The trustees present their report and financial statements for the year ended 31 December 2024. The report also serves as a Directors' Report required under Section 491(2) of the Companies Act 2006.
The accounts have been prepared in accordance with the accounting policies set out in note 1 to the accounts and comply with the Trust's governing document, the Companies Act 2006 and “Accounting and Reporting by Charities: Statement of Recommended Practice applicable to charities preparing their accounts in accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102)” (effective 1 January 2019).
The principal object of the Green Man Trust is to further such charitable purposes for the public benefit that fall within the descriptions of charitable purposes set out in Section 3 of the Charities Act 2011 in particular but not limited to:
The prevention of relief of poverty
The advancement of education
The advancement of citizenship or community development
The advancement of the arts, culture, heritage or science
The relief of those in need, by reason of youth, age, ill health, disability, financial hardship or other disadvantages.
Charitable funds are raised for the Trust through grant applications to statutory organisations and to trusts and foundations. Grant funding comes with restrictions as well as strict monitoring guidelines and reporting structures that are met by the Trust. These guidelines will dictate the way in which funding is allocated. We ensure the aims and objectives of any grant funding are monitored and evaluated and reported on accordingly.
The Trust also raises donations from individuals and private donations which support its core work. Plantpot Ltd, Green Man festival’s parent company, donates generous resources for the day-to-day operation of the charity (office space and utilities), as well as in-kind production support (festival tickets, site fees, infrastructure and staff time) to support the delivery the Trust’s charitable programmes. This relationship means that the Trust is able to channel on average 75% of its income directly towards its beneficiaries. This close relationship gives the Trust’s activities an excellent platform and the artists involved a significant showcase opportunity as well as giving them the chance to reach large and varied audiences to widen the impact and legacy of the projects. Plantpot Ltd will also donate funds from time to time. In addition, the relationship with Plantpot Ltd (Green Man Festival) also allows the Trust to raise funds from audiences buying tickets (via a suggested, opt-in ticket top-up donations) and attending the festival (via donations collection systems at the box offices).
A proportion of the Trust’s unrestricted funds is allocated to support local organisations and community groups. Decisions about the beneficiaries are made by the Board of Trustees and in accordance with the charity's aims.
The Trustees have paid due regard to guidance issued by the Charity Commission in deciding what activities the Trust should undertake. In setting the objectives and planning the activities, the Trustees have also given careful consideration to the Charity Commission’s general guidance on public benefit.
Green Man is one of the most loved festivals in the UK. One of the very few independents left, it is recognised for the quality of its programme (5* Guardian, Independent, Telegraph, NME, Rolling Stone, The Standard, Wales Online), rich and inclusive audience experience (6 Music Best UK Festival, Gold Charter by Attitude is Everything), commitment to gender equality (Women in Music, Cosmopolitan) and environmental best-practice (Vision 2025, partnership with A Greener Future).
Green Man Trust is the festival’s charitable arm and works from a position of strong values to make 'good stuff' happen; its charitable objectives include: 1) arts development; 2) the advancement of education and vocational training, 3) public engagement with science and the environment and; 4) working with communities in Wales to bring about positive change.
Since 2014:
£1,800,000+ raised for good causes and our projects
12,000+ people supported
5,000+ emerging artists through arts development
2,000+ training and mentoring placements
200+ new science engagement projects off the ground
170+ grants to community projects
Activities funded by statutory bodies, trusts and foundations, and public donations
Green Man festival in 2024 was touted as the best one yet, with 5* star reviews from The Guardian, The Independent, Rolling Stone, Wales Online and The Standard, highlighting Green Man’s unique atmosphere, eclectic programming, commitment to inclusion and sustainability and attention to detail. Ben Beaumont-Thomas states in his Guardian piece that Green Man ‘has a fair claim to be Britain’s best festival, full stop.’ Green Man ‘feels, often, like an encounter with the sublime (...) an everyone-welcome ethos that also holds true to the lineup. To go to Green Man is to feel music’s past, present and future collide — a feat that’s somehow as spectacular as the setting.’ (The Independent). ‘In an era of identikit line-ups and trend-chasing, the Welsh festival (...) deliberately zigs when others zag, and annually welcomes a devoted community of artists and fans that relish the challenge’ (Rolling Stone).
In 2024, the Green Man Trust celebrated its milestone 10th birthday and supported the most people since 2014 - 579 people/projects directly benefitted from the Trust’s charitable programmes:
190 music creators were supported through Music Development;
153 performing artists were supported through Performing Arts Development;
17 international outdoor art performers and promoters from Ireland, Basque Country, Catalonia, France and across the UK took part in the Green Man Trust’s International Exchange programme;
6 visual artists were supported through Visual Arts Development;
7 young people from Cardiff University completed paid work placements;
12 Media Production students from the University of South Wales took part in an intense media training programme;
15 refugees & asylum seekers from Oasis Cardiff did training on Green Man’s Stewards team;
114 science experts brought to life 49 science engagement projects to life in Einstein’s Garden;
49 Ukrainian refugee children and their families who have found refuge across Powys were invited to spend the day at Green Man
16 community projects were funded through the Community Grants Fund
1. ARTS DEVELOPMENT IN REVIEW
MUSIC DEVELOPMENT PROGRAMME
Today’s music industry is tough business for emerging bands - it's a layered and competitive ecosystem that has been hit hard by recent national and global events and remains very London-centric.
Green Man Trust’s Music Development programme was set up in 2006 to support talented emerging music creators on their way to becoming the headliners of tomorrow. It’s a unique programme offering bands significant showcase opportunities, mentoring, and unrivalled access to large audiences and top industry influencers. It all happens under the umbrella of Green Man, the flagship festival in the UK to discover new music talent. The festival ‘champions up-and-comers alongside its biggest stars’ (INews), ‘has always been good at representing shifting trends’ (The Times) and ‘has established a reputation for developing music talent, and its history of creating headliners gives it significant influence internationally’ (Emma Banks, CAA). We’ve seen supported acts go on to receive nominations for the Mercury Prize, Best Album of the Year, features in Rolling Stone, recordings in KEXP and Maida Vale Studios for the BBC; and sign to Domino Records, Rough Trade and ATC Live.
There are three complementary strands to the programme:
Green Man Rising emerging band competition
Curation & all-Welsh showcase of Green Man’s Settlement stages
UK-wide emerging talent showcase on the Rising stage
With the support of Green Man, Arts Council England and the Arts Council of Wales, the Music Development programme supported a total of 190 music creators (75 Welsh) across its three strands.
