goat girl band tour

Goat Girl Tour Dates

Taking their name from the late comedian Bill Hicks' alter ego, Goat Boy, Goat Girl are an indie-rock band from London, UK.

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Past Events

Here are the most recent UK tour dates we had listed for Goat Girl. Were you there?

• Mar 07 Tue London, Omeara Good Heavens! It's An Art Show Lice, Goat Girl
• Feb 24 Fri Birkenhead, Future Yard Goat Girl
• Sep 03 2022 Manchester, Various Venues Manchester Psych Fest 2022 Kurt Vile, The Coral, Gruff Rhys, Black Midi, Tinariwen…
• Jul 15 2022 London, Finsbury Park Sam Fender Fontaines D.C., Declan McKenna, Beabadoobee, Goat Girl…
• 2022 Jul 14 Jul 17 2022 Stirling, Cardross Estate Doune The Rabbit Hole Festival Patti Smith, Belle & Sebastian, Amy Macdonald, Goat Girl, Gentleman's Dub Club…
• Jun 26 2022 Glasgow, Hampden Park Liam Gallagher Kasabian, Goat Girl
• Jun 04 2022 Knebworth Park, Stevenage Liam Gallagher Kasabian, Michael Kiwanuka, Fat White Family, Goat Girl
• Jun 01 2022 Manchester, Etihad Stadium Liam Gallagher Goat Girl, The Charlatans
• 2022 May 11 May 14 2022 The Great Escape Festival 2022 Adam Melchor, Alice Pisano, Bxks, Charmaine, Conchúr White…
• May 08 2022 London, O2 Academy Brixton Foals Goat Girl

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Goat Girl’s sophomore album, On All Fours veers away from the confrontational lyricism of their angst-fuelled self-titled debut, to a previously unseen depth and vulnerability. This nuanced shift in lyricism indicates Goat Girl’s maturing perspectives in discussing the world’s injustices and social prejudices, using the music to explore global, humanitarian, environmental and mindful wellbeing. On All Fours is a creature we come to know as emblematic of all our world’s beauty and monstrosities rolled into one that breathes and lives in a strangely comforting idiosyncrasy. Aided by Goat Girl’s new interchangeable approach with instrumentation and songwriting, On All Fours showcases the pinnacle of the band’s collaborative artistry, which acts as a catalyst for fresh sonic territory. Goat Girl’s frequent use of sci-fi synthesisers, off-beat chord progressions, analogue drums machines, diverse vocal styles and distinct, gritty guitars fuse a musical language that expresses both former characteristics and newer developments of the band’s sound and vision.

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On All Fours

By Ben Hewitt

Rough Trade

January 29, 2021

On the best song from Goat Girl ’s 2018 self-titled debut , the South London band fantasized about smashing in a pervert’s head on a train. Yet the record mostly thrummed with the unsettling energy of a more otherworldly form of transport: the night bus, crisscrossing the capital at witching hour when normal senses, faculties, and decorum have slipped away. None of the awful creeps, shitheel politicians, or scuzzy encounters they sang about came from the realm of fantasy, but each bizarre story of the city whizzed past in a surreal blur, like warped William Hogarth street scenes glimpsed through a smeared window.

The lurid playfulness—set to a restless soundtrack of clattering post-punk and gothic country—suited a band you’d swear lifted their stage names from an old kids’ horror comic (singer Clottie Cream, guitarist L.E.D., drummer Rosy Bones, and bassist Holly Hole, who replaced Naima Jelly in 2019). But that dark, carnivalesque exuberance is in shorter supply on On All Fours . Where its predecessor crammed 19 songs into 40 minutes, these 13 stretch out languidly. Rather than lurching between styles, they mostly stick to whirlpooling guitars and a newfound supply of silvery electronics—sometimes pulsing, sometimes throbbing, sometimes seemingly on the brink of short-circuiting. Half mellifluous and half menacing, they often chronicle the draining toll of anxiety and depression. “Please don’t leave me alone/Staring out the window,” intones L.E.D. on “Anxiety Feels,” lost and listless in its woozy, downbeat swirl.

Ennui and disillusionment pervade the LP: The spacey, shimmering “Sad Cowboy” starts as a magical moonlit tour of Clottie’s neighborhood, but ends with her realizing that the pretty sights aren’t what they seem. Often, the songs juxtapose glimmering arrangements with more discordant sounds, similar to how Stereolab contrasted murky ideas with Laetitia Sadier’s sweet vocals. “Where Do We Go?,” a takedown of a lying, venomous blowhard, chimes like a nursery rhyme before introducing a synth as shrill as a dentist’s drill. “I’m sure it stinks under his skin/Where pores secrete all the hate from within,” Clottie murmurs. “Closing In,” meanwhile, chips away at its dreamy ice-cream truck melody with nagging synths, echoing the way treacherous thoughts poison her mind like “stagnant night soil.”

