Seeing Vampire Weekend live is never just a show—it’s an education in harmony, indie-pop elegance, and sonic reinvention. At the Hollywood Bowl on June 12, the band delivered a master class in how to honor your roots while always staying forward-looking. It wasn’t just about nostalgia—it was about momentum, community, and the sheer thrill of a night spent with this iconic ensemble at their creative peak.
Full Setlist
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Holiday
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Cousins
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Boston (Ladies of Cambridge) (tour debut, first time played since 2019)
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Ice Cream Piano
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Classical
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Connect
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White Sky
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Cape Cod Kwassa Kwassa
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This Life
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Sunflower (ska-ified version, introduced as “Skaflower”)
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Sympathy
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Ottoman (tour debut, ska-ified version introduced as “Skattoman”)
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The Surfer
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Oxford Comma
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Capricorn (with Ariel Rechtshaid)
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Gen-X Cops (with Ariel Rechtshaid)
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Diane Young
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A-Punk
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Prep-School Gangsters
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Mary Boone
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Hannah Hunt
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Harmony Hall
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Hope
Encore:
24. Dangerous Night (The Night Is a Knife) (from “I Think You Should Leave”; Tim Robinson made a brief appearance)
25. Giving Up the Gun (ska-ified version, “Giving Up The Skun”)
26. Peg (Steely Dan cover, partial, with “Home at Last” intro)
27. Touch of Grey (Grateful Dead cover, partial)
28. Rock Lobster (The B-52s cover, partial)
29. Walcott
The Energy
Kicking off with “Holiday”, Vampire Weekend struck a confident chord right away—the iconic guitar riff rang through the Bowl, and the audience erupted in applause and waving phones. It set the tone: this would be polished, joyous, and audience-inclusive. When “Cousins” followed, its intense momentum and eruptive chorus reminded everyone of the band’s indie roots—that electric edge that got fans hooked early on.
Then “Boston (Ladies of Cambridge)” surfaced like a rare gem—its return after years of absence jolted long-time fans, adding a sense that this wasn’t just a concert, but a rediscovery. And it was followed by “Ice Cream Piano,” “Classical,” and “Connect,” showcasing new material with smooth confidence, proving that even decades in, Vampire Weekend still had fresh perspectives to offer.
The energy never flagged. The band flowed past eras effortlessly—from the serene introspection of “White Sky” to the classic indie-intensity of “Cape Cod Kwassa Kwassa”—they charted their journey with pride and presence.
Highlights & Crowd Moments
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Hearing “Boston (Ladies of Cambridge)” live for the first time in years ignited a collective cheer—like a beloved secret blown wide.
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Skipping expectations, they transformed “Sunflower” into “Skaflower”—a ska-infused twist that had the crowd dancing right in their seats, grinning and bouncing and giving new life to a familiar favorite.
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The tour debut of “Ottoman”—or “Skattoman” as they introduced it—adjusted the pulse again. Ska energy pulsed through the amphitheatre. It was bold, fun, and entirely refreshing.
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When Ariel Rechtshaid joined the stage for “Capricorn” and “Gen-X Cops,” the performance glowed with extra chemistry. Two creative forces colliding, creating something richer than what they deliver on record.
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The familiar romp of “A-Punk”, “Prep-School Gangsters”, and “Mary Boone” felt like 2008 in full color, but updated and amplified for the fans who’ve grown with them. Sung by thousands, wrists drummed, nostalgia held firm and joyous.
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“Hannah Hunt,” “Harmony Hall,” and “Hope” concluded the main set with emotional depth—a slow fade from big rhythms into heartfelt resonance.
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The encore was both surprising and perfect: bizarre covers and special guests. “Dangerous Night (The Night Is a Knife)” with Tim Robinson felt like a pop-culture wink. The refashioned “Giving Up the Skun” turned expectation upside down (in the best way). Partial covers of “Peg,” “Touch of Grey,” and “Rock Lobster” were quirky, lively nods to their influences. And “Walcott”—closing it out—felt like a promise that this band still knows how to leave you smiling.
The Vibe
The Hollywood Bowl has seen its fair share of epic shows, but this night felt tender and vast in equal measure. Vampire Weekend didn’t just play the Bowl—they inhabited it. Ezra Koenig’s soft-spoken moments between songs—telling jokes, guiding sing-alongs—made the amphitheatre feel intimate, like a backyard suite.
The crowd detailed: fans in tie-dye and vintage tees, couples singing along, longtime fans crying softly, newcomers radiating surprise. Head twirls, fist pumps, arms overhead—everyone felt included.
Production was both understated and effective. Crisp visuals washed in pastel tones, bright horizon washes matching “Harmony Hall’s” hopeful glow. No dust-cloud lasers—just well-placed light that made faces bloom, guitars shine, emotion pop.
Tiny Quibbles
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At times, secondary vocals faltered slightly in the mix during the softest parts. But maybe that human vulnerability added more charm than polish ever could.
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A few transitions between newer songs felt compressed—fast cuts to avoid lull—but considering the mix of new and classic, they were minor and intentional shifts to maintain pace.
Final Thoughts
Vampire Weekend’s Hollywood Bowl performance was both a celebration and an evolution. They played for fans who’ve loved them for fifteen years and invited the curious and the new. They mixed nostalgic staples with bold twists, deeper cuts with playful covers, familiar narratives with surprises that cracked the night open.
This wasn’t a band resting on their laurels. They were leaning into them, reshaping them, and handing the memory back sweeter.
Walking out under LA lights after “Walcott” felt like waking from a dream, but a dream you can replay any time you listen again. Vampire Weekend didn’t just perform—they reaffirmed why they still matter. This show was a map of where they’ve been and a hunger for where they’re headed next.
If you’re chasing live music that’s clever, heartfelt, surprising, and beautifully crafted, this was your stereo circuitry made real.