Review: Green Man 2018 – “Continuing to embrace the left of the dial while retaining a maverick Welsh spirit”‘

Published on AfterDark (31 Aug 2018) – click here to access article

Dean Hodge reviews some of the highlight acts from this year’s Green Man Festival held on 16 – 19 August 2018. (Photography by Nick Evans)

Public Service Broadcasting, Far Out Stage. Photo: Nick Evans.

The imposing sight of the famous green figure in the middle of the site, surrounded by a sea of spectators adorned with glitter on their faces and stack cups in hand, is the unmistakable sight that once again greets me (and photographer Nick Evans) upon arrival at Green Man for my fourth visit here in as many years.

But one part of the festival that has become so synonymous with each of my previous three visits here is missing this year though – the rain. Green Man and wet weather is a natural marriage that has become so ingrained in each of my previous visits here, that it is almost difficult for me to get used to what is actually for once a mostly hot and dry weekend in the Brecon Beacons – to the extent that I actually leave the festival more bronzed rather than soaked.

Joel Gion, The Brian Jonestown Massacre, Far Out Stage. Photo: Nick Evans.

But a far more important characteristic of Green Man has remained and that is the quality of the music. For a festival that firmly embraces the left of the dial while retaining a maverick Welsh spirit, this year’s Thursday night headliners are a natural fit for both of these reasons. The music of London’s Public Service Broadcasting is a compelling concept in itself – with instrumental kraut-rock grooves interspersed with samples of public information films, and in the confines of the Far Out Stage accompanied by old film footage on each screen. Furthermore, their second album Every Valley celebrates and mourns the rise and decline of the Welsh coal mining industry. Continue reading

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