That sense of dissonance is even more effective when On All Fours switches focus to bigger horrors. Although opener “Pest” rages against the climate crisis, rank Western hypocrisy, and people smugly sleepwalking toward oblivion, it eschews abrasiveness for a gorgeous, celestial score. Later, Goat Girl chrip the refrain of the breezy “Babidaba” as if absentmindedly singing while doing the dishes, ignoring the electronics that wobble like a demented fairground ride. “Feels like we’re an infection,” deadpans L.E.D. “Carry on like we’re protected/As if we’re unaffected.” It plays out like the soundtrack to a nightmarish Twilight Zone episode where reality is collapsing but everyone insists nothing’s wrong.

More pedestrian bands would likely fashion something worthy and dull from such weighty themes, but On All Fours is too off-kilter to be preachy. “The Crack,” a rumbling, clanging song about humans fleeing a pollution-ravaged Earth for space, channels the spirit of a lost Arthur C. Clarke story; “They Bite on You” turns an account of having scabies into body horror. Most startling is “P.T.S.Tea,” a blackly comic farce which details yet another public transport run-in with an entitled jerk, this time a man on a ferry who burns Rosy with a cup of boiling hot tea. “Dumb man wouldn’t even look at me,” they seethe, but their voice keeps its sing-song sweetness while manic synths blurt like a Saturday morning cartoon theme, burying anger beneath forced cheerfulness. It’s a perfect encapsulation of how On All Fours refines Goat Girl’s sound: Whatever else changes, finding strange ways to tell grim truths is still what they do best.

