zeros

The organiser of Green Man, Fiona Stewart, summarised The Festival's appeal when introducing Wild Beasts on the opening evening. Without explicitly mentioning Brexit or Trump, she alluded to the fact this has been a difficult year, but assured us we were here to forget about negativity for the weekend. A number of factors added to this feeling of escape, primarily the beautiful natural location. The green mountains may bring rain, but this event is rooted in the local community, bringing tourism to its economy, reciprocated by the delicious local produce and refreshment on sale. More deeply, Green Man's values are progressive. This manifests itself in the total absence of commercial sponsorship or branding, the discreet security presence, which gives a sense of freedom, and its inclusiveness. The Festival encourages families, and gathers acts from the world of literature, science, film, and now theatre alongside music. A willingness to book female headliners paid off this year in an bold, confident set from Laura Marling. As expected, she brought subtle beauty, but also confidence, with the addition of backing vocalists and an assertive band demonstrating that she's developing her act to communicate to larger audiences.

Laura Marling

The benefits of openness to other cultures also paid off in the promotion of Mali's Songhoy Blues to the main stage this year: they surprised many with their infectious energy, and were surely one of the most joyful acts of the entire weekend. Yet, for me they were surpassed by Kamasi Washington, the jazz artist who worked on Kendrick Lamar's album and is more than anyone else right now winning new audiences for a genre some believed was static. Any risk taken in booking Charlotte Church was also more justified when some of the crowd had to be turned away from a packed Walled Garden in the early hours of the morning. As a pop act, she has a commanding presence and will surely become a regular participant in Green Man. More than any other UK festival, alongside End of The Road, this one seeks to book talent from the roots traditions. One of the more mainstream Americana acts, Edward Sharpe and the Magnetic Zeros, was the highlight of my weekend, and astonished Alex Ebert's charisma won many new converts. Their ability to bring something unique to the live experience is unparalleled, and the stagecraft encapsulate the reason festivals connect emotionally with so many people.

Kamasi Washington

The other set whose memory will provide solace for some time to come is Warpaint's: I found the Californians' hypnotic rhythms and vocal harmonies on the closing evening totally absorbing. Green Man is a small festival by UK standards, with a capacity of 20,000, which allows a relatively intimate experience even on the main stage. Wisely, the organisers to concentrate their resources on the sound systems, which were excellent throughout, whilst being able to compromise on the number and size of video screens. The natural beauty of Glanusk Park also compensates for the inability of the budget to stretch to commissioning the large scale art installations which characterise Coachella, the iconic Green Man aside. Like that far larger and drier event though, Green Man feels mature, being in its 14th year. This is reflected in the efficiency of the organisation, means that the facilities are clean and leads you to wonder why innovations such as free wifi and reusable cups haven't been adopted at all such events. Sustainability is at the heart of the Festival's philosophy, and these values are shared by its attendees, judging by the cleanliness of the site and the warmth and consideration I experienced from so many at Glanusk Park.

Warpaint

The deep roots of Green Man are also reflected in the strength throughout its lineup. This means that regulars come to trust it to lead them on a path of exploration. Some of my most cherished discoveries included The Oh Hellos from Texas, Margaret Glaspy from California, and Brooklyn's ethereal Julianna Barwick. An honourable mention is also warranted by the wonderful Americana of Phil Cook, most well known for his participation in Hiss Golden Messenger; whilst delightful British folk came from The Unthanks, representing another important strand of Green Man's roots. Julia Holter drew together a more diverse set of influences most effectively, whilst Cigarettes After Sex represented a completely different tradition. Of course, to be viable, Green Man has to cater for diverse contemporary tastes, and it was away from the folk inspired core that the few disappointments arose. Wild Beasts on the first evening seemed curiously off colour, whilst the next day, the sometimes unpredictable James Blake didn't seem on anything like the form of Primavera Sound last year. It's easy to take issue with some of the scheduling or stage decisions, of course, though I chose to prioritise quality over quantity and so spent much of the weekend at the front of the Mountain Stage. I'm most excited about the prospects for next year's 15th Anniversary of what has become my favourite UK festival. It's a symbol of hope that the progressive values it encapsulates may eventually have an influence on the wider world we were escaping from.