Vampire Weekend plays well for undead crowd

By Erin Mae Szrankowsi
Collegian Editor
February 13, 2008

I never would have thought that a few preppy boys from New York could have so rapidly risen in this ever-so-lame musicscape. Come on, if Pitchfork says a band is “best new music,” then they are on the way to indie music fame. But, sometimes Pitchfork makes mistakes. Pitchfork is not perfect!

Vampire Weekend’s concert at the Unitarian Feb. 7 was basically Philadelphians’ last chance to see them in a homegrown venue, aka First Unitarian Church’s basement. This tour is to promote their new self-titled release on XL Recordings.

After doors opened to the sold-out show, people were tightly packed into the basement. The crowd was varied; I saw a seven-year-old, a guy in his fifties, tweens on their Sidekicks, a smattering of moms and some college kids.

The opening act, Sam Rosen, was only OK. They never clearly stated their name to the audience. All of their basslines sounded like they were ripped off a Cold War Kids’ release. They were a mediocre match to Vampire Weekend’s tribal musical influence. Sam Rosen’s message lost me as well as my interest.

One could feel the crowd’s excitement as the band took the stage. Girls and guys alike hollered and whistled for them to start the show. Four boys, all clad in cardigans, polos and moccasins took up their simplified instruments. I swear I saw only one or two effects pedals throughout the entire show. I felt as if I was attending a casual prep school in—guess where—Cape Cod.

They began with “Mansard Roof,” also the first track on the new album. It has a delightful little melody that spread itself throughout the walls of the basement. It also has great call-and-response basslines. A good choice for a starter to a concert, Vampire Weekend knows its business.

For some reason, VW began to remind me of The Jam. I do not know if it was how the members dressed or acted, but it was not their message. However, they also sounded like a more melodic and Africanized version of The Strokes. After “Mansard Roof” was performed, the lead singer/guitarist Ezra Koenig said this was their third time playing in Philly. It just goes to show how powerful Pitchfork and good PR goes hand-in-hand.

“Cape Cod Kwassa Kwassa” was a perfect dose of pop for the wound up crowd. Their musical style is not difficult, but it takes a lot of practice to get the sound correct. Nevertheless, they are wonderful performers. “A-Punk,” aka, the most awesome cut on the album, got people really moving. The guys seemed to be into it, but the people not so much. I was surprised by the small amount of motion going on.

The material VW lays down is very catchy, so much so one must dance. Then again, they are an attractive bunch, so they may have served as a diversion to the crowd. Koenig, after “A-Punk,” made a joke about having to make a sophomore album to follow up their release. This is true, they do not want to end up with the Tapes n’ Tapes syndrome. But that’s what happens when you rise above all indie releases, very close to hitting mainstream status, but then end up getting lost in newer releases. Hope it does not happen to this New York four-piece.

People better make way for the musical stylings of Vampire Weekend. They are in the line for great success. This concert attested to what is in the future of the band’s career.

szrankowskie1@lasalle.edu