Geese

SHOW REVIEW

For the first time in over a decade, Vampire Weekend returned to Columbus on the second leg of the Only God Was Above Us Tour, corresponding to the title of their latest LP. The band was joined by the incredibly talented Brooklyn-based post-punk outfit Geese, whom I had the pleasure of photographing last year during a performance at A&R Music Bar here in Columbus.

Geese’s live performances often outshine their already impeccable studio recordings. The group knows how to work a stage, and seeing them at a much larger venue really showcased their abilities. The group performed most of their popular tracks, such as “2122” and “3D Country,” which were well-received by the crowd. Frontman Cameron Winter hinted at an upcoming release by the band, which I anticipate will likely be one of my top albums for 2026. Of the nine songs performed, four were unreleased. From what I heard of their new work, Geese is showing no signs of slowing down anytime soon, and we cannot wait to see what they have in store for us next. Geese has grown substantially in popularity since I last covered them, and their success is much deserved.

Vampire Weekend have always been one of my favorite bands–one of my first physical records in my collection was Modern Vampires of the City, which I played endlessly on my Crosley suitcase record player. I had the poster of the album cover on my wall until I left for college. I have wanted to see the group for a very long time, but have always been unable to make it happen. What better time to see them than now?

The band opens with “Campus” off their self-titled record, setting the energy for the rest of the show. Chris Baio’s bass tone is great, his dance moves quirked-up as ever. Immediately, I am blown away by the band’s performance. They sound almost identical to the recordings, and maintaining this throughout a 90-minute performance is quite the feat. The only other time I have seen two drum kits live was during local Columbus band Nodes’ performances. Vampire Weekend incorporates the industrial aesthetic everywhere from the stage props to the high-vis vests worn by the crew, which I found to be a great touch to the atmosphere.

Baio’s fingers somehow aren’t cramping after “Holiday;” the bassline is unwavering and perfectly intonated. The set continues, arriving at “White Sky,” which admittedly, I thought Ezra Koenig would have to alter the song with the high notes in the chorus. I was completely wrong. He hit those notes with perfect pitch, and this was arguably one of my favorite songs of the evening. Other notable tracks of the night were “Cousins,” “Diane Young,” and everyone’s autoplay favorite, “A-Punk.”

I feel like I may have slept on OGWAU as a record. The live performance of songs such as “Prep School Gangsters” and “Pravda” encouraged me to put this back in my rotation, and now I’m kicking myself for not blaring it in my car sooner. It’s perfect summer driving music, the light, effervescent melodies and choruses are unmistakably Vampire Weekend. If you haven’t given it a listen yet, I recommend it. The song titles are almost painful to say out loud when discussing the album with other people, but if you can get past that, you are in for a wonderful listen.

Vampire Weekend uses their encore slot to attempt cover songs requested by the audience. As soon as the band comes back on, fans raise homemade signs with requests everywhere from “Gary Come Home” to “Steely Dan.” Notable attempts include B52’s “Rock Lobster,” Jane’s Addiction’s “Been Caught Stealing,” and A-Ha’s “Take On Me.” Of course, no VW show would be complete without “Walcott” to close out a night of incredible music.

Vampire Weekend has been on my concert bucket list for well over a decade now, and I can say confidently that any post-concert depression is overshadowed by the incredible performance put on by both Geese and Vampire Weekend. This is not a show you want to miss, and if you can’t make it this time around, I promise, it is well worth the wait.