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April 08, 2008
Vampire Weekend, Live @ Bluebird Theater, Denver 4.1.08

I like to think that I'm not the type who easily falls for the accepted narratives when it comes to certain cultural, socio-philosophical, or political happenstance. As a human being with some intelligence I prefer to allow myself a wide enough subjective margin to work out my thoughts and opinions to the many things I hear or read about. Focusing this budding ramble solely on music, I want to believe I'm still capable of coming to terms with my own perspective with new artists. For mostly stupid reasons it seems especially important to justify a stance on those blessed (some say cursed) with the non-musical, ancillary perils that success can bring when a ride on the un-crestable wave of ascending popularity occurs. Stupidly because its rather embarrassing to have what is ultimately an existential crisis with clinging to what is or what is not cool. If a slight indulgence into meta cultural critiquing can be granted, I present the Hipster Problem. We're not fourteen anymore, but it sure doesn't seem that way.
I always struggled to understand the motivation behind tenuous justifications of negative attacks directed at popular artists. Mostly it's for petty and circumstantial reasons. Just because sketchtown residents like Pete Doherty and Amy Winehouse get so much attention for their junkie ways, though genuinely sad and we hope (by now) curbed with tragedy, it doesn't mean their body of work should be diminished anymore than the work of saintly artists with glowing credentials. History, through its virtues of distance and perspective has a way of sorting out the problems of real time conclusions by contemporary analysts by providing elucidation of the "real story.”

But we are in a new frontier of constant, 24/7 evaluation. Seen real time through the checkered wisdom of progress, it is chipping our ability to consciously step back enough to allow serious stocktaking of so many unfettered opinions.
Let me further that last point by pointing to the word "allow." We are in a unique time in history. Never has the ability to spray the world with independent judgment been so great. Not only for free societies, but for tiredly oppressed folks in places like Iran, China, and other so-called closed locales enjoying from the proliferating black markets of ideas. That said, the fact we all have a soapbox has muddled things a bit has it not? Spend some time perusing the reader comments of your local newspaper’s website to see some of the more egregious examples of unfiltered gabbing. Articles on immigration, the war, and even seemingly banal bulletins on the weather all serve as catalysts for the crazies to spew their venom. The terrible irony of the great final realization of a true free market of ideas seems to be that given the chance to proselytize, everyone comes off sounding like a douchebag. You might be thinking the same thing about me right now!


For more topical fare to the Swankster mission, see if you can make it through the comments at Stereogum and Brooklyn Vegan. One might shit on emo kids for sporting guyliner where another will discredit death metal for the overtly intricate satanic dungeon motifs. Either way, both are empty criticisms ringing as hollow as the old man decrying the glories of his youth and the last great era of “good” music." See? Total bullshit. Everyone is a douchebag. Even this missive, instead of a tale on the irresistible pop hooks of Vampire Weekend, quickly devolved into a pretentious defense to my own history of defending a young band doing whatever the fuck they want to do. Caring little if looking preppy isn't cool and caring less to actually have written a line in a song referencing one's butler. If that is not embracing the punk ethos of fighting against the established grain then nothing is. Jonathan Richman can attest to this. Dude loves his parents and wants to keep the ladies at the government center in high spirits. Not exactly a wild rebellion, but is it not exactly that?
In real life, where real life is not framed by the Internet, Vampire Weekend is still a tremendously talented new band. Their story arc is simply not long enough to draw a safe verdict for posterity. Of course I don't expect anyone to stop from trying. This is not my point at all. I just think we need to be aware who we are listening to. Clearly a quick Google search of "Vampire Weekend backlash" proves this point rather well. And by rather well I mean insufferably self involved and achingly predictable. "They sing about rich people!" "They wore scarves!" Is it too much to ask to be spared from fashion nitpicking when talking about rock and roll? Act fast before you blink and miss the next Midwestern band relocating to Brooklyn. Oh they just bought their skinny jeans? Grew beards? Added a new keyboardist who happens to be a gorgeous ex-model with a cute bob haircut? Let the hype cycle play again. Puh-leeze.
Rock critics get slack for rockism, but I'd like an answer on the rampant pseudo-liberal ideology of oppressing the rich kids? The Strokes experienced some of the same via thinly veiled jealousy colored through suspicions of nepotism from Julian Casablancas' famous model brokering father. And while the pedigree of an artist is fair game for discussion, often most of the critical tones get punctuated with scorn amidst additional piling on to prove unworthiness. Why can’t haters just stick to hating the music on its own? Bank accounts, closets, and frequency of showers are completely irrelevant when headphones are involved.
So what the hell does this have to do with Vampire Weekend playing Denver's Bluebird? I was really stoked to see the band play live for the first time. I really do love their self titled debut. I think this space has said plenty on the band to get into the why again. I really wanted to love the show, I really did. What actually happened is I got caught up in the maddening amateurism of a crowd more interested in arguing about who got to the front pit area first rather than listening and *gasp* taking the show in. I hate doing this when reviewing a show because it’s not reviewing the show at all -- it’s reviewing my own personal experience.
Unfortunately I can't help it. In order for me to avoid discharging from the spigot of disingenuousness I must call out the drunken morons behind me who kept screaming "Mystic Seaport". I don't know if you fellows are from the region of Mystic, CT, where the historical maritime Mecca familiar to all field tripping, Northeastern, elementary schoolchildren is, or you just really dig the song "Walcott", but you were killing me. Sure it was probably more a me thing than a you thing, but God it was just tearing at the fiber of my being.
Other than a weird crowd Vampire Weekend was great. Really tight and just as clean as the record. Too clean perhaps. The bass may need additional decibels for filling out the bottom end a bit more. Lead singer Ezra Koenig was very chatty. Distractingly so, but I'll give him a pass since the band doesn't have that much material to fill out a set. We’ll talk again after record #2 is out. Nice talk. Thanks.







[Setlist scan]
Posted by Merry Swankster at April 8, 2008 06:18 PM
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Comments
True dat.
Posted by: Kelli Douglas at April 9, 2008 12:35 AM
You're right. For the past 5+ years I've been conflicted over country music. Do I like it? Should I like it? Etc.
Also: The only thing that would make the VW album better is if they insisted on their name being pronounced "Vampire Veekend."
Posted by: Randall Monty at April 9, 2008 04:07 PM
I've been thinking about a proper response to this; finally I have it: if I had been living in a cave and having one CD placed at the doorway of my cave every month, I would have dug VW without having heard any of the hype you (properly) decry. Good is good. Thank God. That's all ye need to know in life.
Posted by: david at April 11, 2008 07:48 PM


