When a band like Vulfpeck books Madison Square Garden, expectations come with the ticket. This is a band built on an ethos of groove, humor, and supreme musicianship—a collective that thrives on turning minimalist funk into an all-out communal celebration. Walking into the Garden on this late-September night, I wasn’t sure how their tightly wound studio sound and often tongue-in-cheek approach would translate to one of the world’s most legendary stages. By the end of the night, it wasn’t just clear that they belonged there—it felt like the Garden had been waiting for a show like this all along.
The Arrival of a Funk Machine
The house lights dimmed and, instead of a flashy intro or booming announcement, the band launched straight into “Contrapunctus 1”, a Bach composition reimagined with Vulfpeck’s playful precision. Opening with a baroque fugue at Madison Square Garden is the kind of move only Vulfpeck would dare, and it set the tone immediately: this was going to be smart, funny, and gloriously unpredictable. The crowd roared as Jack Stratton, the band’s ringleader and mischievous architect, conducted the group like a slightly caffeinated maestro. It was as if they were saying, “Yes, we can funk—but first, let’s flex some classical chops.”
Without missing a beat, the first true Vulf groove of the night arrived in “Big Dipper,” and the entire arena loosened its shoulders. Joe Dart’s bass lines thumped through the Garden with that trademark round tone, a sound so fat it could be bottled. Theo Katzman’s crisp drumming locked in perfectly, and within minutes the floor turned into a dance party. It was a thrilling transition—from Bach’s cerebral counterpoint to pure body-moving funk.
A Setlist Built on Surprises
The beauty of a Vulfpeck show lies in its refusal to follow any conventional script, and this setlist proved it. “Matter of Time” and “In Real Life” showcased Katzman’s soulful vocals, giving the night its first sing-along moments. Both songs carried that bittersweet Vulf signature: lyrics that feel earnest even as they wink at pop clichés. The crowd responded with a mixture of reverence and joy, chanting choruses while grinning at the band’s sly rhythmic shifts.
Then came “Sauna” and “Lonely Town,” two deep cuts that allowed Woody Goss to stretch out on the keys. His Rhodes sound filled the room with warm, buttery chords, while Stratton threw in comedic dance moves that had the audience laughing between grooves. “Tender Defender” followed, a mid-tempo burner that turned the Garden into a wave of bobbing heads. It was a reminder that Vulfpeck can build tension and release with the same mastery as the jam-band giants, even within their tight three-minute frameworks.
A highlight of the early set came with “Memories,” a Cory Wong cover that brought the guitarist himself to center stage. Wong’s crisp, staccato playing sliced through the mix like sunlight through blinds, his trademark grin never fading. It was the first of many guest moments that made the show feel like an extended family reunion.
A Funk Parade of Guests
Vulfpeck has always operated as a collective, and this night’s parade of guests was a masterclass in collaboration. “1612,” one of their most beloved sing-alongs, had the entire arena chanting the nonsensical hook while Stratton played hype man, darting across the stage in his trademark dad hat. The audience participation reached a fever pitch as people from the upper decks to the pit joined in.
Then came “Simple Step,” a deep Groove Spoon cut that reminded longtime fans of the band’s college-era origins. The crowd might not have known every word, but the pocket was undeniable.
The surprises kept rolling: “3 on E” unleashed a thundering groove that showcased Dart’s bass virtuosity, while “Tokyo Night” (from Vulfmon’s side project) featured a cameo from rising vocalist Evangeline, who brought a dreamy sweetness to the stage. Her airy voice floated over the tight rhythm section, offering a gentle contrast to the muscular funk below.
But the night hit another level entirely when legendary drummer Bernard “Pretty” Purdie stepped out for “My First Car.” The man behind countless soul and jazz classics brought his signature shuffle to the Garden, proving that groove only deepens with age. The audience erupted as Purdie slid seamlessly into “Simply Beautiful,” an Al Green cover that turned the cavernous arena into something intimate and smoky. Watching Dart and Purdie lock into a pocket together felt like witnessing a master class in rhythm.
The guests didn’t stop there. A raucous cover of Billy Joel’s “Movin’ Out (Anthony’s Song)” honored the New York setting, sending the crowd into a hometown frenzy. Then Charles Jones emerged for a heart-stopping rendition of John Lennon’s “Jealous Guy,” his gospel-tinged vocals soaring to the rafters. Jones stayed on for “Baby I Don’t Know Oh Oh,” adding yet another layer of soulful grit to the proceedings.
