Sixteen years after their debut album introduced a unique blend of preppy indie charm and global influences, Vampire Weekend returned to Manchester’s O2 Apollo (for the first of two sold out nights) to remind us why they’re still one of the most compelling bands around. On a Sunday night that felt anything but ordinary, the band delivered a joyful, unpredictable, and thoroughly engaging performance that spanned their entire career.
This was their first show in Manchester in five years, and it was clear they were making up for lost time. The two-and-a-half-hour set was packed with surprises: a playful karaoke session, cowboy-themed theatrics, and a dynamic setlist that kept the crowd guessing. From the opening notes to the final encore, the evening felt more like a celebration than just a concert.
The show began simply, with a minimalist backdrop featuring the band’s name and the original trio—Ezra Koenig, Chris Baio, and Chris Tomson—easing into “Holiday,” “Cape Cod Kwassa Kwassa,” and “I Stand Corrected.” The stripped-back opening had an intimate, nostalgic quality, setting the tone for an evening that balanced precision with spontaneity. But this was only the beginning. As they launched into “Only God Was Above Us” from their latest album, the curtain dropped to reveal the full band and an well designed, all-white stage styled like a construction site. It was theatrical without being excessive, adding a fresh layer of visual interest to their performance including crane-lift-esque lighting fixtures and hazard tape accessorising.
From that point on, the energy in the room was electric. Tracks like “Classical” and “Connect” demonstrated the band’s continued knack for creating vibrant, textured arrangements that sound even better live. Watching the “VW Tunnel Crew” in high-vis jackets discreetly adjust the staging throughout the evening added to the sense of a finely tuned operation—collaborative, but never over-polished.
The setlist was a reminder of Vampire Weekend’s remarkable consistency. Classics like “Unbelievers” and “Step” from Modern Vampires of the City still resonate deeply, their mix of lyrical introspection and buoyant melodies as captivating as ever. The trio of “Diane Young,” “Cousins,” and “A-Punk” turned the venue into a joyful, bouncing mass, underscoring the enduring power of these indie anthems.
One of the night’s most intriguing moments came with the “Cocaine Cowboys” medley, a reimagining of tracks from Father of the Bride. Gone were the original’s delicate duets; in their place was a playful, almost cinematic interpretation that felt like a nod to Spaghetti Westerns. It was a bold move that didn’t aim for perfection but instead embraced a sense of creative freedom, which has always been part of Vampire Weekend’s charm.
In the middle of the set, they took a surprising turn by staging a gameshow, inviting an audience member onstage to compete in a beanbag toss for cash prizes. It was an odd but thoroughly entertaining interlude that epitomized the band’s light-hearted approach to live performance. It’s not something you’d expect at a concert, but then again, this wasn’t just any concert—it was a reminder that Vampire Weekend thrives on the connection between audience and performer.
The encore pushed those boundaries even further. Koenig announced they’d take requests—but not for their own songs. “It can’t be a Vampire Weekend song,” he joked, adding, “Technically, we’re all just a bunch of people hanging out now“. Instead, they launched into an eclectic mix of covers, from The Cardigans’ “Lovefool” to The Strokes’ “Last Nite” and Cyndi Lauper’s “Girls Just Want to Have Fun.” It was a chaotic, joyous finale that felt as spontaneous as it was carefully curated.
They closed the night with “Walcott,” a song that perfectly encapsulates what makes Vampire Weekend so enduring: a blend of youthful exuberance, sharp song writing, and a willingness to experiment. It was a fitting conclusion to a show that was equal parts nostalgic and forward-looking.
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