The Green Man Rising competition received 3512 submissions from across the UK: 45% SE; 14% SW; 13% North; 10% Midlands; 13% Wales; 4% Scotland; 1% Ireland, attesting to the programme’s national reputation as a gateway in the industry. It was free to enter and open to all which attracted a wide variety of genres, highlighting how Rising is an inclusive and far-reaching opportunity: 26% Alternative; 22% Indie, 12% Rock, 11% Folk, 6% Electronic, 5% Punk, 5% Jazz, 10% Other.
Once all entries were assessed by Green Man’s bookings team, 25 bands were longlisted and sent to a panel of music bloggers that included: Good Energy PR, Fred Perry, Hard of Hearing, The Quietus/Buzz, Yuck, So Young, The Forty Five, Vocal Girls, Secretly Canadian, BBC Radio Cymru.
The 2024 finalists were selected by majority vote:
The The Orchestra (For Now) (London);
TTSSFU (Manchester)
ladylike (Brighton);
Mari Mathias (Wales)
Nature Kids (Leeds)
The top five competed in front of 300 people at the live final in Cardiff’s historical independent venue, Clwb Ifor Bach, which was free to attend and sold out. The final was hosted by DJ and BBC Radio Cymru presenter Molly Palmer and judged by an esteemed panel of UK-wide industry experts: Candy Artists, Clwb ifor Bach, Elan Evans, FORM, Pure, Green Man and Glastonbury.
The Orchestra (For Now) were crowned the winner and opened Green Man’s iconic, 12,000-cap Mountain Stage. All finalists got a slot on the festival’s Rising Stage and a professionally recorded session worth £1,500. The sessions were given to artists and posted on Green Man’s Youtube channel (100k+ views) and promoted across socials.
Much of Green Man’s reputation as the go-to for discovering new talent was built on the Rising Stage. As the line-up grows in profile, it attracts ever larger crowds. Now 2,500-cap stage, the line-up featured 23 bands from all over the UK. Of Green Man’s 25,000 audience members, 68% (17,050) saw a gig on the Rising stage.
Since introducing the Acoustic Stage which runs alongside the Settlement Stage at Green Man, the programme now platforms 18 instead of nine of the best up-and-coming Welsh bands. This year, the programme was curated by Welsh Music Prize-winning artist and BBC Radio Wales presenter Georgia Ruth. The Monday of the 3-day programme was made up of the best Welsh bands that made the Green Man Rising longlist but weren’t selected for the final.
Across Green Man’s wider music programme, the impact of Green Man Trust’s Music Development programme is evident like never before. Many supported bands returned to play bigger stages across the festival, moving up the bill.
‘[Green Man] Rising has been the single most exciting and surreal experience of our lives. It feels like it has accelerated our journey as a band, by playing to a massive audience alongside other artists who we greatly look up to. We never expected to reach the final, let alone to win the competition (...) It has given us the confidence to progress the band towards being a serious future career, and keep making music which excites us.’
Neil Thomson, The Orchestra (For Now), Winner Green Man Rising 2024
VISUAL ARTS DEVELOPMENT PROGRAMME
Heading into its 10th year, Green Man Trust’s Visual Arts Development Programme has established itself as a vital platform for early-career visual artists and those experimenting outside traditional gallery spaces for the first time. The programme provides the resources, space and support to create large-scale, site-specific outdoor works, empowering artists to push creative boundaries while enriching Wales' vibrant cultural landscape.
The programme offers comprehensive wraparound support, including financial backing, technical expertise, audience engagement and marketing support. It also stimulates the wider creative economy by employing artists, skilled freelancers and independent practitioners. As it heads into its milestone year, the opportunity has established itself as a key player in the development of the visual arts sector in Wales, having supported a diverse roster of artists and built a wide-reaching community of partners. At the heart of its success is Green Man. As a key partner, the festival provides an unparalleled platform, a ready-made audience, technical infrastructure and extensive media reach - elements rarely found together at this scale. It is the only programme in the UK festivals with this approach.
As we contribute to sector development in Wales, we are also reshaping the role of art and artists within music festivals. By bringing work outside the gallery space and into the public realm, we create new opportunities for engagement, offering fresh perspectives and challenging audiences to interact with art in unexpected ways. In the words of Creative Boom, reviewing the programme in 2023, ‘what better place to experience art than at a festival? You're in the right mindset to appreciate fresh and innovative creative ideas. You're nice and relaxed and have time to appreciate the work without being interrupted by your phone (which is undoubtedly out of service) or other commitments.’
Art Basel’s 2022 report highlights that women are unlikely to achieve market parity until 2053 - a disparity that shapes museum acquisitions and, ultimately, the historical narrative of art. We are interested in helping artists achieve a profile without the art market. The Green Man Trust plays its part in helping address the imbalances of gender, race, and ability in immersive arts by championing equity to ensure underrepresented voices and visions shape the future of the sector. When selecting artists for the Visual Arts programme, the focus is on amplifying and collaborating with artists often overlooked by institutional visual arts and live entertainment spaces.
Thanks to the support of Green Man, the Colwinston Charitable Trust and Arts Council of Wales in 2024, Green Man Trust delivered its most ambitious and visually impactful Visual Arts programme to date. After careful consideration, two works by female Welsh artists were commissioned. Both responded to human takes on the relationship between the ancient past and the current moment, with their technological leaps jarring against dwindling resources and the climate crisis:
Dewiniaeth, 2024 - a new commissioned by Megan Broadmeadow
Aequus, 2024 - a significant new iteration by Angela Davies
Three female Welsh artists were invited to take part in the artist residency, which was delivered in a hybrid format, part onsite, part online, giving prospective artists the chance to shadow artists-on-commission and an expert technical team while the artworks were installed. The Visual Arts producer works closely with artists to explore the challenges they might face in bringing their creative ideas to an outdoor festival environment, as well as having an initial point of contact for any extra support or access needs.
‘The work was inspired by the landscape of the site, the cultural heritage of the local area and the context of the festival (...) I spent a period of research with local community members, walking in the hills and observing and recording flora and species native to the land and locality of Green Man. The extra resources given and the expertise of the riggers and technicians were really impactful to the work. This was all new and I felt we made something magical!’
