The Verse’s Imara Williams-Simpson reviews Goat Girl’s gig at The Joker on 9th November 2017.
The Joker opened their doors on the 9th November to Porridge Radio, Jerkclub and Goat Girl, a four-piece born in the South London music scene, most commonly linked to the infamous London venue, The Windmill, in Brixton.
Goat Girl consist of Rosy Bones on drums, Naima Jelly on bass, L.E.D on guitar with Clottie Cream on vocals and guitar. Their band name is inspired by Billy Hicks comedy sketch, Goat Boy.
The beginning of November commenced Goat Girl’s first UK headline tour after playing with Parquet Courts, The Moonlandingz, Girl Band, Shame and Phobophobes since their first gig in March 2015 at Engine Rooms Studio, London.
Goat Girl played to a sold-out crowd varying from a mixture of young and old souls, many of whom have been listeners of Marc Riley’s show on BBC Radio 6.
Cracker Drool, Goat Girl’s newly released song ready for their November tour, is full of dark lyrics; grab your gun / we’re walking across the promised land / settle down and drink your joe / enjoy the scene / before the tin blows, juxtaposed with its light hearted, folk-esque beat which leads to a humours satire song. The music video is very mysterious, as the four band members drive across country to dispose of an oddly shaped package, not talking to each other in the process of travelling to the allocated spot of disposal.
A range of unreleased songs were played throughout Goat Girl’s set, including Circus which comprises of haunting la la la’s, which acted as the verse of the song contrasted with a heavy section on the drums, which then acted as the chorus. In addition, Goat Girl played Creep, a song which has a distinctly strong intro on the bass. The music of the song is whimsical alongside the lyrics which could be interpreted in many different ways; creep on the train / with the dirty trouser stain / scum of life, silly brain / I really want to smash your head in.
Newer songs that were played include I Don’t Care and You’re the Man which received a great amount of love amongst the snuggly, grouped-together audience. This was particularly the case for the latter, in which the audience sang back to the band members in a frenzy of a near mosh pit; you’re the man, you’re the man, now you’re the man for me.