The annual Greenbelt Festival takes place in August in the grounds of Boughton House near Kettering. It’s hard to pin down in a short description, as it’s a festival with such a lot going on – as befits an event which was “founded a long time ago by a bunch of misfits in a field”! Yes, there’s music, but there’s also theatre, comedy, talks, discussion and, importantly, political activism.
Partnering with Christian Aid and working with charities such as the Trussell Trust, the festival is a place where “the sacred meets the secular”. Everyone is welcome and “The only thing you need to have faith in is the difference we can all make together”.
50 years of Greenbelt
For Greenbelt, every year is a celebration, but this year was particularly special as the festival reached its 50th year. You’d think that with age would come wrinkles and achy bones, but Greenbelt has matured like a fine wine and continues to outshine itself year on year, pushing the boundaries of what’s possible and who the festival serves.
For the half century celebration Greenbelt brought back some old favourites like Folk On, Harry and Chris and Milton Jones, as well as welcoming brand-new faces to the festival like Scottish folk trio, Siskin Green, Palestinian singer, Bashar Murad and former prime minister, Gordon Brown.
The eclectic lineup made for an unforgettable birthday, kicking off the beginning of the next 50 years of Greenbelt’s life as a key gathering spot for artistry, activism and belief.
A helpful pay-what-you-can ticket scheme
Every Greenbelt Festival breaks new ground, and this year there were a number of exciting developments, responding to feedback from previous years as well as reacting to ongoing national struggles.
The cost-of-living crisis is ongoing and disproportionately affects those worse off in our society, forcing impossible choices between heating and eating. Greenbelt organisers keenly identified this tragedy and rolled out their pay-what-you-can ticket scheme, with three simple price-points: Supporter, Standard and Supported, allowing those who can afford to pay a little more to support those who are struggling. They also have deals for under 18s and concessions, as well as providing free tickets to volunteers who help before, during or after the festival.
A refreshment venue relocated and a new stage
The Glade, Greenbelt’s main stage, was flanked by The Jesus Arms pub as normal, but this year also with the new location of The Hope and Anchor, run by the Methodist church, serving zero-alcohol beverages as well as providing board games, and Matchstick Sessions, a series of talks around the themes of sex, death, disability, mental health and more. Previously, The Hope and Anchor was at the far end of the site, but teetotal Greenbelters must have been thankful that they could enjoy the music on The Glade with their friends without a 20-minute walk for a refreshment.
2023 also brought a new stage to Greenbelt, as well as the switching of the names of some venues (which inevitably led to some confusion!). In a previously fenced-off area of the site, Greenbelt let us witness the Orchard Stage, in a walled orchard in the grounds of Boughton House. Sitting amongst the apple trees, festivalgoers could settle into a quality blend of singer-songwriter folk, acoustic and Americana music – with some after-hours party mayhem thrown in for good measure.
Josie Long gets the Playhouse audience giggling
Greenbelt’s Playhouse offerings last year certainly didn’t disappoint, and this year was another huge success for theatre and comedy in their massive circus-style tent. With a number of standout comedy, movement and circus performances, there was something to excite all members of the family.
Josie Long delivered an excellent Saturday night of comedy covering her life as a mother, her politics and other current social and political topics. Josie spoke truth to power in a witty and hilarious set that had the whole tent in fits of giggles, a welcome addition in a world that can feel so short on joy of late.
Clownfish Theatre: brilliant physical comedy
Presented by the aptly named Clownfish Theatre, ‘Attenborough and his Animals’ was a brilliant display of physical theatre and comedy, accompanied by the epic and awe-inspiring music we associate with Attenborough’s iconic documentaries.
The framing for the show was that David Attenborough was supposed to be giving a lecture, but for whatever reason he had not shown up. Following a long awkward pause, the two actors took on the role of ‘Attenborough and his Animals’ and led the audience on a tour of the natural world. From anglerfish in the deepest oceans, to the sloths and orangutans in trees and the eagles of the sky, every animal was embodied in a hilarious and intelligent way, with unique traits, gaits and mannerisms.
Jess Clough-Macrae, who plays the majority of the animals throughout the show, was exceptional in her use of facial expressions and gestures. Her eyes alone were a spectacle to behold, with her Komodo dragon and crab being absolute standout performances. Jonathan Tilley made for an excellent Attenborough, nailing his impression and storytelling throughout, never dropping the ball as they transitioned from savannah to the South Pole.
Audiences might not have expected to find themselves confronted with the horrible reality of living in the modern world but, much like Attenborough’s more recent documentaries, the show didn’t shy away from climate change or the damage that plastic has on our planet. One chilling image showed a sloth mistake a plastic bag for food, and we had to watch as it slowly choked to death, only being saved at the very last moment.
The show ended accompanied by Louis Armstrong’s What A Wonderful World, as Tilley spoke the final lines of the song before exiting stage; a beautiful end to a magnificent show.
A standing ovation for The Chosen Haram
The Chosen Haram was a wonderful insight into the complexity of Islam, homosexuality and queer relationships. Sadiq Ali’s piece was told through the use of two Chinese poles, a fresh and unique take on the apparatus to expand the storytelling capacity of circus, not relying upon spectacle to tell the story, but instead rooting the story in the characters and their relationship to one another.
The preshow image showed Ali bound to one of the Chinese poles by vinyl black tape covering every inch of his body, a literal manifestation of the suffocation that was felt throughout the piece. The show told the story of two gay men meeting on a dating site, before delving into the highs and lows of the relationship as well as the countless barriers they face.
It was a fantastic piece of emotional theatre that was richly deserving of the standing ovation it received.
A festival where real change is made
On the Saturday night I found myself at The Glade, listening to Laura Mvula’s retro-soul and jazz-infused melodies as we reflected on the incredible first three days of the festival. I looked around and realised how fortunate I was to be sharing this atmosphere with the most amazing people. On my left, a mother gently swayed to the music whilst her young child was zonked out in a baby carrier on her back; on my right, a middle-aged couple were dancing energetically like they were at a rave in their twenties. Both felt welcome, both were having the best time.
And that’s what Greenbelt is: having the best time and sharing those moments with others. Dancing in the rain to your favourite folk artist. Listening to poetry so relatable it brings you to tears. Advocacy for those less fortunate than ourselves. Empowering individuals to be part of a community. Sharing amazing food with friends and family.
Greenbelt is more than just a field outside Kettering; it’s is a home for everyone, where real change is made. Maybe I’ll see you there next summer?