Megan Broadmeadow. artist-on-commission 2019 & 2024
PERFORMING ARTS DEVELOPMENT PROGRAMME
Green Man Trust’s Performing Arts development programme is an all-Welsh showcase of outdoor arts that uses the festival’s international reach as a springboard for artists to develop new audiences and try out new ideas. It is now one of the key dates in the national Summer touring calendar. Be it a small circus company just starting out or an established household name like National Theatre Wales or Hijinx Theatre looking to experiment, the project works with artists over a number of years and offers specialist technical support, infrastructure, networks, mentoring and peer-learning opportunities that are hard to find in one same place otherwise. The programme also features an artist-led panel discussion that is embedded in and structured around the topics that artists want to discuss, as well as an International Exchange Programme that aims to connect Welsh artists with networks and opportunities beyond the border.
The programme contributes to the development of outdoor performing arts by raising the aspirations of the sector, focusing on high-production values and impact, and implementing a developmental model to nurture the next generation of performers and creatives. Outdoor theatre is accessible and democratic, diverse and unexpected, and reaches out to those audiences who don’t normally engage with theatre in its normal context. By offering commissioning opportunities and a platform to test new ideas and ways of working, we support artists to develop their practice and connect to new networks where they can tour work.
In 2024, the Performing Arts programme focused heavily on putting Welsh Language centre stage, on diversity and collaboration, representing a geographical spread of talent across Wales, and celebrating ‘Strong Women’ who made and are making their mark in Welsh arts and culture.
Thanks to Green Man and the Arts Council of Wales, the programme supported 153 Welsh or Wales-based performers and creatives. The programme dazzled the Green Man audience with 20 shows that brought together an eclectic mix of circus, contemporary dance, physical theatre, comedy and interactive roaming performances.
The main evening commission 2024, Quantum Queendom was a thrilling comedy circus and dance theatre journey through time celebrating notorious women who have shaped the world we live in, from trailblazers, rebels, cowgirls and Queens! Featuring an almost entirely female company, this was a new commission that allowed Green Man Trust alumni Kitsch & Sync to scale up, changing their thinking from small scale work to look at larger scale ambition, and understand more about the production processes this involves. They were given the opportunity to work closely with aerialists and performers that were new to them to develop choreography and showcase a diverse cast of Welsh artists to portray moments in history from the perspective of and featuring women. Collaborators included Monmouth Youth Dance Company, Danceblast and students from Circomedia.
‘The Green Man Trust has been integral in my development as an artist (...) the opportunities and support I have received have allowed me to develop my artistry, create new work and share this with a wider audience that reaches beyond Wales. As a Welsh artist, opportunities like these to platform your artistic vision and voice really are quite rare.’
Osian Meilir
The Green Man Trust also welcomed Little Amal for her first ever visit to Wales. Little Amal is the 12 foot puppet of a 10 year old Syrian refugee child and has become a global symbol of human rights, especially those of refugees. She has travelled the globe meeting 2 million people on the streets and tens of millions online, having been welcomed in 166 towns and cities in 17 countries. Little Amal met the Pope, visited COP26, the UN Headquarters and the European Parliament to carry a simple message to the world - ‘Don’t forget about us’.
Wales is a Nation of Sanctuary and Powys hosts the highest number of Ukrainian refugees in the UK. 49 Ukrainian refugee families and local children from deprived backgrounds were invited to spend the day at Green Man on the day Little Amal visited.
‘Just to say thank you for inviting us to Green Man last Sunday - an absolutely lovely day! Sienna often struggles in crowded busy situations but pleaded to remain until the burning of the Green Man at midnight, she made new friends, climbed trees, danced and laughed, and has spoken frequently about the day since.’
Refugee parent
INTERNATIONAL EXCHANGE PROGRAMME
Green Man Trust puts talented Welsh artists on the world stage. In 2022, we took our vision for arts development one step further and piloted Green Man Trust’s International Exchange programme with the aim of creating pathways for Welsh emerging artists with international ambitions.
With the support of Wales Arts International and using Green Man festival’s unique international positioning, the project has been supporting artists in Wales to explore new territories, develop new strategic and sustainable connections, collaborate and showcase work beyond the border.
Programme aims:
Bridge Wales’ artistic output with the world, helping to redefine our relationship, particularly with Europe and promoting the profile of Wales internationally, especially in the field of outdoor arts;
Showcase Welsh work, create opportunities for collaboration and encourage the programming of Welsh work overseas while diversifying the artistic offer of our programme;
Support artists to develop/strengthen new creative connections/networks, enhance artistic practice and build the capacity to create and tour new work;
Offer a platform for artist-led peer learning, sharing expertise and knowledge and structured networking and mentoring.
The programme has welcomed arts organisations and practitioners to Wales with a particular focus on EU countries and/or places/artists that share Wales’ indigenous language heritage and are deeply connected to our nation. It has taken us only 3 years to see our international strategy start to build a strong legacy in the sector in Wales. Off the back of our international programme and being a partner in the 4 Nations consortium, we are seeing artists getting noticed and programmed abroad, creating a strong synergy with the four UK nations, Ireland, Basque Country, Catalonia and France.
In 2024, 17 internationals which included performers, artist managers, bookers, festivals and professional networks took part in our International Exchange Programme:
Paul Brown, Director Earagall Arts Festival (Ireland)
Lucy Medlycott, Director ISACS (Ireland)
Jon Koldo Vasquez, International Relations ARTEKALE (Basque Country)
David Berga, Independent agent David Berga Management (Barcelona)
David Doust, General Manager Outdoor Arts UK (England)
Ali Williams, artist, facilitator and Creative Producer (Wales & Portugal)
Alan Richardson, Director Surge Festival (Scotland)
Annie Grundy, Director Articulture Outdoor Arts Network (Wales)
Steffan Donnelly, Artistic Director Theatr Genedlaethol Cymru (Wales)
The long-term ambition of the programme is to establish co-commissioning and touring parternships for Welsh artists and, in turn positioning Green Man as a leading festival for International Outdoor Arts by presenting new work never seen in Wales.
‘Green Man is a fantastic festival, well programmed across many artforms, that can introduce you to challenging new work whilst being a welcoming and laid back overall experience. The format of the artist development programme has a lot of potential to be emulated.
Alan Richardson, Director Surge Festival (Scotland)
‘I had a great time at Green Man, meeting lots of Welsh artists, making new networks, and catching up with sector friends too. I would thoroughly recommend going to Green Man as a chance to check out everything that is happening with Welsh outdoor arts.’
David Berga, David Berga Management (Catalonia)
IMPACT, REACH, DIVERSITY & INCLUSION
Green Man was the first, and still the only, green field festival in Wales, and one of only six in the whole of the UK, to hold a Gold Charter by Attitude is Everything (AIE), recognising its commitment to making the organisation and the experiences provided proactively accessible.