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On All Fours

During the late 2010s, South London’s Goat Girl emerged from the same Brixton-based scene that spawned similarly free-spirited alternative acts such as shame, Sorry, and black midi. With the band all taking on cartoonish stage names—Clottie Cream (lead vocalist and guitarist Lottie Pendlebury), L.E.D. (guitarist Ellie Rose Davies), and Rosy Bones (drummer Rosy Jones)—their 2018 self-titled debut album was a set of surly post-punk that moved with a shadowy menace and punch-drunk lurch. For this follow-up On All Fours, Goat Girl has kept that spirit but delivered music with a far wider scope. Propelled by the hypnotic playing of new bassist Holly Mullineaux (aka Holly Hole) and an embrace of electronics, tracks such as “P.T.S.Tea,” with its toy-town synth pop, and the creepily atmospheric “They Bite on You” constantly change direction (often within the space of a single verse). “I think this was always going to be because we’re all just a bit older,” Davies tells Apple Music. “We wrote the first album from ages of 15 to 17. And then Holly joined and that brought a fresh energy.” That progression in the band’s sound is also a reflection of developments in their songwriting processes. “It was a conscious thing,” says Jones. “It felt quite natural to all try and collaboratively write this one in a way that hadn’t happened before.” The resulting songs mark out Goat Girl as one of the preeminent talents in British indie music—and here they talk us through how they did it, track by track. Pest Lottie Pendlebury: “We got snowed in the studio, and the snowstorm was being called ‘The Beast From the East.’ There were loads of newspaper articles about it, and we were discussing that that’s a weird title for a snowstorm. It’s almost putting blame on it, like it’s the fault of the people who live in the East. To me, it seemed kind of racist and made me think about the fact that it’s rare with climate change that people actually think about who the blame really lies with. The people who have created this devastation are in the West, it’s the fault of industrialization, colonization, neoliberalism…that’s the true evil. We need to look internally and we need to stop blaming externally.” Badibaba Ellie Rose Davies: “That was a jam where we all switched instruments. I was playing bass and Rosy was playing guitar and I think Lottie was playing drums.” Holly Mullineaux: “I can’t remember who came up with [the ‘badi-badi-ba-ba’ refrain in the chorus]. I remember us all just chanting it for ages and it being really funny.” ERD: “I was thinking when I was writing it that when we try to do right and save the planet, we try to not be ourselves in our daily lives. There are these factors of what it is to be human that are quite selfish, and it’s about how that is unavoidable to a degree, but that has a knock-on effect for the rest of the planet and the planet’s resources.” Jazz (In the Supermarket) LP: “That was written in the studio. It was really hot and the air con wasn’t working and we were sleeping in there. It was all getting a bit insane, so that came from a jam there and it was quite unhinged. Our friend listened to it and was like, ‘That’s so sick!’ so we thought we should include it.” Rosy Jones: “The title came from this idea of jazz where it’s meant to be complex and you’re all virtuosos, but ‘in the supermarket’ was because we thought the synth sounded like a supermarket checkout—beep, beep, beep.” Once Again HM: “This came from a really mad, really silly demo. I don’t even think I had anything plugged in. I think I did it just using the computer keyboard. It had these spooky chords and then a really rampant, annoying drum beat, but there was something good about it, and then Ellie wrote a really nice melody over it.” ERD: “I think we called it ‘Reggae Ghost’ for a while because it sounded like a ghost train. Then we called it ‘Greyhound’ because I’d written these lyrics about a dog my mum was looking after. I was really sad when she had to give it back.” P.T.S.Tea RJ: “We were on a ferry and I went to get breakfast. I was just there playing a game on my phone, then next thing I know this guy’s tea poured over me. This guy was just walking away and I was like, ‘Was it you?’ And he just looked at me and walked away. I was in loads of pain. It put me out of action for two weeks. I had to go to the burns unit and we had to cancel all our shows. I couldn’t move. The first lyrics were inspired by that, but then it sort of trails off into other experiences I’ve had with obnoxious men thinking they have a right to question me about my sexuality and my gender identity. Just being rude, basically.” Sad Cowboy LP: “I was going through different recordings and voice notes on my phone and came across this jam from maybe a year before and there was this really nice guitar line in it. That was what became the main melody of the song, and then it just developed. I wanted it to sound slightly dissonant and strange, so I was messing around with different tunings of the guitar and I wanted the rhythm to have a jittery feel. I was just trying to experiment before I brought it to the band. That was one of the songs that slipped into place quite quickly.” The Crack ERD: “I did a demo for that song quite a few years ago and just put it on my personal SoundCloud and didn’t really think anything of it. I think Holly was the one who was like, ‘Oh, this is really good, we should do it.’ It’s changed a lot from how it was originally. I never had a real chorus in my version, I just kept saying, ‘The crack, the crack, the crack,’ which was a bit shit. It’s about an imagined post-apocalyptic world where people leave the Earth to go and find another planet to live on because they’ve just ruined this one.” Closing In LP: “I was trying to think about the words and the rhythms and also the images that they conjure up and how anxiety can take different shapes and forms. So the anxiety in me became a ghost that possesses me and controls me, or it’s this boil that I’m staring at on my head and different ideas that allow you to gain some sense of autonomy over the feelings that you can’t really control. It’s funny because the music is quite upbeat and cheerful. It does jar and it confuses you in the way that anxiety does. It’s an embodiment of that as well.” Anxiety Feels ERD: “‘Anxiety Feels’ came out of a not very nice time for me where I was having panic attacks two or three times a day. Not really wanting to meet up with anyone socially or even leave the house to go to the shop. I was just feeling so weird and so self-aware from the moment I woke up, my heart would be racing and I’d be just feeling dread. The song was about that and weighing up whether to take anti-anxiety medication, but then knowing quite a few people close to me and their response to medication and basically deciding that I was going to find an alternative route than to be medicated for it.” They Bite on You LP: “‘They Bite on You’ was from my experience of having scabies. It was fucking horrible. You can’t stop itching, with bites all over your body. It was two or three years ago; I didn’t know what it was for ages. I thought there was an angry mosquito in my bed. My mum got this cream from the doctors and decided to cover it over my naked body and just layer this shit on and burn all these bugs out of me. I didn’t want the song to just be about me having scabies, though, because that’s gross, so I started to think about the other things that metaphorically bite on you.” Bang LP: “I started with the chords for this and I just immediately thought it was a banger. I played it to everyone and I was like, ‘This is quite intense…’ This is very much a pop song, it’s not really like our other stuff in that it was overtly pop, so I was anxious to play it to everyone because it could go two ways—they could’ve been like, ‘Uhh…’ or ‘Whoa!’” Where Do We Go? LP: “Lyrically, it’s quite specific. It’s about imagining dissecting Boris Johnson. It was quite objective in that sense. It’s like: What would his insides look like? Is he evil through and through? Would he just be covered in thick sludge? And it’s about the kind of evil that lies in Conservatives. It’s like they’re like lizards or something. It was more of a joke to me when I was writing it. I quite like the way that it’s almost like a rap as well. All the words are in quick succession, and again, it’s got that weird contrast between the lyrics being really heavy and forlorn and dark mixed with this airy-fairy cute vibe sonically.” A-Men RJ: “One night, I wanted to try and get this idea for a song that I had down. I don’t really have any recording means at home, so I played it off my laptop and recorded it on my phone with me singing the melody over the top. Then I think I got quite drunk as well. When the others came in the next morning, I was like, ‘Oh yeah, I did this!’ It’s quite sad but quite hopeful. It’s nice because all of the other songs are quite intense and opinionated to some degree and that song feels like there’s something pure about it. It feels softer than the others in a nice way.”

January 29, 2021 13 Songs, 54 minutes ℗ 2021 Rough Trade Records Ltd

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Cette fois ce sont les filles qui du côté de Londres font parler d'elles. Ce girl band de quatre membres joue un rock où s'entremêlent riffs mélodiques de guitare, synthés sci-fi et boîtes à rythmes analogiques. Du rock à la fois sauvage et sensuel qui fera son effet en live. 

