There are few greater mysteries in the musical world than Swedish experimental group Goat. Supposedly raised in a remote Northern commune in Korpilombolo, the Gothenburg—based band brought their unique show to Bristol last Friday in celebration of their new eponymous album: Goat.
Walking through Bristol’s bustling Friday night streets, and getting ever–closer to the evening’s venue, the excitement was palpable. Long hair, leather jackets, and Goat t–shirts filled the surrounding streets as attendees began to close in on the O2 Academy. With doors due to open at seven–o’clock, fans wasted no time in securing prime viewing positions for the spectacle that was to come. First however, was fellow Swedish psych band MaidaVale. Beginning on Gothenburg’s underground psych circuit, MaidaVale have been making waves for almost a decade — releasing their third studio album this year: Sun Dog. The quartet played an array of songs from all three of their albums, receiving a warm applause from the sold–out South West crowd. As the group’s support set came to an end, the blue–tinted lights quickly turned to an ominously red shine — Goat were to arrive.
Just past nine–o’clock, the Bristol audience were quickly silenced with what was an Alice Coltrane–esque sound blasting through the speakers. The almost forbidding noises continued, and the crowd’s restless cheers for Goat grew ever–louder. In response to the cheers, five of the band’s seven touring members opened the backstage door and made their way into the sea of fervent screams. Anonymously masked, a band member — dressed in something that closely resembled a cowboy in a Western — picked up his guitar and burst into the opening track from the group’s 2024 album, “One More Death”. Soon joined by his fellow bandmates, the backstage door was reopened, welcoming the uniquely iconic voices of the group’s front members. “Come today, and rise up” was sung, and it was fitting. The crowd responded to this call with continued cheers and an omnipresent, collective dance.
As the mesmerising introduction came to a close, there was a noticeably pungent smell of incense in the air — something that only added to the band’s distinctive image. They wasted no time however, quickly transitioning into another song from their latest album, “Goatbrain”, before seamlessly shifting into their 2016 track “Goatfuzz”. What came next though was one of the set’s many highlights: “Under No Nation”. Coming from their album “Oh Death” (2022), the song opened with the guitarists playing alongside the evening’s brilliant bongo player — surrounded by the singer’s energetic, illustrious dance moves. The song entered its chorus which brought about a series of collective claps from the enthused observers.
In what progressively felt more like an experimental, improvised studio jam, Goat moved through their set with songs such as: “Let it Bleed”, “Frisco Beaver”, and “Dollar Bill”. While no members directly spoke out to the on watching admirers, the band’s singers continued to dance to the audience — often getting close, as if to feel a connection between maker and consumer. After a brief — but deserved — break, the band chimed the start of their 2014 song “Talk to God”. Slowing the pace, the track acted as a breather — for both audience and band — away from the nonstop energetic movements that were rippling through every corner of the venue. Yet, this did not last for long as the Swedish musical experimentalists burst into the bassy riff of “Golden Dawn”, before ending their set with the closing number of their latest album: “Ouroboros”.
Left desiring more, the audience grew restless in their cries for “ONE MORE SONG!” The Bristol crowd’s hopes were answered as the group came back out to play what would quickly turn into a phenomenal encore. Returning to the noises of the entranced attendees the band picked their instruments back up, and started to play a Goat classic, “Queen of the Underground”. With its recognisable chorus, voices were raised into a collectively clamorous sound singing “I AM THE QUEEN OF THE UNDERGROUND” — which was soon accompanied with one of the evening’s final guitar riffs. The band soon shifted into “Let it Burn”, closing their encore off with a huge round–of–applause from the South West crowd.
Fans began to head for the exits and security started pointing to the nearest exits, yet the lights were still to come–up — and instead returned to the ominous red that had marked the start of the show. Swathes of fans started to find the exit, only to hurriedly U–turn when the Swedish group returned to the stage for one final time. Much to the delight of the fans, the group showed their appreciation for the evening’s support, before playing one final track: “Run To Your Mama”. Starting with three booming chords, the crowd’s movements resumed. As the song progressed, the band’s singers repetitively sang “BOY, YOU BETTER RUN TO YOUR MAMA NOW” — slowly incorporating the voices of the crowd. The song reached a peak and the band burst into one final display of their unwavering musical talent, guitars, bongos, and a bass filled the room. Sadly, for the audience who looked as though they could have continued for hours more, the set came to an end here and the bandmates appreciatively made their way off stage. While the set ended here, there was a certain feeling in the air that every single person in attendance had witnessed something unrepeatable — truthfully, they had. In what was a ninety–minute, thirteen–song experimental coalescence of fusion music, the band displayed their talents through the occasional improvisation and pure enjoyment for live music. If you ever get the chance to see them, Goat are a must see.
Image credit: Tammy Karlsson/PR
Role - I am a passionate writer with an interest for reviewing concerts and music.
Available For - Gig reviews and artist interviews.
Qualification - Currently I am studying BSc in Politics and International Relations at the University of Bath.
First Concert - The first concert I ever attended was Coldplay at the Royal Albert Hall (2014). It was to promote the release of their ‘Ghost Stories’ album. I will never forget the call my dad gave me to say he had managed to get two tickets for the both of us. The whole experience was just pure joy. The relative intimacy (for Coldplay) of the Royal Albert Hall, will always make that night one of the best (if not the best) concerts I have ever attended.
Dream Concert - In all honesty this is too difficult to answer with just one concert. If I were to select a few artists that I would love to see, it would have to be: Hope Sandoval, feeble little horse, Greg Foat, Kurt Vile, Lucy Dacus (specifically playing ‘No Burden’ in its entirety), Jadu Heart and The Moldy Peaches.
There is also the difficulty of dream gigs that are not able to be done. These would be: Mahalia Jackson, Etta James, Ann Peebles, Karen Dalton, Leon Russell, Mojave 3, The Smiths, and George Harrison (“All Things Must Pass” just from start to finish).
