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Time remains a lyrical concern, but compared to Modern Vampires, which was backgrounded by ticking clocks, Father of the Bride, with its casual pace and 58 minute run time, finds the band luxuriating in time. The album’s cover art is dominated by a big, cartoon Earth, which resembles an ‘80s peace poster. Its 18 tracks liberally swing through eras and genres: ‘60s folk, ‘70s country western duets, Grateful Dead-style jam band rock. Beyond the inclusion of new voices, the album-both aesthetically and sonically-is looser and more open than their others. On Sunday, I half-expected everyone to wind up linking hands and sing “Kumbaya.”įather of the Bride sounds like a product of that new communal spirit. What began as a four person unit has become more of a collective, with Koenig as the nucleus and various friends of the show dipping in and out (David Longstreth and Jenny Lewis also lent vocals). Throughout the show, Koenig also periodically shouted out Ariel Rechtshaid, who co-produced the album, and was in attendance. And Vampire Weekend also brought out all three Haim sisters (for “This Life”) and Blood Orange’s Dev Hynes (for the closer, “Ya Hey”). Steve Lacy was absent Sunday (on tour with The Internet), but Danielle Haim joined the revamped and expanded band for each of the songs she’s featured on.
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Though the songwriting process didn’t quite go full Wyoming, some of that collaborative spirit seems to have trickled into what the band’s become. Those experiences, he’s said, made him want to adapt a pop star approach to collaboration on this Vampire Weekend album.
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In the past few years, Koenig has worked within giant teams of songwriters, contributing to Kanye West’s The Life of Pablo and Beyonce’s Lemonade. Ezra Koenig has said that Father of the Bride was “marked by the most painful nostalgia I ever had in my life.” New York is, of course, much more than its symbols, but distance has a way of reducing it when you leave, a morning bagel or an afternoon slice take on more than their carbs and calories. But in those ensuing years, the band has lost a member ( Rostam Batmanglij) and seen other members relocate to Los Angeles. Lucian poet Derek Walcott, and the fashion designer Bryn Lander). Six years ago, when Vampire Weekend last released an album (the Grammy-winning Modern Vampires of the City), these New York allusions might have felt a bit on the nose, too obvious for a band so culturally fluent (song titles on their debut referenced Manhattan’s M79 bus, the St. And in between the music on Sunday, fans were treated to a bagel breakfast (good) and pizza lunch (eh). On Friday, when Father of the Bride was released, the band played a surprise pop-up show in Washington Square Park. The topsy-turvy Jonah Hill-directed music video for the single “Sunflower” was filmed at Zabar’s in the Upper West Side, and it included a Jerry Seinfeld cameo. They opened, for instance, with a faithfully easygoing cover of Lou Reed’s “Sunday Morning,” which was apropos not just because of the day of the week but the time of day (morning) and the location of the show (Reed’s old stomping grounds).įor Vampire Weekend, Sunday’s show was itself a grand homecoming-three sets, six-plus hours, with two intermissions, and a few recognizable New Yorkers in the crowd-but it was also one piece of a broader return to the band’s New York roots (they formed at Columbia University). But Vampire Weekend is a band that is, and has always been, acutely aware of things like time and place, the season, the weather, eras and epochs. In other circumstances, these details might not be important. It was the fifth of May, a drippy powder blue spring morning, when Vampire Weekend took the stage at Webster Hall in New York’s East Village for an all-day Father of the Bride album-release extravaganza.