Where do you begin when it comes to Green Man? The festival has grown over the last two decades, blossoming from a 300-person one-day event in 2003 to the 25,000-strong weekender it is now. As you drive in, through Bannau Brycheiniog, the jaw-dropping beauty of the countryside gives way to a sea of tents, big tops and the Glanusk Estate.
The weekend is a total scorcher, and by the time you’ve got your tent up on Thursday, it’s time to locate the on-site pub. The best selection of beers available at any festival greets you, as does practically everyone you meet – they don’t call it the world’s friendliest festival for nothing. Beers seen off, it’s only right to get stuck into one of the most eclectic, exciting and varied festival lineups of 2025.
Heartworms’ gothic post-rock is as good as always, and Adwaith’s Welsh-language indie pop is, quite literally, right at home. Dublin post-punk outfit Gurriers steal the day, though: their set is one of burning intensity, Palestinian solidarity, mosh-pit brutality and some of the most exciting tunes this side of post-punk. They weave post-rock and hardcore elements into their thunderous numbers, as well as steadfast antifascist messaging – Gurriers are momentous.
Next up is Kneecap – their set is a giant moment, with the Far Out stage absolutely packed. You can’t move for Palestine flags, and the messaging is clear: the people at Green Man oppose the genocide of the Palestinian people, and we oppose the UK government’s complicity. As for Kneecap itself, it does fall a little flat. They have a series of bangers – ‘Get Your Brits Out’, ‘Better Way To Live’ and ‘H.O.O.D’. They’re the backdrop to all superb moments of drinking, dancing and pure festival hedonism, but most of the deeper Kneecap cuts leave the crowd wanting more. It seems like the message Kneecap presents, and has found themselves as a figurehead of, has somewhat outgrown the music. They’re using their platform for good, something which not enough artists do, but without correctly timed messaging and political ‘controversy’, would Kneecap be as big as they are right now? Níl a fhios agam.
As Friday rolls around, Green Man becomes the hottest place on earth. The Welsh sun fills the sky as it hits 30+ degrees: shade is at a premium. Brighton band DITZ create some sublime chaos in the early afternoon, with a massive wall of death and vocalist C.A. Francis climbing high up the big tent’s support beams. The heat is inescapable – you leave a sweat and beer-filled moshpit, expecting the outdoor air to cool your feverish brow, but it’s just as hot outside. It’s stifling at points, but Green Man pulls through, and the pride parade is a truly beautiful expression of queer identity, cheered on by everyone it passes.
Shortly thereafter, a small tent decorated in a patchwork tapestry, Round The Twist, plays host to a secret set from Wet Leg. The headliners play a short and sweet selection of bangers: ‘Catch These Fists’ is a highlight, ‘U and Me At Home’ and, of course, ‘Chaise Longue’ send the little tent into meltdown. It’s a special moment and gives you the feeling of being in some sort of secret ‘in the know’ club to have been amongst it – especially when you’re watching the same band, utterly smashing their headline show out of the park a matter of hours later.
The nightlife at Green Man is second to none – every genre of music pours out of a different tent or stage all night long. It’s a non-stop party. I’m told about a secret stage that exists behind a shop by a group I’m camped next to. Not only are they tipping me off about The Wishbone (a cabaret-style stage behind a clothes shop putting on drag, burlesque and more), they feed me vegan curry and cans of Staropramen all weekend. Another sign that this small but mighty Welsh festival is the friendliest place on the planet.
Saturday opens with a bang – Broadside Hacks play an ace tribute to Bob Dylan. Brilliant. They open the show with Bob’s folky numbers before the band changes and the electric guitars come out for ‘Maggie’s Farm’. ‘Highway 61’ and the like. Someone does shout ‘JUDAS’, as this happens, which was funnier than you might think. Westside Cowboy are a highlight of the entire weekend, who lit up a small stage as the day began to cool. No backdrop, just a cutout which exposes the striking countryside around us, illuminates them from behind the stage, and WSCB are striking too – looking like giddy sixth formers, but their music is objectively fantastic. The band are sonically years ahead of their baby-faces – there’s no chance that West Side Cowboy will be this low on a festival bill again, so catch them while you can.
Fat Dog, MJ Lenderman, Just Mustard and King of the 6 Music dads, Stewart Lee, all add to the stellar lineup, but it’s CMAT who steals the show. She namechecks Welsh legends of all genres draped in a Ddraig Goch, and even pulls out an inspired cover of Catatonia’s ‘Road Rage’. CMAT is an icon, a star and an advocate for anti-colonialism.
English Teacher are as brilliant as always, and the crowd receive their angular and emotive art-rock with open, swaying arms (in the air or the pit, mosher’s choice). As we spill out after ET, Underworld’s ‘Born Slippy’ rings around and creates one of those picture-perfect festival moments. Just as the track kicks in, I choose life and worm my way into the middle for a blisteringly sweaty dance.
Finally, it’s Sunday and Green Man is knackered. Battered by the heat all weekend, socks danced clean off, but everyone has resolved to go again. Upchuck blasts away any lingering hangover with their hardcore/punk noise before the worst-kept-secret set in festival history. Getdown Services had been spotted at the festival, posted conflicting stories about their presence and ultimately, everyone knew to be at Round The Twist for 3pm.
Josh Law and Ben Sadler lay out the set for the weekend. Sleazy, punky, electronic, witty and ultimately quintessentially British: their hilarious observations on the mundane, paired with punk sleaze, is a winner. They are getting bigger and bigger and bigger, don’t miss Getdown Services.
Yard Act storm the main stage with aplomb, Divorce are a sensation at Far Out, and Joshua Idehen is a perfect pick for Walled Garden. Beth Gibbons plays a dramatic set of solo and Portishead work: there is simply far too much music at Green Man to give all these artists a fair shake in this write-up. A true testament to the quality of the place.
Green Man is nothing short of beautiful. Every band that plays here clearly loves it; the crowds are top-notch, and that combination means you’re constantly having the best time. Green Man is the perfect festival, and as the big Green Man burns on Sunday night, it is impossible to escape the thought that you’ll never be the same again.
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