Four Tet
Kieran Hebden's glowing folk-tronic universe — patient builds that hit like revelation, two decades of textures that make dance music feel handmade.
Green Man 2026 Lineup
Four days under the Black Mountains — folk, psych, and left-field pop in Wales's mist-wrapped mountain amphitheatre.
About Green Man 2026
Green Man is the UK festival people get evangelical about: four August days in a natural amphitheatre under Wales's Black Mountains, capped at a size where you can actually move, with a burning of the Green Man effigy to close and not a single sponsor banner in sight. The 2026 bill is peak Green Man — Four Tet, Wolf Alice, Wilco, and Mogwai up top, The Beta Band reunited, Sparks being Sparks, and below them the festival's specialty: psych, folk, Welsh-language pop, dub, and left-field discoveries stacked deeper than bills twice its size. Mountain weather included, no extra charge.
Expect electronic, indie rock, post-punk and folk across 96 acts.
The headliners
- Four Tet — Kieran Hebden's glowing folk-tronic universe — patient builds that hit like revelation, two decades of textures that make dance music feel handmade.
- Wolf Alice — Mercury-winning UK alt-rock — from whispered folk to full-throated fuzz in one set, Ellie Rowsell commanding every register.
- Wilco — America's great art-rock institution — 'Yankee Hotel Foxtrot' to now, endlessly generous live, Nels Cline solos included.
- Mogwai — Glasgow's volume worshippers — instrumental post-rock that goes from whisper to avalanche, thirty years of earplugs earned.
Up-and-comers to catch early
- Westside Cowboy — Manchester's buzzy new guitar gang — scrappy, hook-first, rising fast.
- Lime Garden — Brighton's wonky-pop quartet — groove-led indie with a wink.
- The New Eves — Brighton's ritualistic folk-punk coven — violin, drums, and wild-eyed harmony.
- Eaves Wilder — North London's wry indie-pop prodigy — glitter over grit.
- Sailor Honeymoon — Seoul garage-punk cool — bratty hooks with art-scene bite.
- The Bug Club — Welsh garage-pop machine — two-minute songs, endless charm, home-crowd advantage.
Other acts worth planning around
- The Beta Band — Scotland's beloved kitchen-sink psychedelicists, reunited — 'Dry the Rain' at last.
- Sparks — The Mael brothers' 50-year art-pop conspiracy — wittier than everyone, still ahead.
- Charlotte Church's Pop Dungeon — The Welsh voice-of-an-angel leading a maximalist covers party — pure joy, zero irony.
- Scientist — Dub's mixing-desk prodigy — King Tubby's heir rewiring bass in real time.
- Ata Kak — The lost-tape legend himself — hyperactive Twi rap-highlife joy.
- Cate Le Bon — Welsh art-pop's crooked genius — angular, elegant, home-turf hero.
- Roni Size + MC Fearless — New Forms and beyond — Bristol jungle royalty with a Mercury on the shelf.
Green Man 2026 lineup FAQ
When is Green Man 2026?
August 20–23, 2026 — Thursday through Sunday.
Where does Green Man take place?
The Glanusk Estate in the Brecon Beacons (Bannau Brycheiniog), Wales — a natural mountain amphitheatre.
Who is headlining Green Man 2026?
Four Tet, Wolf Alice, Wilco, and Mogwai.
How many acts are playing?
This page tracks the 96-act core music bill; the full site program adds Rising-stage newcomers, DJs, comedy, and science talks.
When do set times come out?
Green Man publishes its day splits and set times on its site closer to August. Save your acts on LineupScout and they'll become a personal schedule the moment times land.
How do I figure out which acts I'd actually like?
Tell the finder at the top of this page a few bands you love — it'll match you with your must-see sets, with reasons why.
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Going to Green Man 2026? Get tickets ↗
▸ Browse the full lineup (96 acts)▾ Hide full lineup
Green Man full lineup
Wolf Alice
Mercury-winning UK alt-rock — from whispered folk to full-throated fuzz in one set, Ellie Rowsell commanding every register.
Wilco
America's great art-rock institution — 'Yankee Hotel Foxtrot' to now, endlessly generous live, Nels Cline solos included.