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Débarqué en 2016 du South London, ce girls band signé sur le label Rough Trade a fait vibrer la hype avec un premier album éponyme sorti en 2018. Bis repetita en janvier 2021 avec " On All Fours " où l'on retrouve leur rock post-punk psychédélique qui fait une nouvelle fois mouche.

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GOAT tour dates 2023

GOAT is currently touring across 1 country and has 1 upcoming concert.

The final concert of the tour will be at Stadthalle in Zwickau.

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I've been waiting to see Goat for a while now. Stoked when songkick said that they were playing in Poland only to find out that it's an artist named Goat from Japan. Heartbreaking. Hoping I can see them soon! The live reviews make the wait seem worth it, though.

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So much energy and style. Gets you dancing with a south american influence complete with costume.

Best seen live at a Festival. Superb performance with the song 'Run to your Mama' on my daily playlist.

Best Live band on the planet. The energy will consume you and you will wish you could share it with all everyone you love. The music will move you in an incredibly positive way

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Pink to Give Away 2,000 Banned Books About Race and Sexuality at Upcoming Florida Tour Stops

"It’s especially hateful to see authorities take aim at books about race and racism and against LGBTQ authors and those of color," said Pink in a statement

Emma McIntyre/Getty

Pink is using her platform to be an ally as she tours through Florida — where LGBTQ+ and free speech rights are at risk.

The non-profit PEN America officially announced on Monday that the pop superstar, 44, is teaming up with the free expression advocacy organization to give away thousands of banned books at her upcoming concerts in Florida. 

As the Grammy winner takes her TRUSTFALL Tour to Miami on Tuesday and Sunrise, Florida, on Wednesday, the first 1,000 fans looking to read at each show will be able to walk away with new copies of frequently banned books. 

Axelle/Bauer-Griffin/FilmMagic

The books the hitmaker has chosen to give away include themes of racial and sexual identity, with titles including the picture book The Family Book by Todd Parr, a book for middle-aged readers from the Girls Who Code series, the novel Beloved by Toni Morrison and Amanda Gorman ’s poetry book The Hill We Climb .

Pink’s partnership comes as Florida has implemented laws limiting free speech in education in recent years, such as the Individual Freedom Act, which was passed in July 2022 and limits how systemic racism and discrimination is taught in schools and the workplace, per the ACLU . Last year, Governor Ron DeSantis also signed legislation , which has been colloquially called the “Don’t Say Gay” bill , to limit discussion of LGBTQ+ topics in schools. 

According to PEN America, the southern state now ranks first in the country as the most banned books in public school classrooms and libraries in the country and accounts for over 40% of all banned books nationwide. 

Daniel Boczarski/Getty

The “Just Give Me a Reason” singer opened up about why she’s using her platform to give away banned books with a statement in a press release. 

“Books have held a special joy for me from the time I was a child, and that’s why I am unwilling to stand by and watch while books are banned by schools,” the recording artist said. 

She continued, “It’s especially hateful to see authorities take aim at books about race and racism and against LGBTQ authors and those of color. We have made so many strides toward equality in this country and no one should want to see this progress reversed. This is why I am supporting PEN America in its work and why I agree with them: no more banned books.”

The singer-songwriter herself also shared news of the partnership on Instagram by hosting an live streamed conversation on Sunday along with author Amanda Gorman, 25, and PEN America CEO Suzanne Nossel to bring attention to book bans. 

When announcing the Instagram Live , she also opened up about her personal decision to be involved with the movement. “As a mom of two young readers, I can’t imagine letting someone else decide what MY CHILDREN can and cannot read!” the “So What” singer — who shares  daughter Willow, 12, and son Jameson, 6 , with husband Carey Hart — wrote in the caption. 

The superstar isn't the only A-lister speaking out on the issue. In September, over 175 stars, including fellow singers Ariana Grande and Ava Max , signed an open letter condemning book bans .

Never miss a story — sign up for  PEOPLE's free daily newsletter  to stay up-to-date on the best of what PEOPLE has to offer, from juicy celebrity news to compelling human interest stories.

Pink has long used her platform to advocate for the LGBTQ+ community and women’s rights, among other issues, and is a supporter of charities such as Planned Parenthood, Human Rights Campaign, and more. 

When Roe v. Wade was overturned by the Supreme Court in 2022, the "Raise Your Glass" artist took to X (formerly Twitter) to express her frustrations and optimism for a better future. "I think all of our nerves are collectively fried from so many years of racism, misogyny, homophobia, etc. +pandemics, mass shootings, wars and the total lunacy, hypocrisy, ignorance of the GOP-it's all a bit much," the performer wrote. "But we will stick together. Good will prevail over evil."

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