GREEN MAN 2022 REVIEW: THE PERFECT MIX OF WHOLESOME AND HECTIC

VOCAL GIRLS headed to Green Man Festival - perhaps Wales’ worst kept musical secret - to discover just what makes this unique weekend so special.

Nestled in the heart of the Brecon Beacons, at the foot of the idyllic Black Mountains, lies Green Man - a festival so multifaceted it has simultaneously become a family favourite and industry calendar highlight. Regular attendees attest that there’s a particular mysticism inherent to the weekend; a sense of occasion which this year was bolstered even more by the festival’s landmark 20th birthday. 

There are few better ways to kick off a party than with Metronomy, whose infectious electro-indie on Thursday night marked the first of four headline performances to grace the main Mountain Stage. Defiantly at odds with the previous evening’s drizzle, daylight on Friday brought sunshine - and with it, the opportunity to properly explore the different areas dotted around the site. 

Sitting at the chaotic crossroads between hip-hop, DnB, and politically-charged lyricism, Grove bounced around the tented Far Out stage - albeit with an enthusiasm and energy more befitting a 2am after hours set than her 5pm teatime slot. Meanwhile, at the pop-up Green Man Records store, experimental club kids The Umlauts treated punters to a bonus mini-set on the festival’s most intimate stage, more than making up for an extended sound check with their multi-lingual art-punk and joyful stage presence. 

Photo: Arooj Aftab

Over at the Green Man Rising stage, English Teacher deftly proved to a packed out crowd just why they’re one of the most talked about bands of the year. Incorporating tracks from their recent debut EP ‘Mental Maths’ as well as older cuts, their set concluded with the triumphant double header of spoken-word ditty ‘Yorkshire Tapas’ and sleeper hit ‘R&B’. And that wasn’t the only place poetry was to be found on Friday evening; Kae Tempest captivated a busy Mountain Stage with their melodic flows, delivering a powerful performance exploring their non-binary identity via tracks from their lauded latest album, ‘The Line is a Curve’. 

For those who didn’t don their 3D glasses to watch electronic music pioneers Kraftwerk, Friday night still offered an embarrassment of musical riches, from masters of sprechgesang Dry Cleaning’s self-described ‘louche’ set, to Scalping’s industrial audio-visual spectacle. Beyond that, Round the Twist, Chai Wallahs, and Walled Garden were a haven for anyone not quite ready for bed, with DJ sets that kept dancing going until early hours.

The remarkable scenery of Green Man certainly contributes to its charm, but the personality of the festival comes from its genuine commitment to making a positive difference, whether through site-wide sustainable practices, spotlighting Welsh talent, or providing tangible support for emerging artists. Take Tapir! and Blue Bendy, both of whom played on Saturday to crowds that were a healthy mix of pre-existing fans and curious newcomers, the latter group no doubt drawn in by the bands’ synth-infused post-rock. (And, in the case of Tapir!, the Bez-equivalent, cardboard box-wearing child who danced on stage throughout their set).

Back in the natural amphitheatre of the main field, a late in the day programming change meant Bristol’s Katy J Pearson and Philadelphia’s Alex G both performed around dusk - a logistical masterstroke, as it meant audiences could soak up the former’s soaring vocals and the latter’s beloved slacker rock just as the low sun hit the reflective crown of the Mountain Stage. A mid-weekend highlight, it seemed as if these two sets made everyone glow a little brighter, and feel a little closer.

Photo: Parquet Courts

Continuing the magic were Black Country, New Road; surely one of the most anticipated acts of the festival, they cast a spell which kept the crowd hushed throughout - no mean feat, considering their set consisted of entirely unreleased material. Sharing vocal duties following the departure of former vocalist Isaac Wood, the band aptly finished with an as-of-yet nameless track containing the lyrics “still on the stage”. I don’t think anyone watching in the Far Out tent would have argued the contrary. 

After darkness fell on Saturday night, Porij brought their inspired blend of dance music and live instrumentation to the Rising tent to rapturous reception. Playing new material as well as crowd favourites ‘Nobody Scared’ and ‘Figure Skating’, the quartet orchestrated an atmosphere that was rowdy and welcoming in equal measure. Rounding off proceedings were electronic duo Bicep, whose live set finished on an elated high with 2017’s Glue’; whether you were at the front of the crowd or half the field away, the energy was palpable.

You might think that artists and audience alike would be somewhat flagging by Sunday, but the energy generated from feminist punks M(h)aol was enough to power a small army. Vocalist Róisín Nic Ghearailt commanded the Rising stage with wise cracks, high kicks, and biting lyrical delivery, but arguably the most powerful moment came after M(h)aol came offstage: approaching with her young daughters and niece, a Mum touchingly thanked them for being such inspiring role models for her girls, making the band - and everyone in earshot - slightly (very) emotional.

Photo: Dry Cleaning

Filling in for Low (and paying homage to the absent band with their cover of ‘Canada’), The Wedding Present occupied the equivalent of the Sunday afternoon ‘legend’ slot at Glastonbury. They rollicked through cult classics ‘My Favourite Dress’ and ‘Kennedy’ as a fancy dress bride weaved her way through the crowd, their relentlessly fast riffs and extended instrumental outros proved  they’re still more than capable of channelling the vitality of their 80s releases.

Fresh from her interview with drag queen Ash Kenazi earlier in the day, Sunday evening saw Ezra Furman take to the Mountain Stage to expertly guide us through her extensive discography. Blazing the trail for trans artists, her performance was simultaneously defiant and euphoric, and the crowd’s response to her rendition of Patti Smith’s ‘Because the Night’ ranked among the very best of the weekend.

Revellers were forced to decide between the soulful grooves of Michael Kiwanuka or the jangly riffs of beloved stoner-rock stalwarts Parquet Courts for their festival finale, but all were treated to the spectacle of the burning Green Man, now covered with notes - wishes, prayers, and poems - written by people over the course of the weekend. 

Of pagan origin, the figure of the Green Man is representative of rebirth and new growth. As the structure caught alight amid bursts of fireworks, even the most unspiritual of festival goers could acknowledge the poignancy of the moment. As we watched, a young boy nearby anxiously exclaimed: “but I don’t want Green Man to die!”. His dad smiled, using the analogy of the phoenix to gently explain that the sculpture - like the festival itself - will renew for next year, ready to welcome eager crowds back to the mountains once more. 

Photo Credits: Nici Eberl