Mogwai
Glasgow's volume worshippers — instrumental post-rock that goes from whisper to avalanche, thirty years of earplugs earned.
Cat Power
Chan Marshall's smoke-and-velvet songbook — fragile, fearless, singular, whether reinventing her own catalog or channeling Dylan's.
The Beta Band
Scotland's beloved kitchen-sink psychedelicists, reunited — 'Dry the Rain' at last, and the High Fidelity scene made flesh.
Sparks
The Mael brothers' 50-year art-pop conspiracy — wittier than everyone, still ahead, and finally getting the flowers.
Aldous Harding
New Zealand's shapeshifting folk enigma — every song a different possession, delivered with unnerving stillness, strange voices, and total command of a silent room.
Baxter Dury
Louche London spoken-word pop — Ian Dury's boy, filthy and funny over silk grooves, delivering seedy character studies like a lounge singer gone wrong.
Celeste
Smoke-voiced British soul — torch songs with modern nerve, a BRIT-anointed voice built for the spotlight and the string section.
Dry Cleaning
Deadpan spoken-word over wiry post-punk — Florence Shaw's found-text poetry delivered motionless while the band churns behind her.
Wednesday
Asheville's country-gaze storytellers — lap steel, feedback, and busted-truck poetry, narrating the South's weird corners in high fidelity.
Cate Le Bon
Welsh art-pop's crooked genius — angular, elegant songs bent at fascinating angles, and a home-turf hero on any Welsh bill.
Anna Calvi
Operatic guitar heroine — twice Mercury-shortlisted, all flamenco-flecked drama and white-knuckle restraint until the Telecaster finally erupts.
Nation Of Language
Brooklyn's OMD-hearted synth-pop romantics — motorik melancholy that soars live, analog synths and total sincerity, romance for drum machines and the people who love them.
Shame
South London post-punk's sweatiest live act — communion by mosh, shirtless and crowd-borne by mid-set, 'One Rizla' to now, all sweat.
Mannequin Pussy
Philly's tender-then-feral punks — 'I Got Heaven' made them arena-bound, and the whisper-to-scream whiplash only got sharper.
Fcukers
NYC's buzziest indie-dance trio — baggy house grooves with downtown cool, like Madchester relocated to a Chinatown basement.
Tricky
Trip-hop's shadow king — the whispered menace of 'Maxinquaye' live, Bristol paranoia thickened by three decades.
Getdown Services
Bristol's absurdist funk-punk duo — crisps, capitalism, and cowbell, mundane British life set to grooves that genuinely slap.
Sprints
Dublin garage-punk catharsis — Karla Chubb turns anxiety into anthems, every chorus a controlled explosion, the city's loudest catharsis specialists.
Daniel Avery (Live)
The 'Drone Logic' architect live — strobe-lit techno with a shoegaze heart, walls of texture that blur the line between club and gig.
Smerz
Norwegian duo's icy avant-pop — classical strings meet club unease, beauty kept deliberately off-balance, fashion-week cool with conservatory bones.
Sorry
North London's warped pop miniaturists — sticky hooks, uncanny angles, songs that sound familiar until they curdle.
Horsegirl
Young Chicago trio channeling '80s–'90s indie — deadpan harmonies over jangling guitar pop, Sonic Youth homework turned into something their own.
Westside Cowboy
Manchester's buzzy new guitar gang — scrappy, hook-first, rising fast on word of mouth, and the hype is earning itself.
Way Dynamic
Melbourne soft-pop sunshine — strings, Rhodes, and easy grace, '70s studio-pop craft revived gently, sunshine engineered in the studio.
Lime Garden
Brighton's wonky-pop quartet — groove-led indie with a wink, disco basslines under deadpan observations, art-school playfulness with proper hooks.
Marie Davidson (Live)
Montreal's deadpan club philosopher — 'Work It' irony at 130 BPM, electro-club critique you can sweat to.
Scientist
Dub's mixing-desk prodigy — King Tubby's heir rewiring bass in real time, a live dub masterclass at festival volume.
Roni Size + MC Fearless
'New Forms' and beyond — Bristol jungle royalty with a Mercury on the shelf, breaks chopped like it's 1997 forever.