2024 continued the Trust’s commitment to celebrating diversity, inclusion and Welsh Language. The Trust commissioned and presented work by Welsh language speakers, neurodiverse, disabled, LGBTQIA+ and ethnically diverse creatives:
5/6 of the artists on the Visual Arts programme identify as women
3/5 Green Man Rising finalists were female-fronted acts
50% of Settlement acts performed in Welsh language
90% of the Performing Arts programme were Welsh, 56% Welsh-speaking or Welsh-learning, 58% female-led; 50% LGBTQIA+ and 37% physically and\or learning disabled.
In terms of impact on artists, 87% of participants fed back the following:
The programmes provided a significant platform to showcase work
Enabled me to develop my artistic skills
Led to new connections for future collaborations
Provided valuable networking opportunities
The association with Green Man benefited our promotion and profile
The Green Man teams provided suitable support throughout the process
Provided an opportunity to work in a new way and/or with new materials
Has resulted in new bookings
Is something we would recommend to others
In terms of audience reach and engagement:
27,750 saw at least one of the Performing Arts acts
21,400 saw at least one of our Music Development acts
14,250 saw the Visual Arts installations
300 attended the Green Man Rising final at Clwb Ifor Bach
Audience feedback shows:
77% (3,850) of Settlement audiences agreed they were introduced to new Welsh music
76% (12,958) of Rising stage audiences agreed they were introduced to new music
99.5% (16,640) of those agreed the stages are a good way to support new music
78% (16,692) agreed they had been introduced to new outdoor arts work
64% (13,969) rated the quality of the Performing Arts programme 8/10 or above
50%n(10,700) agreed it inspired them to see outdoor arts outside Green Man
97% (13,822) agreed the Visual Arts are a positive addition to the festival
64% (9,120) felt creatively, artistically or mentally stimulated by the works
76% (10,830) of audience members rated the works 7/10 or above, highlighting their visual impact, the calming atmosphere they created in the busy festival environment and the strong Welsh themes running through the works.
Green Man attracts a truly diverse audience of 25,000 a day, spanning generations young and old and coming from all around the globe - 12% under 18s; 24%18-34 yrs; 62% 35-64 yrs; 2% 65+; 28% from Wales; 70% from the rest of the UK; 2% international. This greatly benefitted artists as they were exposed to audiences beyond their existing reach.
Festival press circulation exceeded 4.2 billion in 2024. Green Man was covered in 444 press features between January and September across broadsheets, TV and radio, including BBC News, Sky News, ITV News, BBC Radio 1 and 2 and 6 Music among others.
2. TRAINING & DEVELOPMENT PROGRAMMES
The various training programmes offered through the Green Man Trust at Green Man festival aim to develop a broad range of professional and soft skills. The festival offers a uniquely safe, family-orientated and supportive environment where disadvantaged young people, vulnerable adults and young professionals can develop new skills in a risk-free environment.
Each programme is tailored to respond to the specific needs of each target group, aiming to equip beneficiaries with professional and soft skills, self-belief and resilience to face challenges such as social integration, recovery from addiction, finding and entering employment and, lack of aspirations for the future. Participants are involved in short- and medium-term placements across a number of areas within the core team and at the festival including Operations, Marketing, Ticketing, Artist Liaison, Logistics, Development, Stewarding and Recycling & Waste Management.
34 people took part in 2024. These included refugee and asylum seekers from the Oasis Cardiff and students from Cardiff University and University of South Wales.
OASIS CARDIFF TRAINING PROGRAMME
Working in partnership with Oasis Cardiff and Green Man, this project aims to help make the process of integration easier for refugees and asylum seekers, with an element of fun which has proven to be a truly impactful way to achieve profound change.
The project focuses on increasing participants’ wellbeing and raising their aspirations, by up-skilling, building confidence and promoting cultural integration, instilling a sense of belonging and purpose and fostering positive relationships across communities.
The programme aims to:
Challenge the negative stereotypes about asylum
Promote increased understanding and awareness around asylum seekers and refugees
Help create a more peaceful and welcoming atmosphere for new arrivals
Be an inclusive platform for discussion on the issues faced by refugees.
Build a sense of purpose and belonging
Allow participants to be part of a quintessentially British summer tradition and experience a music festival for the first time.
The project welcomed 15 Oasis Cardiff clients to Green Man’s team for a week. For many, this was the first time they left Cardiff. The group of participants joined the Festival Stewards team and trained in health & safety, fire evacuation procedures, crowd management and customer services which both add to participants’ professional and personal development. While on site, the group are supported by two support workers and Green Man Festival’s Staff Wellbeing Manager and the experienced Stewards Manager, who both have worked on the project since its inception.
Participants highlighted the following as the most important outcomes for them and skills developed as a result of the project:
Teamwork skills, all of the participants spent a lot of time together and supported each other throughout the festival, learning from and creating stronger bonds with their peers and support workers;
Time management and leadership skills;
Enhancing their professional experience with new skills in health & safety and fire evacuation procedures, crowd management and customer services;
English language improvements through interacting with customers and following orders when stewarding;
Improved their general wellbeing, with an increased sense of self-respect, positivity, familiarity, care and safety;
Increased confidence, sense of purpose and belonging to the community;
Having the opportunity to take part and engage in arts and culture which they would have not had access to otherwise.
‘It's such an excellent experience for me for so many reasons, after all of the things I have experienced, this is something new and normal.’
Rahman, participant & Oasis Cardiff client
MEDIA TRAINING PROGRAMME
This training programme in partnership with the University of South Wales is rooted in offering aspiring media professionals the chance to experience working in a high-profile event alongside some of the best AV experts in the country. The aim is that the experience hones students’ skills, broadens their horizons and develops their confidence to pursue a career in the creative industries. It is also, on a personal level, a once-in-a-lifetime experience. The project gives young people a chance to experience a new environment, meet new people and face new challenges. Students leave with an enhanced CV and skillset that significantly supports their long-term employment prospects in the creative industries.
2024 saw the project work with eight 2nd-year Media Production Degree students. The group took part in a 7-day, intensive, hands-on Media Production work experience at Green Man, under the guidance of the festival’s AV team. Learning from some of the best AV professionals in the industry, participants were responsible for camera engineering and editing the live feed of the 6,000-capacity Far Out stage. The group were mentored by two past participants, who did the programme the previous year and returned to perfect their technical abilities, build new connections with industry professionals and gain new leadership and people management skills.
