Photography by Kieran Webber

Gabriella Old

Freelance content creative and copywriter from Cornwall. You’ll either find me on the outskirts of a mosh pit or surfing waves out back. Most likely shitting my pants in both instances.

An awe-inspiring display of musical talent, outstanding natural beauty and a unified love of music. Here’s what happened during Clunk’s Green Man festival debut

It’s easy to see why Green Mannow in its 22nd year, has such a dedicated fan base. Arlo Parks described it perfectly during her set when she said “The vibes at this festival are so lovely and pure.” It’s not just the awe-inspiring surroundings that evoke this, although it certainly helps. It’s the crowds of dedicated music fans who have one thing on their mind – catching as much of the meticulously curated line up as they can fit within 4 days. Campsites clear out mid morning as swathes of eager fans flee to open their ears to the extensive talent on offer. Drawing crowds at every stage, no matter what time of day or who was playing.

The musical odyssey kicked off on Thursday as crowds armed with cups of Green Man Growler, one of many independently brewed beers on offer, gathered at the Far Out stage to catch Canadian punk rockers Metz. A sonic blast of rock music erupted throughout the tent, shaking the silk flags that hung above. Up next were Nottingham duo, Sleaford Mods. As Andrew Fearn threw shapes to the rhythm of his stripped-back beats, Jason Williamson delivered precisely timed lyrics.

The talent continued the following day as Dutch indie rock band, Personal Trainerdelighted a midday crowd with a trio of songs performed in the intimate Round The Twist tent. It was a short, but high-energy taster of what to expect from their unforgettable full set later that day.

Lime Garden returned to Green Man, having previously played The Rising Stage two years prior. The all-female four piece put on a confident set at the Far Out stage, working the crowd and even taking a vote for what song to finish on, with ‘Pulp’ coming out on top.

Bristol band, Beaktook to the same stage later that afternoon. A relaxed performance, as they cracked jokes with the crowd between songs. A set that will also be remembered for their somewhat comical props, including a set of £80 stage lights purchased from eBay and a rubber zombie head which bounced up and down atop the high hat symbol.

Arlo Parks was given the golden hour slot at the Mountain’s Foot stage. With the breathtaking backdrop of the Brecon Beacons, she enchanted crowds with a melodic setlist that had everyone grooving and swaying – including the BSL interpreter.

CLUNK favorites, Getdown Servicesdrew one of the biggest crowds at the Rising Stage. From the moment they bounced onto stage, they had the audience on their side. What followed was a side-splitting display of feel good music that got everyone dancing, clapping and singing along. Not a single crowd member left without a fat grin slapped across their face.

Fat White Family were on top form at the Far Out stage. Lit exclusively in red, the lively set ignited a fire among the crowd of moshers and stage divers. Even Lias Saoudi got involved, singing ‘Bullet of Dignity’ while stage diving over the ever present mosh pit at the front.

Headliner, Jon Hopkinsfilled the outdoor auditorium with transcendent beats, glitching film visuals and an epic strobe display. Meanwhile within the ancient walls of the Walled Garden stage, Moonchild Sanelly and her hype man DJ, dialed up the joy with an eclectic setlist including ‘Chicken’during which she got the whole crowd flapping their arms to “do the chicken dance”.

Saturday afternoon see’s Hull shoegaze band Bdrmm take to the Far Out stage, drawing a large crowd for the band’s Green Man debut. All before Tuareg musicians, Tinariwentook to the Mountain’s Foot stage for a desert blues jam sesh. A totally unique and unforgettable experience, only heightened by the picturesque beacon backdrop.

The global musical quest continued, as American-Venezuelan folk artist Devendra Banhart took to the stage. His set covered a breadth of songs from his twenty year back catalogue, plus a cover of Madonna‘s ‘Don’t tell me’. He paused between songs to chat with the audience in English, Spanish and even some Welsh he’d learned especially for the occasion.

The night quickly escalated when Californian psych rockers Oses headlined the Far Out tent. As the band conducted their sound check, a buzz filled the crowd as fans shared stories of past experiences watching their iconic live shows. It’s easy to see how they have built up such a reputation. Center of the stage, not one, but two full drum kits took the spotlight. The drummers played in perfect unison, a spectacle that was nearly impossible to look away from, until John Dwyer stole your attention with another epic guitar solo. A special mention should also be given to the security guards who carried the conveyor belt of stage divers across the barrier.

osees 20 — *Photography by Kieran Webber*

The evening took a somewhat surreal twist, as the Walled Garden stage was taken over for Byrnes Night, a concept that originated at Moth Club. The show started with bagpipes and a recital of a Robbie Burns poem and continued with a selection of Green Man line-up stars covering Talking Heads‘ biggest hits.

Sunday saw the mountainous surroundings bathed in bright sunshine as crowds, fueled on a full belly from the range of independently owned food vendors, set forth for the final day of music.

Aussie indie band, Royel Otisdrew “the biggest crowd they think they’ve even had”. Their upbeat set included their infamous cover of Sophie Ellis-Bextor‘s ‘Murder on the Dancefloor’ and their biggest hit ‘Oysters in my pocket’. Just before Omar Souleyman dialed up the energy levels, playing a non-stop set of his signature fusion of traditional dabke and EDM.

Contemporary Irish folk band The Mary Wallopers brought the craic to the Far Out stage for their last festival of the summer. It was a set that replicated the distinctive atmosphere of an Irish pub gig. Lively, comical and at times political. The entire crowd erupted into a jig frenzy, only calming down during the set’s solo sections, when individual band members stepped into the spotlight one by one.

By the time their set was finished, a blood moon had risen – a fitting sent off for the final night in such a majestic setting. At the Rising Stage Birmingham duo, Big Specialput on a powerful set with tracks from their debut album. It felt exciting, like witnessing the start of something monumental. Joe Hicklin sent a vocal earthquake to the farthest corners of the large crowd, while Callum Moloney played a tight set on the drums. Despite the heavy music, the mood remained light between songs, with a steady stream of jokes between bandmates.

Meanwhile the Far Out stage headliners, Explosions in the Skyput on a rousing and dramatic performance. The all instrumental quartet were silhouetted amongst a smokey backdrop. Each song became a transcendent journey, ending in a strobe-lit dramatic crescendo. A whole corner of the crowd decided to listen to the set lying down, a unique opportunity to reflect on the events of the weekend.

Fittingly, it preceded a literal display of explosions in the sky as the mythical Green Man sculpture was set alight, before a spellbinding firework display at the closing ceremony. While it may have been CLUNK’s first time covering the festival, we’re certain it won’t be the last.