The second month of 2025 is already underway and the sensation returns to the Scottish capital, James Bay dropped by to perform a memorial set at Edin
Read MoreVampire Weekends performance at the Hydro took us on a journey. The band effortlessly blended intimate moments, genre-bending creativity, and collaborative showmanship into a night that showcased their evolution while reminding fans of their indie rock roots.
The show opened modestly, with a minimal black stage setup that created a sense of intimacy even in the vastness of the Hydro. A reminder of their early days in Glasgow - I was lucky to see them in The Beat Club. By the time the band launched into Holiday and Blakes Got a New Face, the crowd was fully engaged, reliving the youthful energy of Vampire Weekends early days.
It didnt take long, however, for the understated setup to transform into something much grander - a tunnel in fact!!
In a standout moment of ingenuity, it felt like the crew built an entirely new stage setup during a live performance, after the Vampire Weekend cloth had come down from the ceiling, an entire live band was hidden in the construction site! It was like watching an F1 pit stop, but for a rock show. The seamless transition felt almost theatrical and set the tone for an evening that blurred the lines between performance and production.
The shows versatility was one of its defining features. From the sun-soaked escapism of their tunes to the jazz-club ambiance introduced by the addition of violins and UV-lit workers vests, the setlist continually reinvented itself. New Dorp. New York pulsed with Talking Heads-esque energy, while Oxford Comma and A-Punk provided the joyous indie rock anthems fans were waiting for, complete with jubilant crowd singalongs.
The influence of countless genres-jazz, electronic, rock, and folk-was woven throughout the evening, a testament to Vampire Weekends ability to transcend labels. Their music brought together fans of all ages, from dancing grandparents belting out lyrics to teenagers discovering the band for the first time.
One of the shows most striking elements was its team effort. The stage crew became part of the act, dancing and interacting with the band, making it clear this was more than just a band playing songs-it was a collective experience.
The 12-minute rendition of Hope was a standout moment, as band members exited the stage one by one, leaving the audience in anticipation of an encore that was coming.
In a truly unique twist, the band took audience requests toward the end of the night. This impromptu segment turned into a celebration of eclectic tastes, with snippets of Hey Jude, Chop Suey, Shania Twains Youre Still the One, and even Blink-182. The spontaneity gave the evening a sense of intimacy, as though Vampire Weekend were playing a private show for us. Ezra Koenig saying "The shows is over, now we are just hanging out with you." That Chop Suey cover was amazing! They also provided many apoligies to other bands and artists they attempted to cover...Good to see, bringing a nice sense of modesty to the night.
Vampire Weekend delivered a genre-spanning masterclass that proved why theyve remained one of the most innovative bands of their generation. From nostalgic favourites to bold new arrangements, their ability to bridge demographics and create a communal experience was on full display, it was a lovely surprise.
As the crowd sang the final notes of Campus and Walcott and filed out into the cold Glasgow night, one thing was clear: Vampire Weekend had left a lasting impression, not just as musicians but as creators of unforgettable moments.
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