Students worked an average of 40 hours each and recorded over 30 hours of live footage, developing key skills in live camera operation, live editing, vision mixing backstage and light engineering. Students had the opportunity to film the likes of Sleaford Mods, The Jesus and May Chain, Osees, Mercury Prize nominee Nadine Shah, Explosions in the Sky and The Mary Wallopers.
Split into teams, they covered three different areas of work on rotation:
1) filming on stage
2) filming in the pit and
3) backstage vision mixing and giving live directions to their camera operating teams.
The group also produced a short feature film, which they finalised at the festival and premiered in the cinema tent, followed by a Q&A with Jason Solomons. Jason is the Cinedrome curator and is a renowned British film critic whose credits include BBC News, Sky News and BBC Radio and is the former Chairman of the London Film Critics' Circle. The film was their project for the Client Brief – Professional Practice module. On top of developing technical skills that directly fed into their professional training, students learned a wealth of vocational skills. The placement feeds into students’ 3rd-year assessment.
Over the course of the project, students:
Learned to write a stand-out CV and to perform in interviews
Worked as camera engineers on one of the UK’s most iconic stages, in front of 6,000+ people
Directed the live camera operators through the talkback system
Edited live the screen feeds using Vision Mixer
Organised team rotas
Worked alongside top industry professionals, including lighting technicians, sound engineers, stage crew and world-renowned artists
Produced a video documentary - filmed, edited and screened onsite in the 1,000-capacity cinema tent
Project evaluation shows:
7/8 participants rated their overall experience;
7/8 students agreed that the programme had improved their existing technical skills, in particular colour tracking for the display screens, camera techniques, sound recording and using live TV broadcast cameras instead of videography cameras;
8/8 left more confident in their technical skills;
8/8 agreed that the placement was relevant and informative for their professional development and future career prospects;
8/8 felt that they had developed both professionally and personally, highlighting communication, self-confidence and self-esteem, problem-solving, teamwork, determination and resilience, stress management, self-reliance, negotiating and coping skills.
A key element of the programme is showing participants the wide career options available to them and broadening their horizons. 100% agreed they learned about new career prospects and left more confident in their technical abilities. Participants felt supported, respected and valued.
‘I expected that I would have to be perfect at the job immediately but one band set lifted all expectations away which removed any stress to be perfect. This allowed me to do the job better than anticipated. It was a lot more hands on and communicative than i expected, our director and the stage crew were very helpful and genuine which helped us learn in a good environment’
Millie Gee, participant 2024
‘An unforgettable journey in the span of a week's work. It's a programme experience that's
absolutely worth savouring, with advice and training that I look to take forward into my
professional development. You might have issues living out of a tent for a few days, but the
tradeoff of working with one of (if not) the best going video crews in the UK Independent Festival scene is an invaluable time well spent. I highly recommend this programme.’
Carys Murphy-Jones, participant 2024
CARDIFF UNIVERSITY TRAINING PROGRAMME
The Training Programme in partnership with Cardiff University launched in 2018. Since then, the placements have led to improved employability outcomes for trainees:
9 participants have been offered further employment with Green Man
2 have gone on to start careers in the events industry
2 have used their experience at Green Man to set up their own businesses
1 gained full-time employment in the PR industry, working for Green Man’s Welsh PR company
In 2024, we offered 7 paid work placements at Green Man for students across Operations, Logistics, Artist Liaison, Marketing, Waste & Recycling Management and Ticketing teams as well as Fundraising with the Green Man Trust.
Placements are intensive short-term learning experiences that give young people professional insight into running a successful, sustainable and ethical large-scale operation, bridging the gap between higher education and employment. Students improve a number of professional and personal skills including independent problem solving; proactivity and organisation; adaptability; commercial awareness; effective decision making; effective communication; collaboration/teamwork; ethical, social and environmental awareness; resilience; independent and critical thinking; procurement; marketing; proof-reading; customer service; writing press reports; research and data analysis among others.
Evaluation shows:
6/7 agreed the experience has been important for their professional development;
6/7 agreed the work placement will stand out in their CV and will be attractive to future employers;
75% agreed the placement offered new career options they had not considered before;
68% agreed they had developed strong professional and interpersonal skills.
‘I learned so many things during my time working for the Green Man Festival and I know it will all help me in any job that I pursue in the future. The festival as a whole was a great experience and I’m very grateful for the opportunity’
Addie, participant 2024
3. SCIENCE ENGAGEMENT
Science and environmental engagement are pillar aims of Green Man Trust. As a recognised catalyst for positive change, Green Man is uniquely positioned to help the Trust widen understanding and engagement with the environment and our natural world. For over 10 years, the festival has offered the Trust a platform to engage 25,000+ people from all walks of life each year with science in Einstein’s Garden - the first of its kind in the UK.
The programme brings together world-renowned science institutions, talented artists and producers and curious audiences to experiment, discover, question and debate. It creates engaging experiences and interactive performances and welcomes everything from mushroom-growing workshops to panel discussions about death, but the enduring underpinning theme of the Garden is the environment and our relationship with it. It’s a space where science gatecrashes arts, comedy, circus, music, and theatre, and creates opportunities for research partners to develop new audiences.
114 scientists and researchers brought 49 projects to life across the solar-powered Solar Stage and hydrogen-powered Omni Stage and Workshop Dome in Einstein’s Garden 2024, offering a profusion of scientific and arts installations, talks, workshops and performances probing the multitude of voices and perspectives in the climate movement and showing how science and the arts help tackle daunting or taboo issues.
‘By using Green Man’s extensive impact as a disruptive brand and their talent for innovation, they have pioneered new ways to engage communities with science and health through their science experience Einstein’s Garden.’
Farrah Nazir, Insights & Learning, EDI at The Wellcome Trust
4. COMMUNITY GRANTS
Community support is in the DNA of Green Man and the festival has donated to local community groups and schools worth thousands of pounds. Green Man Trust has worked in partnership with the festival for the past 10 years to take this support even further, whether that’s fundraising for those affected by natural disasters, donating to Food Banks, supporting sports and hobbyist clubs, community gatherings which address loneliness and encourage inclusivity, repairing local infrastructure of buildings which support community engagement, supporting local schools and sourcing equipment for people with disabilities. Green Man festival and Green Man Trust have collectively raised over £500K for community projects over the years.
In 2023, Green Man Trust launch a new Community Grants Fund to support activities that align with these socials aims and, since then, has distributed over £54,070.
