Goat Girl / The Deaf Institute, Manchester | 31st of March

Goat Girl / The Deaf Institute, Manchester | 31st of March

On March 31st The Deaf Institute in Manchester welcomed South-London garage-rockers Goat Girl to the stage with support from Suitman Jungle. The Rough Trade-signed quartet formed in 2016 and have their 19 track self-titled debut album out next week. The first time I saw Goat Girl was back in November 2017 at Gullivers in Manchester, that night they ticked all the boxes of a good live band but it was still quite clear that there was work to be done. It’s fair to say that Goat Girl is a band on the cusp of great things.

First up to the stage was little-known drum and bass solo-artist Suitman Jungle, and it was by far the most peculiar and bizarre musical performance I have ever witnessed in my life. It consisted of one man, a stand-up cocktail drum kit, a sample pad and a kettle. Suitman Jungle’s drum and bass mash-ups and frantic drumming flabbergasted the audience and left me in dread for the rest of his set. Whimsical, eccentric and erratic is just some of the words I would use to describe Suitman Jungle’s short twenty-minute set, have you ever seen a musician make a cup of tea mid performance? I found it excruciatingly difficult to take Suitman Jungle’s set seriously, however he entertained the audience sufficiently well and he even managed to get a few laughs.

Moving on from Suitman Jungle’s madness, the venue was now at full capacity and waiting for Peckham’s finest to take the helm. Goat Girl placidly entered the stage and kick started their set with new song Burn the Stake, almost instantly the crowd began to move to the music. Named in honour of Bill Hicks’ alter ego Goat Boy, the all-female four-piece is made up of vocalist Lottie, bassist Naima, guitarist Ellie and drummer Rosy. It’s hard to put your finger on what genre Goat Girl actually are, but to me they’re cocktail of different musical genres, scuzz-rock, garage rock, alternative, indie. Their politically motivated music only makes their live shows even more powerful and engaging. Lottie’s monotone Courtney Love-esque vocals rang through the venue as congested mosh pits began to form near the stage. The band slowed things down mid-set with a cover of Bugsy Malone’s 1976 jazz song Tomorrow, which I thought was a risky move but as the audience lay silent in awe I was soon to realise that Goat Girl are capable of anything.

The Deaf Institute is a truly exceptional venue especially when it’s jam-packed, the atmosphere generated by the crowd is something unique. Deemed as a hipster venue The Deaf Institute definitely has its own unparalleled aura like no other. As Goat Girl’s capricious but sanguine set came to a close I could only feel like Goat Girl had completely exceeded my expectations of the night and I’m sure everybody else at The Deaf Institute felt the same way. The final song of the band’s 16 song setlist was fan favourite Country Sleaze. The band initiated a mass sing-along as the thumping bass-line vibrated through the dance floor and the bouncy guitar-riff and crude lyrics ensured the night finished in the most climatic of fashions. Goat Girl is a band you must see live.

 

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