They say Saratoga Springs is the summer place to be, and on Wednesday June 4th, the city more than lived up to its reputation. A free Gin Blossoms concert on Broadway drew a sizable crowd, cover bands spilled out of Caroline Street’s lively bars, and music fans had no shortage of options. But for those who made the pilgrimage up the hill to the Saratoga Performing Arts Center, the clear winner of the night was Vampire Weekend, who delivered a dazzling, career-spanning performance punctuated by covers, crowd participation, and the kind of musical joy few bands can match.
Kicking off the night was Brooklyn art-rock upstarts Geese. A band that’s often mistaken for fellow fowl-inspired Connecticut jammers Goose, but one that is carving a niche all their own. Riding a steady wave of momentum since touring with King Gizzard and the Lizard Wizard last summer, the band walked on stage like a bunch of slackers that just stumbled out of a Williamsburg thrift store. They both looked and sounded like they belonged to a different era entirely, but that was part of their charm. Veering towards a brooding hybrid of shoegaze and psychedelic indie rock, Geese opened with the galloping “3D Country” and swaggering “Cowboy Nudes.”
While some may say their stage presence was a bit lacking, the originality of their music spoke for itself, particularly the Bowie-meets-Iggy croon of frontman Cameron Winter. Emily Green’s guitar work shimmered and snarled in equal measure, while the rhythm section of DiGesu and Bassin kept the sound grounded but ever-shifting. The standout “Mysterious Love” brought the first roars of approval from the SPAC crowd, while Winter’s dry humor showed while joking about a new track titled “B-Punk,” an obvious nod to the headliner’s most popular song. Geese closed strong with “Domoto,” “Bow Down,” and “Taxes,” capping a tight, dynamic set that earned them more than a few new fans.
By the time Vampire Weekend took the stage at 8:30 p.m., the pavilion had filled in with longtime fans, curious newcomers, and a cross-section of concertgoers who had passed on the nostalgic comfort of the Gin Blossoms for something more adventurous. Born on the Columbia University campus in the mid-2000s, the band now consisting of founding members Ezra Koenig (vocals/guitar), Chris Baio (bass), and Chris Tomson (drums), with a rotating ensemble of skilled touring musicians, has always been something of an anomaly. Establishing the roots of their lively, highly literate style, they cut their teeth playing gigs at the university’s literary societies and frat parties. Now graduating to the legendary Broadview Stage at SPAC, Vampire Weekend has emerged as bonafide headliners and one of today’s most respected rock bands. Unafraid to experiment, to joke with its audience, and to pay tribute to everyone from The Grateful Dead to Limp Bizkit all in one set.
Performing in front of a stark black curtain bearing only their name, the opening moments were modest in production but massive in impact. “Cousins” and “Holiday,” two beloved tracks from 2010’s Contra, had the crowd on their feet instantly. The inclusion of “One (Blake’s Got a New Face)” from their 2008 debut sent longtime fans into a frenzy, before the curtain dropped and Vampire Weekend launched into selections from their latest record Only God Was Above Us.
Wearing matching white jumpsuits, the band performed “Ice Cream Piano,” “Classical,” and “Connect” with razor-sharp precision and heartfelt energy. Despite their reputation for heady, literary lyrics rife with cultural references, religious undertones and ironic wit, the night never felt overly cerebral. Instead, it was joyful and expansive, full of moments that celebrated spontaneity and connection. Among the many high points: a ska-infused “Sunflower” that cheekily morphed into a trippy rendition of the Super Mario Bros. theme, followed by the buoyant “Stranger” and “Ottoman.” Newer track “Capricorn” already sounds like a staple, while “Unbelievers” and “Step” brought back massive sing-alongs.
Hit after hit, even if you weren’t that familiar with the band, you subconsciously already know their songs, perhaps none more than “A-Punk.” Between tunes, Ezra Koenig, ever the charming frontman, bantered comfortably with the audience. Mentioning how the band first formed in Manhattan, there was a collective tongue-in-cheek groan when he confessed they’ve since relocated to Beverly Hills. Asking if anyone at the show was from the Fredonia area, he talked about writing the new album and how it was mixed there. Then, showing his impressive geographical knowledge of the rest of New York State, he surveyed the crowd asking where everyone else was from, who has seen them before and who is at the very first concert ever. Making sure the first timers would receive a copy of the setlist, the connection to their fans new and old is something to be admired by any band.