To mark the Trust’s 10th anniversary, the Trustees agreed to double the fund in 2024. After careful consideration based on an agreed assessment matrix, the Fund distributed £20,875 to 12 local community projects:
£3,300 to Crickhowell Community Primary School to build a new Sensory Room for pupils with learning and/or physical disabilities;
£2,000 to Llangattock Primary School towards the revamping of an outdoor shelter to enhance the activities of its Forest Schools;
£2,000 to Arts Connection towards the delivery of 16 art workshops for young carer and young adult carers in partnership with Credu across Powys;
£2,000 to Brecon Pride towards the cost of its annual event bringing people together to tackle the isolation of marginalised groups, including the LGBTQIA+ communities, in rural areas;
£2,000 to disability charity Sense Cymru towards the purchase of equipment to help those with severe mobility issues undertake ‘dynamic standing’ exercises that are shown to have significant medical benefits;
£2,000 to Llangynidr Primary School to introduce Forest Schools for primary-aged children;
£2,000 to Crickhowell Volunteer Bureau towards the purchase of IT equipment for the new community Hub which aims to help address digital exclusion in the area;
£1,885 to Llangors Community Centre to buy a new sound system for the village hall;
£1,440 to Talgarth District Regeneration Group to support a community mural project designed and painted in participation with local pupils and parents in Brecon and Talgarth;
£1,250 to The Honeypot to support a Residential Respite Break for young carers aged 5-12;
£500 to Glangrwyney Cricket Club to support the development of women, girls and youth cricket;
£500 to Llangorse Community Toilets CIO to support ongoing running and maintenance costs.
The Trust provided additional funding in 2024 to support the opening of the Brecon Community Swap Shop located in Priory Church School, Brecon. The refurbished shipping container was designed, fitted and furnished with recycled furniture by the Green Man team, and is open all year round as a resource for the local community. It contains a shop which offers free school clothing, sports kits and other essential items, and it also offers a separate private meeting space where family members can connect with organisations or professionals who can offer support or advice if needed.
‘We are so grateful to the Green Man Trust for the support they are giving our community in such tangible ways, as it would have taken us years to raise the funds to afford projects like these that have a true impact and lasting legacy on our children and their families.’
Claire Pugh, Headteacher Priory CIW Primary, Brecon
Trustees monitor and review the charity reserves policy annually as part of ongoing budgetary processes. The charity reserves policy ensures the charity can keep in operation should income level fall below expected. The charity reserves policy (revised at the 21 November 2023 Annual General Meeting) is to hold sufficient reserves to cover salaries and operational costs equivalent to £50,000. At 31 December 2024 the charity had total reserves of £48,441 (2023:£119,976). Of these reserves £nil are restricted funds (2023:£18,497). The designated funds are £nil (2023: £20,000) and the free reserves of the charity are £47,617 (2023: £81,479).
Going concern
After making an appropriate analysis and taking into account unrestricted funding secured during the year in review, the trustees have a reasonable expectation that the Trust has adequate resources to continue in operation for the foreseeable future. For this reason, they continue to adopt the going concern basis in preparing the financial statements. Further details regarding the adoption of the going concern basis can be found in the Accounting Policies.
Plans for the future
The primary long-term aim of the Trust is to establish a permanent home from where it can further the activity within its four main strategic strands: Arts Development, Training and Development, Community Support and Science Engagement.
Arts Development:
To continue to support artists, particularly those at the start of their careers with showcase opportunities, networking prospects and career development. Future developments continue to involve widening the opportunities for showcasing and professional development beyond the festival and developing partnerships for international touring and collaborations.
Training and Development:
Green Man Trust is passionate about offering training and development opportunities to young people and early-career starters. Across a number of opportunities we offer professional and career development as well as technical training in a number of areas and disciplines e.g. Production, event management, programme curation and many more.
Future developments for this area are to secure sufficient funds for a dedicated Project Manager who can manage and expand the training and development programmes and research potential collaborations to enhance opportunities for those participants involved.
Community Support:
Green Man Trust is committed to enhancing the support for local causes and continually reviews its own grant-making systems and charitable activities.
Future developments for community support will include expanding our relationships with local schools, colleges and universities as a way of developing opportunities for young people in the local area.
Science Engagement:
Future plans include the strategic development of links with science organisations and sources of funding to support successful science engagement. Following a successful 3-year partnership with the Wellcome Trust, a business plan for the development of Einstein’s Garden plans to:
Launch a new area in Einstein’s Garden for climate engagement in 2025
Continue to develop science engagement in a creative and innovative way, including developing partnerships with a wide range of science organisations
Develop science projects, partnerships and collaborations outside the festival
Take the excellent science engagement offered at the Festival beyond the event itself to reach other communities across the country
Constitution
The Trust is registered as a charitable company limited by guarantee and was set up by a Memorandum of Association on 17 January 2013, replaced by new Articles of Association 20 March 2014.
The Trust is constituted under a Memorandum of Association dated 17 January 2013, replaced by new Articles of Association 20 March 2014, and is a registered charity number 1156453.
The trustees, who are also the directors for the purpose of company law, and who served during the year and up to the date of signature of the financial statements were:
Method of appointment or election of Trustees
The management of the Trust is the responsibility of the Trustees who are elected and co-opted under the terms of the Articles of Association.
Policies adopted for the induction of Training Trustees
The charity has a programme of training for newly appointed trustees.
Organisational structure and decision making
Trustees: The Trustees serve on the governing body of the Green Man Trust and this is where the decision making lies for the trust. Our trustees are responsible for the general control and management of the administration of the charity. They accept ultimate responsibility for directing the affairs of the charity, and ensure that it is solvent, well-run, and delivering the charitable outcomes for the benefit of the public for which it has been set up.
Chair: The Chair is required to lead the board of trustees regarding strategy and targets, to represent the Green Man Trust to external bodies and organisations and with support from the Board to sustain current and develop new forms of income or support for the charity. The Chair of the Green Man Trust is Fiona Stewart.
The Treasurer: The Treasurer will interpret and explain accounting requirements, ensuring that the board receives financial reports and guide any other professional advisers or administrators they have appointed including the Company Secretary. The Treasurer for the Green Man Trust is Ian Fielder.
The Company Secretary: The role of the Secretary is to support the chairperson in ensuring the smooth functioning of the governing body, organisation, updating and recording of the administration and financial affairs of the Green Man Trust. The Company Secretary for Green Man Trust is Joana Rodriquex.