A Garden in Full Groove
With the guests having delivered their magic, Vulfpeck settled back into a run of originals that reminded everyone why this collective commands such a devoted following. “Can You Tell” and “LAX” highlighted the band’s ability to blend humor and hooks; Stratton even mimed a fake TSA pat-down during “LAX,” drawing big laughs from the crowd.
The stretch of “This Is Not the Song I Wrote,” “New Beastly,” and “Wait for the Moment” represented the heart of the show. “Wait for the Moment,” in particular, was transcendent. Katzman’s falsetto floated above the audience as thousands of cell phone lights turned the Garden into a galaxy of twinkling stars. It was one of those rare MSG moments where a funk band made 20,000 people feel like they were in a cozy club.
Then came “Back Pocket,” perhaps Vulfpeck’s most playful anthem. The entire arena sang the “I’ll bet you my back pocket” hook at full volume, transforming the world’s most famous arena into an impromptu choir. The band grinned like kids who had just pulled off the ultimate prank.
The Inevitable Closer
After a brief exit, the group returned for the inevitable but still thrilling encore: “Dean Town.” This song has become Joe Dart’s calling card, a bass workout so ferocious it borders on athletic competition. As he launched into that machine-gun groove, the Garden erupted in a mix of awe and pure funk ecstasy. Dart prowled the stage with quiet intensity, his fingers flying across the fretboard while the rest of the band built a wall of sound around him. It was the perfect capstone to a night defined by both precision and abandon.
What Made It Special
What struck me most about this show wasn’t just the musicianship—though every note was flawless—it was the atmosphere. Vulfpeck has built a career on making their audience feel like part of the band, and Madison Square Garden somehow felt small under their spell. The interplay between band and crowd was constant: Stratton’s comedic bits, Wong’s lightning-fast guitar fills, Katzman’s heartfelt vocals, Dart’s bass heroics, and Goss’s understated keyboard wizardry all combined to create something that felt less like a concert and more like a joyous gathering of friends.
Even the covers, far from feeling like filler, told a story. From Bach to Billy Joel, Vulfpeck wove a narrative about music’s universality. Classical counterpoint, soul ballads, Beatles solo work, and New York anthems all sat comfortably next to Vulfpeck originals. It was a reminder that funk is less a genre than a state of mind—one that transcends style, era, and geography.
The Setlist
For a night this special, the songs themselves deserve to be seen in full. Here’s how it all unfolded:
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Contrapunctus 1 (Johann Sebastian Bach cover)
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Big Dipper
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Matter of Time
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In Real Life
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Sauna
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Lonely Town
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Tender Defender
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Memories (Cory Wong cover)
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1612
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Simple Step (Groove Spoon cover)
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3 on E
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Tokyo Night (Vulfmon cover) (with Evangeline)
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My First Car (with Bernard “Pretty” Purdie)
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Simply Beautiful (Al Green cover) (with Bernard “Pretty” Purdie)
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Movin’ Out (Anthony’s Song) (Billy Joel cover)
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Jealous Guy (John Lennon cover) (with Charles Jones)
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Baby I Don’t Know Oh Oh (with Charles Jones)
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Can You Tell
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LAX
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This Is Not the Song I Wrote
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New Beastly
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Wait for the Moment
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Back Pocket
Encore:
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Dean Town
Final Thoughts
By the time the final notes of “Dean Town” faded and the lights came up, it was clear that Vulfpeck had accomplished something few bands ever manage: they made Madison Square Garden feel like a funky living room. The night was a celebration of groove, of friendship, of music’s ability to make strangers dance together without hesitation.
I’ve seen Vulfpeck in clubs and theaters, but witnessing their quirky, airtight funk fill an arena of this magnitude felt like the culmination of everything they’ve been building toward for over a decade. It wasn’t just a concert—it was proof that a band of musical misfits can conquer the biggest stage in the world without sacrificing a single ounce of their weird, wonderful charm.
If funk is a feeling, then Madison Square Garden was absolutely drenched in it that night. And for those of us lucky enough to be there, the groove will echo for a long, long time.