Vampire Weekend at Glastonbury – review – The Guardian

Posted by Google News | Industry News | domingo 30 junio 2013 8:38 pm

Where and when

Pyramid Stage, 6pm

Dress code

Poised and preppy

What happened

On to a stage decked out like your gran’s front room – a flowery backdrop complete with mirror, patriotic war-time strings leaking from a radio somewhere – saunter Vampire Weekend to knock out one of the sets of the weekend as casually as taking tea.

One-time antsy Afropop brainiacs singing of obscure fonts and falling for the romantic-poet students on campus, their 2010 second album, Contra, added electronic meat to their spindly riffs. Their latest, Modern Vampires of the City, is up there with the albums of the year, seeing Ezra Koenig and Rostram Batmanglij evolve into the most intricate and intelligent songwriters of their time.

So it’s no wonder Glastonbury barely realises it’s watching history being made. It jigs along mildly to the first album favourites – A-Punk, Walcott, the Peter Gabriel-honouring Cape Cod Kwassa Kwassa – but hasn’t yet stretched its head around the intoxicating helium hooks of Ya Hey.

Step, VW’s attempt to update Procol Harum’s A Whiter Shade of Pale with lashings of demonic pitch-shifted vocals, and the mechanised Jerry Lee Lewis of Diane Young fare better, and Unbelievers is already accepted as a live favourite, succeeding in its mission to make a large field dance to theological debate. A quiet triumph.

Who’s watching

Lots of people who’ll tell their grandkids they were there, but won’t be able to tell them anything about it.

High point

Ya Hey, with its chorus resembling heave-ho-ing imps mining flawless pop diamonds.

Low point

The off-key verse of Walcott.

In a tweet

West Holts conquers pop culture

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