From the current reporting year, one member of staff is employed by the charity to carry out the role of Secretary and Development Manager.
The trustees, who are also the directors of Green Man Trust Limited for the purpose of company law, are responsible for preparing the Trustees' Report and the financial statements in accordance with applicable law and United Kingdom Accounting Standards (United Kingdom Generally Accepted Accounting Practice).
Company law requires the trustees to prepare financial statements for each financial year which give a true and fair view of the state of affairs of the Trust and of the incoming resources and application of resources, including the income and expenditure, of the charitable company for that year.
In preparing these financial statements, the trustees are required to:
- select suitable accounting policies and then apply them consistently;
- observe the methods and principles in the Charities SORP;
- make judgements and estimates that are reasonable and prudent;
- state whether applicable UK Accounting Standards have been followed, subject to any material departures disclosed and explained in the financial statements; and
- prepare the financial statements on the going concern basis unless it is inappropriate to presume that the Trust will continue in operation.
The trustees are responsible for keeping adequate accounting records that disclose with reasonable accuracy at any time the financial position of the Trust and enable them to ensure that the financial statements comply with the Companies Act 2006. They are also responsible for safeguarding the assets of the Trust and hence for taking reasonable steps for the prevention and detection of fraud and other irregularities.
The trustees' report was approved by the Board of Trustees.
I report to the trustees on my examination of the financial statements of Green Man Trust Limited (the Trust) for the year ended 31 December 2024.
Having satisfied myself that the financial statements of the Trust are not required to be audited under Part 16 of the Companies Act 2006 and are eligible for independent examination, I report in respect of my examination of the Trust’s financial statements carried out under section 145 of the Charities Act 2011. In carrying out my examination I have followed the Directions given by the Charity Commission under section 145(5)(b) of the Charities Act 2011.
Since the Trust’s gross income exceeded £250,000 your examiner must be a member of a body listed in section 145 of the 2011 Act. I confirm that I am qualified to undertake the examination because I am a member of the Institute of Chartered Accountants in England and Wales, which is one of the listed bodies.
I have completed my examination. I confirm that no matters have come to my attention in connection with the examination giving me cause to believe that in any material respect:
accounting records were not kept in respect of the Trust as required by section 386 of the Companies Act 2006.
the financial statements do not accord with those records; or
the financial statements do not comply with the accounting requirements of section 396 of the Companies Act 2006 other than any requirement that the financial statements give a true and fair view, which is not a matter considered as part of an independent examination; or
the financial statements have not been prepared in accordance with the methods and principles of the Statement of Recommended Practice for accounting and reporting by charities applicable to charities preparing their financial statements in accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102).
I have no concerns and have come across no other matters in connection with the examination to which attention should be drawn in this report in order to enable a proper understanding of the financial statements to be reached.
Investments
Raising funds
Charitable activities
Green Man Trust Limited is a private company limited by guarantee incorporated in England and Wales. The registered office is Old Bank House, Beaufort Street, CRICKHOWELL, Powys, NP8 1AD.
The financial statements have been prepared in accordance with the Trust's governing document, the Companies Act 2006 and “Accounting and Reporting by Charities: Statement of Recommended Practice applicable to charities preparing their accounts in accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102)” (effective 1 January 2019). The Trust is a Public Benefit Entity as defined by FRS 102.
The Trust has taken advantage of the provisions in the SORP for charities applying FRS 102 Update Bulletin 1 not to prepare a Statement of Cash Flows.
The financial statements are prepared in sterling, which is the functional currency of the Trust. Monetary amounts in these financial statements are rounded to the nearest £.
The financial statements have been prepared under the historical cost convention. The principal accounting policies adopted are set out below.
At the time of approving the financial statements, the trustees have a reasonable expectation that the Trust has adequate resources to continue in operational existence for the foreseeable future. Thus the trustees continue to adopt the going concern basis of accounting in preparing the financial statements.
Unrestricted funds are available for use at the discretion of the trustees in furtherance of their charitable objectives.
Designated funds have been chosen by the trustees to be used for grant applications which will be paid away in the next financial year.
Restricted funds are subject to specific conditions by donors or grantors as to how they may be used. The purposes and uses of the restricted funds are set out in the notes to the financial statements.
Cash donations are recognised on receipt. Other donations are recognised once the Trust has been notified of the donation, unless performance conditions require deferral of the amount. Income tax recoverable in relation to donations received under Gift Aid or deeds of covenant is recognised at the time of the donation.
Donated goods are included in income at a valuation which is an estimate of the financial cost borne by the donor where such cost is quantifiable and measurable.
Expenditure is recognised once there is a legal or constructive obligation to make a payment to a third party, it is probable that settlement will be required and the amount of the obligation can be measured reliably. Expenditure is classified under the following activity headings:
Costs of raising funds comprise the costs of commercial trading including the bar and coffee lounge and their associated support costs.
Expenditure on charitable activities includes the costs of performances, exhibitions and other educational activities undertaken to further the purposes of the charity and their associated support costs.
Other expenditure represents those items not falling into any other heading.
Irrecoverable VAT is charged as a cost against the activity for which the expenditure was incurred.
Tangible fixed assets are initially measured at cost and subsequently measured at cost or valuation, net of depreciation and any impairment losses.
Depreciation is recognised so as to write off the cost or valuation of assets less their residual values over their useful lives on the following bases:
The gain or loss arising on the disposal of an asset is determined as the difference between the sale proceeds and the carrying value of the asset, and is recognised in the statement of financial activities.
At each reporting end date, the Trust reviews the carrying amounts of its tangible assets to determine whether there is any indication that those assets have suffered an impairment loss. If any such indication exists, the recoverable amount of the asset is estimated in order to determine the extent of the impairment loss (if any).
Cash and cash equivalents include cash in hand, deposits held at call with banks, other short-term liquid investments with original maturities of three months or less, and bank overdrafts. Bank overdrafts are shown within borrowings in current liabilities.
The Trust has elected to apply the provisions of Section 11 ‘Basic Financial Instruments’ and Section 12 ‘Other Financial Instruments Issues’ of FRS 102 to all of its financial instruments.
Financial instruments are recognised in the Trust's balance sheet when the Trust becomes party to the contractual provisions of the instrument.
Financial assets and liabilities are offset, with the net amounts presented in the financial statements, when there is a legally enforceable right to set off the recognised amounts and there is an intention to settle on a net basis or to realise the asset and settle the liability simultaneously.
