Photos by Kevin Martinico
On July 19th, 2024, Vampire Weekend returned to the iconic Red Rocks Amphitheatre, and I was eager to witness their evolution once more. My journey with Vampire Weekend has been a unique one, from their early days in 2007 when they opened for Shout Out Louds in a small San Francisco venue, to their matured performances at Red Rocks, particularly their standout 2013 show supporting Modern Vampires of the City. Now, they were back, touring for Only God Was Above Us, an album many consider their best.
The evening began with promising weather, a balmy 84 degrees cooling to just below 70 as the night progressed. The regular summer rain had just passed, leaving a glowing rainbow in its wake as Christone “Kingfish” Ingram wrapped up his amazing Mississippi blues set. The atmosphere was set for what promised to be a memorable night.
Vampire Weekend, now performing as a trio augmented by a robust supporting cast including a keyboardist, a second drummer, multi-instrumentalists, and even a dancer, took the stage with palpable energy. They launched into “Cousins,” instantly electrifying the sold-out crowd. The momentum continued through a blend of hits old and new, from “Cape Cod Kwassa Kwassa” and “Boston (Ladies of Cambridge)” to “Ice Cream Piano” and “Unbelievers.” Each song was met with enthusiastic sing-alongs and dancing.
However, the set took a turn with a darker, quasi-psychedelic interlude featuring “Sympathy,” “NEW DROP. NEW YORK.,” and “The Surfer.” This segment, while ambitious, felt overly long and caused a noticeable dip in the crowd’s energy. The middle-aged polo-wearing men beside me, who had clearly overindulged, chose this moment to exit (much to my relief).
The band regained their footing with high-energy performances of “Diane Young” and “A-Punk,” bringing the crowd back to life. But then came an unexpected and somewhat disjointed medley called “Cocaine Cowboys,” which mixed “Married in a Gold Rush” with classic country and jam band songs. Ezra Koenig’s attempt at country vocals felt out of place, and a bizarre giant Cornhole game called Gold Rush, which awarded a girl from Boulder $300, further disrupted the show’s flow.
Redemption came with Kingfish joining the band for a powerful cover of Neil Young’s “Vampire Blues,” and the main set concluded on a high note with “Harmony Hall” and a trio of new tracks. The encore, however, was a mixed bag of crowd-requested covers. While some, like 4 Non Blondes’ “What’s Up,” resonated well, others, including Bob Dylan’s “Brownsville Girl” and an attempted Sade’s “Smooth Operator,” fell flat. This experimental segment overstayed its welcome, but the night closed with an explosive rendition of “Walcott,” ensuring fans left with a final burst of energy.
As I exited Red Rocks, the reviews from fellow concertgoers were mixed. One girl commented, “on this tour, the covers really are the best,” but I couldn’t disagree more. Vampire Weekend shines brightest with their infectious, sing-along pop, and I wish they had more faith in their own ear worms to entertain rather than relying on covers and gimmicks. Despite some uneven moments, it was a fun and memorable night on the Rocks.
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