As good as the show was to this point, from here Vampire Weekend truly lifted into the stratosphere during what Koenig called the “Cocaine Cowboys” segment. A dizzying, Americana-based medley blending “Married in a Gold Rush” with nods to The Flying Burrito Brothers, the Grateful Dead’s “Cumberland Blues, and “Possum” by the mighty Phish. An absolute treat for the jam band fans in attendance, the energy at SPAC surged from here on out, especially when the band invited one lucky fan on stage for a chance to win some cold, hard cash playing a game called “The Gold Rush,” which is basically just Cornhole. Offering the young lady $200 for every beanbag she sunk, the plan immediately backfired when she made her first two attempts! Koenig, looking visibly shocked, would claim that’s actually never happened before and their accountant would probably encourage them stop this gimmick before they bust the bands’ budget. In a city known for playing the odds, Ezra instead offered the girl a flat $500 to quit while she was ahead. Happily accepting the offer, she took a bow to a sincere roar of delight from the thoroughly entertained audience. A tough bit to follow, Vampire Weekend would wrap the main portion of the show with “Mary Boone, “Harmony Hall,” and “Hope.”
The encore, per Vampire Weekend tradition, became a freewheeling jukebox of covers plucked from audience requests under one condition: no Vampire Weekend songs allowed. Warning fans they might not actually know how to play the song, they would at least give it the ol’ college try. Kicking things off in proper punk fashion was Green Day’s classic, “Basket Case.” Then filling requests from all over the musical spectrum, we got everything from “Teenage Dirtbag” to Stevie Wonder’s “Sir Duke” and even the theme from the beloved 80’s animated show Thundercats. Lana Del Ray’s “Summertime Sadness” provided some modern flair, while the most heartwarming moment of the night came during Ben E. Kings “Stand by Me,” resulting in a full audience sing-along that gave you full body goosebump. Calling it a very sweet request, Ezra felt touched by the moment and said that’s the first time anyone has called for that one. Unlike the Grateful Dead, who have regularly been featured in Vampire Weekend shows for a while now, “Shakedown Street” proved SPAC still has plenty of heart.
Making sure to play The Rolling Stones “Beast of Burden” for the fan in the front who was holding up a sign for it all night long, it was probably the most well-executed request of the night. Followed directly by a hilariously half-baked take on Limp Bizkit’s “Break Stuff,” Ezra will probably kick himself for missing a golden opportunity to sing the genius lyrics of “I hope you know I pack a chainsaw / I’ll skin your ass raw / and if my day keeps goin’ this way I just might break your fuckin’ face tonight.” Admitting they probably need to work that one out a little more, Koenig would ask if it was “ok” to play one final Vampire Weekend song. After a resounding “yes,” there was cheers of recognition and nostalgia when they closed the night with “Walcott,” a nod to the band’s origins and the perfect finale to a sprawling, spirited performance that would send fans home beaming with smiles from ear to ear.
Over 15 years in, Vampire Weekend has matured without becoming stale, expanded without losing their identity, and continued to treat each show like a once-in-a-lifetime celebration. On a night filled with endless entertainment options, be it nostalgia in the streets with the Gin Blossoms or bar-hopping along Caroline Street, Vampire Weekend offered something more meaningful. They are, quite simply, one of the most unpredictable and consistently inventive bands in modern rock. Saratoga may be known for its horses, but on this early summer night it June, it belonged to the band in white jumpsuits.
Vampire Weekend | June 4, 2025 | SPAC | Saratoga Springs, NY
Setlist: Cousins, Holiday, One (Blake’s Got a New Face), Ice Cream Piano, Classical, Connect, Unbelievers, Step, This Life, Sunflower (with Mario Bros theme), Stranger, Ottoman, The Surfer, Capricorn, Gen-X Cops, Diane Young, A-Punk, Prep-School Gangsters, Married in a Gold Rush ~All the Gold in California~Sin City~Cumberland Blues~Possom (“Cocaine Cowboys” Medley), Mary Boone, Harmony Hall, Hope
Encore: Basket Case (Green Day), Teenage Dirtbag (Wheatus), Sir Duke (Stevie Wonder), Them Changes (Thundercats Theme), Summertime Sadness (Lana Del Ray), Stand by Me (Ben E. King, Shakedown Street (Grateful Dead), Beast of Burden (Rolling Stones), Break Stuff (Limp Bizkit), Walcott
Geese | June 4, 2025 | SPAC | Saratoga Springs, NY
Setlist: 3D Country, Jesse, Cowboy Nudes, Half Real, Gravity Blues, Mysterious Love, Domoto, Bow Down, Taxes.
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