Basic financial assets, which include debtors and cash and bank balances, are initially measured at transaction price including transaction costs and are subsequently carried at amortised cost using the effective interest method unless the arrangement constitutes a financing transaction, where the transaction is measured at the present value of the future receipts discounted at a market rate of interest. Financial assets classified as receivable within one year are not amortised.
Basic financial liabilities, including creditors and bank loans are initially recognised at transaction price unless the arrangement constitutes a financing transaction, where the debt instrument is measured at the present value of the future payments discounted at a market rate of interest. Financial liabilities classified as payable within one year are not amortised.
Debt instruments are subsequently carried at amortised cost, using the effective interest rate method.
Trade creditors are obligations to pay for goods or services that have been acquired in the ordinary course of operations from suppliers. Amounts payable are classified as current liabilities if payment is due within one year or less. If not, they are presented as non-current liabilities. Trade creditors are recognised initially at transaction price and subsequently measured at amortised cost using the effective interest method.
Financial liabilities are derecognised when the Trust’s contractual obligations expire or are discharged or cancelled.
The cost of any unused holiday entitlement is recognised in the period in which the employee’s services are received.
Termination benefits are recognised immediately as an expense when the Trust is demonstrably committed to terminate the employment of an employee or to provide termination benefits.
Payments to defined contribution retirement benefit schemes are charged as an expense as they fall due.
Government Grants
Government grants are recognised at the fair value of the asset received or receivable when there is reasonable assurance that the grant conditions will be met and the grants will be received.
Government grants relating to turnover are recognised as income over the periods when the related costs are incurred. Grants relating to an asset are recognised in income systematically over the asset's expected useful life. If part of such a grant is deferred it is recognised as deferred income rather than being deducted from the asset's carrying amount.
In the application of the Trust’s accounting policies, the trustees are required to make judgements, estimates and assumptions about the carrying amount of assets and liabilities that are not readily apparent from other sources. The estimates and associated assumptions are based on historical experience and other factors that are considered to be relevant. Actual results may differ from these estimates.
The estimates and underlying assumptions are reviewed on an ongoing basis. Revisions to accounting estimates are recognised in the period in which the estimate is revised where the revision affects only that period, or in the period of the revision and future periods where the revision affects both current and future periods.
The estimates and assumptions which have a significant risk of causing material adjustment to the carrying amount of assets and liabilities are as follows:
In determining the estimated useful life the charity considers the expected physical wear and tear of the asset that could lead to obsolescence of the asset. Each year the charity reviews the above to establish if there is any change in the expected useful life of tangible assets.
Grants receivable for core activities
Investments
Raising funds
Charitable activities
Charitable activities
Visual Arts Programme
Fundraising Activities
Repairs & Maintenance
Performing Arts Programme
IT Software and Consumables
Music Development Programme
Advertising and Marketing
Bank fees
Accountancy
Professional fees
Training Programme
Science Engagement
Staff training
In addition to the Independent examiner fees shown above, included within charitable activities expenditure are fees payable to the Independent examiner in respect of accountancy and other services of £2,640 (2023:£2,520).
The average monthly number of employees during the year was:
The charity is exempt from taxation on its activities because all its income is applied for charitable purposes.
Deferred income relates to income received in the year specifically relating to 2025 programmes.
The Trust operates a defined contribution pension scheme for all qualifying employees. The assets of the scheme are held separately from those of the Trust in an independently administered fund.
As at 31 December 2024, there was a pension payable liability of £nil (2023: £nil).
The restricted funds of the charity comprise the unexpended balances of donations and grants held on trust subject to specific conditions by donors as to how they may be used.
Restricted funds totalled £180,026 in 2024.
Arts Council of Wales Lottery Project Grants
£85,401 towards Arts Development projects, allocated as follows:
£13,500 towards the Music Development programme
£32,301 towards the Visual Arts Development programme
£39,600 towards the Performing Arts Development programme
Wales Arts International (part of Arts Council of Wales)
£6,365 towards the International Exchange programme (Performing Arts)
Arts Council England - Grassroots Music Fund
£27,176 towards the Music Development programme
Colwinston Charitable Trust
£11,584 towards the Visual Arts Development programme
Ashley Family Foundation (via Community Foundation Wales)
£10,000 towards the Media Training & Development
Welsh Broadcasting Trust
£10,000 towards the Media Training & Development programme
Cardiff University
£17,000 towards the Training & Development Placements programme
University of South Wales
£3,000 was awarded towards the Media Training & Development programme
BOF
£6,000 towards the Refugee Integration Training programme
Miller Research
£3,500 towards the Science Engagement programme
Restricted Funds 2023
Restricted funds totalled £130,560 in 2023.
Arts Council of Wales Lottery Project Grants: £77,989 towards Arts Development projects, allocated as follows:
£11,544 towards Music Development programme
£28,535 towards Visual Arts Development programme
£37,910 towards Performing Arts Development programme
Wales Arts International (part of Arts Council of Wales) - £6,298 towards Performing Arts International Exchange programme
Ashley Family Foundation (via Community Foundation Wales) – £10,000 towards Media Training & Development
Welsh Broadcasting Trust – £7,200 towards Media Training & Development programme
University of South Wales - £3,500 was awarded towards Media Training & Development programme
Cardiff University – £11,000 towards Media Training & Development Placements programme
PRS Foundation - £9,573 towards Music Development programme
Miller Research - £5,000 towards Science Engagement programme
The income funds of the charity include the following designated funds which have been set aside out of unrestricted funds by the trustees for specific purposes:
Community Grants Fund - The trustees designated these funds to be used for grant applications. These were all paid away in the current financial year.
During the year there were expenses incurred from Plantpot Limited of £150 (2023:£2,336). At the year end £nil (2023:£nil) was due to Plantpot Limited. Plantpot Limited are connected by a trustee of Green Man Trust Limited who is the ultimate controlling party of Plantpot Limited. There were no specific terms and conditions attached to this balance.
During the year donations of £42,929 (2023: £14,663) were received from Plantpot Limited, as well as donated tickets worth £162,970 (2023: £76,000), who is connected by a trustee of Green Man Trust Limited who is the ultimate controlling part of Plantpot Limited.
Of the £42,929 donations received from Plantpot Limited, £13,053 was a donation pledged directly from the entity, and £29,876 were donations collected by Plantpot, from individuals at festival boxes, and then donated to the charity. The £29,876 is made up as follows:
- Settlement Box Office £1,136
- General Box Office £10,841
- Bus Gate Box Office £5,107
- Artist Box Office £8,398
- Raffle Tickets £4,394