Avalon Emerson & The Charm
Techno DJ turned dream-pop bandleader — DJ-Kicks grace rebuilt at song scale, club-honed instincts smoothed into gauzy, sophisticated pop.
ML Buch
Danish guitar-hymns from the uncanny valley — the glassy beauty of 'Suntub', chrome-plated tenderness unlike anything else touring.
Dove Ellis
Hushed, unhurried songwriting — a new voice with old grace.
Haley Heynderickx
Fingerpicked folk parables — 'The Bug Collector' and quiet devastation, garden-and-insect imagery hiding songs that cut deep.
Everything Is Recorded
Richard Russell's XL house band — rotating voices, deep soul, the label boss producing a revue built on whoever's in the room.
Ana Frango Elétrico
Rio's disco-funk polymath — boogie basslines, tropical glam, and a crate-digger's command of Brazilian pop history reassembled into something completely current.
Prostitute
Detroit noise-punk provocation — confrontational and magnetic, a live show that dares you to look away.
Joanne Robertson
Dean Blunt's favorite guitarist — smudged, dreamlike folk sketches that hover somewhere between demo and dream.
Adult DVD
Leeds lads making hardware-driven post-punk bangers about mundane dread — deadpan vocals over squelching synths, pitched somewhere between a big night out and an existential crisis.
Tamikrest
Saharan desert-blues caravan — Tamasheq anthems of exile and pride, hypnotic guitar circles under open sky.
Ear
Ata Kak
The lost-tape legend himself — hyperactive Twi rap-highlife joy, rescued from an obscure cassette by Awesome Tapes From Africa and turned into a global dance party.
Alexis Taylor
Hot Chip's falsetto heart alone at the piano — tender machine-soul unplugged, reworking dance euphoria into something small, strange, and quietly devastating.
A Place to Bury Strangers
NYC's loudest band — strobe-and-feedback annihilation through homemade pedals, carrying the Jesus and Mary Chain's torch straight into the noise floor.
Panic Shack
Cardiff's funniest, fiercest punks — group-chat energy with riffs, on home soil and louder for it.
Tyler Ballgame
Big-hearted showman-rock — a bar-band Springsteen for the group chat era, played with total sincerity, showmanship as its own kind of honesty.
Charlotte Church's Pop Dungeon
The Welsh voice-of-an-angel leading a maximalist covers party — pure joy, zero irony, and a setlist that swerves from pop bangers to power ballads without apology.
Ben UFO
The selector's selector — Hessle Audio's omnivorous ear, no productions needed; a world-class reputation built purely on what he plays and how.
Lone
Technicolor rave nostalgia — breakbeats bathed in VHS sunshine, hardcore's golden era remembered warmer than it ever actually sounded.
The Belair Lip Bombs
Melbourne guitar-pop with Strokes-y snap — Australia's word-of-mouth favorite, tight songs played loose, garage-pop craft beyond their years.
The Bug Club
Welsh garage-pop machine — two-minute songs, endless charm, home-crowd advantage, and a work rate that shames most bands.
Nusantara Beat
Pigeon
Insecure Men
Fat White Family's Saul Adamczewski gone easy-listening — seedy lounge-pop pearls, sweetness with something unsettling underneath.
Maria Somerville
West-of-Ireland dream-pop — mist, radio static, and 4AD hush, Connemara landscape rendered as sound, songs that drift in like weather.
MØTRIK
Portland motorik machine — kosmische propulsion, strictly forward, Neu! worship played with total discipline, grooves that lock in and refuse to blink.
Ulrika Spacek
Reverb-drenched art-rock — two guitars arguing beautifully, motorik patience under the haze, built for repeat listens.
Pictish Trail
Hebridean psych-folk mischief from the Isle of Eigg's one-man label boss — island whimsy with an experimentalist's ear.
Nana Benz Du Togo
Togolese voodoo-pop — call-and-response trance over analog synth bass, women's voices carrying ritual into the club.
The Tubs
Welsh-London jangle-punk — Richard Thompson melodies at Buzzcocks speed, folk-club craft in a punk frame, the revival's sharpest writers.
Lael Neale
Omnichord hymns from rural Virginia — luminous, homespun minimalism, songs that glow like lamplight through gauze.
