Green Man Festival - Glanusk Park, Wales - 19th-21st August 2011 (Live Review)
Wednesday, 24 August 2011
Written by Dave Ball
Glanusk Park,opens its land for camping for just one week of the year when the grounds are handed over for the annual Green Man festival. Having been named last years’ best medium sized festival and being based in an area of outstanding natural beauty, it’s fair to say it’s as spectacular a festival site as you’re likely to find anywhere in the World with the rolling Welsh hills surrounding stages strategically placed to bring the most out of the beautiful setting.
We’re here for the bands though and with a whole host of up and coming acts across three main music stages my exploration of the site begins at the Green Man Pub stage on Friday with Zervas and Pepper (7/10). The male/female duo’s sunny pop has echoes of Fleetwood Mac in places, their acoustic folk melodies floating over the relaxing crowd. Later on the same stage North Walians ‘Y Niwl’ (8/10) offer up something a little edgier with a 45 minute set of guitar based surf rock which goes down well with the locals.
Moving across to the main stage for the early evening, Robyn Hitchcock (4/10) is a bit of a disappointment. Judging by the general reaction his act has a marmite effect and he doesn’t win me over so I depart early in what is one of the best decisions I make all weekend as I arrive at the Far Out stage in time for the second half of one of the weekends highlights in James Vincent McMorrow (9/10). McMorrow’s exceptionally crafted acoustic tales are quite stunning and draw a respectful silence followed by rapturous applause from a crowd that grows steadily throughout. Remaining at the Far Out stage Sic Alps (5/10) promise garage rock in the programme but their collection of very short songs don’t provide quite the quality or edginess required to make them memorable.
Back at the Main Stage the biggest party of the weekend takes place during Bellowhead (8/10) who show just why Radio 2 crowned them Best Live Band during a performance featuring every instrument you can imagine from bagpipes to bouzouki and back again. Somewhere between a barn dance and a group of sea shanty’s, every song is an adventure and most of the crowd are dancing by the end of it. A quick trip back for The Pub headliner Ben Howard (8/10) who’s songs defy his tender 22 years of age, suggesting a maturity and depth rarely seen in performers so young, before dashing back to the Main Stage for headline act Explosions In The Sky (7/10). Following Bellowhead’s raucousness with a purely instrumental band was always going to be a gamble and the atmosphere does feel flat at times but the Texan foursome are quite brilliant musicians and there is something epic about many of the songs. If you closed your eyes you’d think there had to be an Arcade Fire-esque army on stage, rather than the rock standard two guitars, bass and drums combo.
Into Saturday and despite a drizzly start the sun is sort of shining by the time 9Bach (7/10) hit the main stage at lunchtime (or breakfast depending how late you surfaced...), with their delicate harp based tunes it’s a nice way to drift out of your hangover. A little later, still at the main stage, my favourite discovery of the weekend ‘Dry The River’ (9/10) look interesting in the programme and sound even better. A Southern rock sounding collective their 45 minute set flies past and leaves you anticipating their debut album which is on its way soon, they’re definitely a band to look out for. Back at the Far Out stage, 'Ellen & The Escapades (8/10) are another hit, drawing many people from the laziness of Chai Wallah’s into the tent. Winner's of Q and Glastonbury’s emerging talent award, it’s clear why and their debut album is another to go on the wish list.
Maintaining the theme of impressive performances are 'Wild Nothing' (8/10) again on the Far Out stage. Recent release 'Gemini’ has been critically lauded and deservedly so with his melancholic mix of pop tracks. Straight after comes Josh T Pearson (9/10) who takes the stage alone bar a mic stand, acoustic guitar and single amp with the extent of his lighting limited to a single spotlight. Telling jokes between his heartfelt songs of a broken marriage, it’s a truly spell binding set.
A recommendation from a fellow Stereoboard reviewer draws me back to The Pub stage for Marcus Foster (8/10), the 24-year-old Londoner’s acoustic sounds fitting in perfectly with the chilled out feel of that area of the festival, bigger things are to come for Foster in the coming months. Avoiding Noah & The Whale I venture back to the Far Out stage which has provided several highlights on the day but I’m badly let down by tonight’s headliners Destroyer (3/10) who turn out to be the lowlight of the weekend.
Saturday for most people is all about Fleet Foxes (9/10) and for what they might lack in perceived personality they more than make up for with their musical ability. Robin Pecknold’s vocals soar across the Main Stage and every harmony is note perfect. Opening the encore with the title track from ‘Helplessness Blues’ is the best part of an excellent headline set from a band destined to play on bigger stages than this in future.
Sunday is a more relaxed affair and I kick off with what turns out to be my favourite performance of the entire weekend. On The Pub stage Under The Driftwood Tree (9/10) only have half an hour but by the time they close up the area is packed and they even move the generally lackadaisical crowd to a standing ovation in many places. Their cover version of MIA’s ‘Paper Planes’ with added Dizzee Rascal and Enigma is a masterstroke and there’s a large queue when they announce they’re selling CD’s at the front following the set.
James Blake(6/10) has received plenty of hype but his set falls between being brilliant and awful for me. At his best moments he sounds reminiscent of Bon Iver but elsewhere he sounds like he’s trying to do too much and the sound set-up also appears to be a bit off. Laura Marling (8/10) suffers no such problems. Despite not being a fan of her recorded work I was assured she was worth seeing live and the huge early evening crowd isn’t disappointed. Her voice has a deep soulfulness to it live and her confidence is clearly growing all the time. This years’ Brit Award and her second Mercury Music Prize nomination probably hasn’t hurt and both are richly deserved.
My last visit to The Pub stage catches Benjamin Francis Leftwich (8/10) performing from his recently released debut album and the singer-songwriter shows impressive poise having been given a dauntingly late slot in an excellent performance. Gruff Rhys is a major disappointment as technical issues mean his set is heavily delayed to the point where I have to leave the stage before he comes on, over half an hour later than scheduled. Not necessarily anyone’s fault, these things can happen but there is a very large crowd by the time I head away, all becoming more impatient by the minute.
Leaving for the final Main Stage headliner is a decision which I don’t regret as soon as Iron & Wine (8/10) take the stage. Sam Beam might sound like your typical American hillbilly but he’s got a wonderfully rich voice and the layers of sound produced by his band wash over the festival site providing a perfect ending to the festival.
The tranquil feeling created by headliners such as the three at this years’ Green Man blended with the setting and fortuitous weather conditions create the friendliest and most laid back atmosphere I’ve ever experienced at a festival. If you’re a regular Glastonbury goer looking for an alternative during 2012’s fallow year, look no further than Green Man.
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Maintaining the theme of impressive performances are 'Wild Nothing' (8/10) again on the Far Out stage. Recent release 'Gemini’ has been critically lauded and deservedly so with his melancholic mix of pop tracks. Straight after comes Josh T Pearson (9/10) who takes the stage alone bar a mic stand, acoustic guitar and single amp with the extent of his lighting limited to a single spotlight. Telling jokes between his heartfelt songs of a broken marriage, it’s a truly spell binding set.