Steam Down
Deptford's communal jazz ritual — horns, chants, and South London uplift, a weekly session grown into a movement.
Sir Richard Bishop
Sun City Girls' guitar mystic — flamenco, raga, and surf in one restless hand, improvisation as travelogue.
Automatic
Minimalist LA synth-punk trio — icy grooves and motorik precision, like a security-camera feed of a party you're not cool enough to attend.
Opus Kink
Brighton's brass-blasted jazz-punk cabaret — sleazy, sweaty, superb, like the house band for a bar you shouldn't be in.
Olive Jones
The New Eves
Brighton's ritualistic folk-punk coven — violin, drums, and wild-eyed harmony, part gig and part rite, folk horror you can dance to.
Greg Freeman
Burlington's cracked-country rocker — road-worn songs that lurch and soar, scuffed-up guitar poetry in the Lenderman school.
Hovvdy
Texas duo's pillow-soft indie pop — warm tape hiss and quiet ache, songs that feel like naps you wake from slightly sad.
Sailor Honeymoon
Seoul garage-punk cool — bratty hooks with art-scene bite, international underground buzz well earned, the city's coolest new export.
Ken Pomeroy
Cherokee songwriter with an old soul — quiet Oklahoma folk that cuts deep, lines that sound handed down rather than written.
Ora Cogan
West-coast gothic folk — spectral voice over darkwave undertow, songs that flicker like candlelight in a drafty room.
Decius (Live)
Fat White-adjacent acid-house deviants — sleaze at 303 pressure, live, like a basement club night gone gloriously wrong.
CVC
Church Village Collective — Welsh good-time rock with '70s harmonies, guitar-solo swagger, and a bar-band looseness played at festival scale.
Friko
Chicago's chamber-punk romantics — big feelings, bigger crescendos, and a debut that made half the indie press swoon.
Art School Girlfriend
Welsh dream-pop noir — slow-burn electronics and 3 a.m. honesty, building club pulses into songs that stay whisper-close no matter how big the room gets.
Flock Of Dimes
Wye Oak's Jenn Wasner solo — knotted, generous art-pop where the guitar heroics hide inside the arrangements.
Snuggle
Dame Area
Barcelona's tribal-industrial duo — chants and drum machines in lockstep, EBM pulse with a Mediterranean ritual streak.
Prewn
Izzy Hagerup's gnarled, gripping songs — beautiful and unsettling at once, a voice that turns rooms silent mid-chord.
My New Band Believe
Tara Clerkin Trio
Bristol's hushed jazz-ambient miniatures — trip-hop's gentlest descendants, small songs that rewire a room's attention, quiet music with total gravity.
DJ Flight
Drum & bass's quiet radical — deep, soulful selections from a scene lifer who has championed the genre's overlooked voices for decades.
James Ellis Ford
Simian Mobile Disco's half and producer to Arctic Monkeys — solo pastoral electronics, a studio polymath finally under his own name.
Modern Woman
Uncanny English art-folk — pastoral songs with teeth, violin scrape and strange narratives from London's experimental fringe.
Jennifer Walton
Manchester's hyper-collage electronics — noise, pop, and motorsport samples spliced into club music with a crash-test thrill.
Seamus Fogarty
Irish folk with a glitching hard drive — wry songs, warped tape, tradition run through a broken laptop on purpose.
Userband
Golomb
The Gentle Good
Gareth Bonello's Welsh-language folk — riverbank fingerstyle and hiraeth, tradition carried gently forward, one of Cardiff's quietest treasures.
Eaves Wilder
North London's wry indie-pop prodigy — glitter over grit, fuzzy hooks with a lyricist's smirk underneath.
Submotion Orchestra
Leeds's dub-jazz seven-piece — sub-bass warmth under velvet vocals, headphone music that fills a field, cinematic low-end played fully live.
Kongo Dia Ntotila
London-Congolese powerhouse — rumba, soukous, and horn-stoked joy, virtuosic musicianship played strictly for dancing, Kinshasa tradition at London velocity.
Jessica Winter
Gothic disco-pop melodrama — hooks with a broken grin, theatrical sadness you can dance to, camp and heartbreak sharing one microphone.
