kurt vile tour 2022 setlist

CONCERT RECAP: Kurt Vile & the Violators @ The Fillmore, SF 5.13.22

Last night Kurt Vile rolled into San Francisco to kick off a two-night run at the legendary Fillmore venue right in the heart of the city. And I excitedly strolled into the venue for the first time in many years ready to feel the magic of this shared space once again, always a nostalgic visit for me. The Fillmore was the first venue I ever caught a show at in San Francisco, and ever since I’ve always had a particularly strong connection to it. So the first visit in a post-pandemic live music world certainly delivered an emotional punch for me.

I arrived just in time to honor the Jerry Garcia photos, grab a drink and settle into my spot before the house lights went down to cue Kurt Vile and his band of Violators, a rag-tag bunch of musicians that straight-up look the part , to the stage. And throughout the evening, Vile and his band painted a fairly mellow canvas for us that just really shows everything he wants you to know about him in a few strokes: the ridiculously long and wavy hair, the guitar tech switching guitars after every tune, the heads-down focus when he’s playing, the eyes-up modest surprise when he finishes a song and gets an applause, the lack of hubris by everyone on stage, etc. It’s a vibe that he’s shared with us from the start, specifically since he made his mark with Smoke Ring For My Halo .

And last night’s show was a proper Kurt Vile canvas, a full Philadelphia indie rocker vibe from front to back.

The show opened up with “Palace of OKV in Reverse” before dropping back into one of my faves from his previous efforts, “Loading Zones.” I wasn’t aware of the origin of the next tune, “Punks in the Beerlight,” but I guess I’m just not versed in the Silver Jews catalog enough to recognize that one outright, not to mention the flares and style that KV attaches to it. “Bassackwards” came next and got people swaying, and two new tracks, “Hey Like a Child” and “Jesus on a Wire,” followed.

The band brought out “Check Baby” next off Bottle It In before taking a little break and strolling offstage to leave Vile on his own for “Peeping Tomboy,” one of his well-known classics at this point. Between then and the climax of the show, we also got a sprawling version of “Waking on a Pretty Daze” before getting everyone swaying a bit harder with “Pretty Pimpin.”

It was nice to see the show close with a road-weary Vile announcing in a relieved way that he’ll be back at the same venue tomorrow and gets to stick around for a few days. My money’s on him browsing the aisles at Amoeba today while he’s relaxing and taking in the SF sights.

Here’s the setlist from the show courtesy of setlist.fm:

Catch Kurt Vile & the Violators on the road now and back at the Fillmore tonight, May 14, 2022. Head here to grab tickets to his latest shows.

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Kurt Samuel Vile (born January 3rd, 1980) is an American musician from Lansdowne, Pennsylvania, best known for his solo records. He often performs and records with his band, The Violators.

Vile began writing and recording music in his teens, dreaming of emulating heroes like Smog and Pavement and signing to his favourite label, Drag City. His aspirations, though, were at odds with the professional life that he led through his late teens and early twenties, when he led what he’s described as a ‘depressing’ blue-collar life working jobs that included driving a forklift truck. It wasn’t until 2005, when he returned to Philadelphia after a while living in Boston, that he made his start in the music business by forming The War on Drugs with his friend, Adam Granduciel. He continued to work on his own material, too, and a solo album, ‘Constant Hitmaker’, was released in the same year as The War on Drugs’ debut, ‘Wagonwheel Blues’.

From there on in, Vile’s status as a band member or a solo artist became increasingly more muddied; it was his career as the latter that seemed to really take off, meaning that Granduciel toured with him in his backing band The Violators in support of 2009’s ‘Childish Prodigy’. Since then, Vile has split from The War on Drugs, who would go on to huge success with 2014’s ‘Lost in the Dream’, and focused on more solo records that have seen him master his own brand of woozy, freewheeling and often psychedelic rock; ‘Smoke Ring for My Halo’ met with rapturous acclaim in 2011, and its follow-up, 2013’s ‘Wakin on a Pretty Daze’, troubled the right end of many a publication’s end of year best-of list.

Live reviews

Take one look at the man and the band in front of you onstage: all that hair, all those electric guitars, there’s a plaid shirt or two…this is going to be some kind of noisy grunge nonsense, isn’t it? Well, in short, no. Kurt Vile doesn’t do noise. He’ll give you some dope psych/folk jams, though. Vile is perhaps the most unassuming man to ever take to the stage. He hides behind his hair as he and his band The Violators run through extended versions of tracks from Smoke Ring for My Halo, not saying very much and when he does, it’s all delivered rather nervously. What matters most, though, is not that Vile is lacking “bantz”; Vile’s languid solos are what matter, as he takes a track like ‘Jesus Fever’ and lets the running time extend and bend until you don’t recognise the song anymore thanks to his astonishing liquid playing. Even when he drops the electric and picks up an acoustic guitar, Vile manages to manipulate a song so that one minute he’s Dylan, the next he’s Springsteen – this kid is talented. It’s not all completely laid-back mind you; Vile and the Violators can rock out with the best of them and there’s almost a punk element to the glorious ‘Freeway’ and it shakes you right out of the cosmic reverie the preceding tracks had put you in. You won’t come away thinking you were in the presence of a star and showman, but a Kurt Vile set gives you what you need – cracking songs.

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Philadephia’s Kurt Vile gets the ‘slacker’ term levied at him in a manner that’s frightfully unfair, if you ask me. Like fellow ‘slackers’ Beck and Mac Demarco, he’s built up a considerable fan base thanks to consistenyly touring the world on the back of a slew of excellent, inventive, melodically rich records that only continue to grow in elegance, the lazy sod. Honestly, if the three of them had never worn a plaid shirt, we’d most likely be calling them prolific. Kurt Vile’s shows can be split by in large in to two sections; one, a singular Kurt deftly finger picking his way through beauteous tunes like ‘Baby’s Arms’ and ‘Peeping Tomboy’, two, Vile backed by his powerhouse of a rock band The Violators to channel their inner Rolling Stones on songs that require a little more of a backbone (‘Shame Chamber’ or the near-epic ‘Goldtone’ being among the tunes benefitting most from their addition). Songs are mumbled and somewhat loose, sure, but that’s part of their charm – devoid of pretence or showiness, Kurt Vile makes the whole ‘being an international rock star’ thing look like the easiest job in the world. Maybe there is something about those shirts after all.

The setting was perfectly unassuming when Kurt Vile played a low-key SLC summer concert series set. I was expecting a tracklist chock-full of b'lieve I'm goin down songs and relative-hits, but was glad to hear a slew of Smoke Ring's deeper cuts and fluid, loose jams from Kurt's entire discography. By the end of the night, Kurt Vile's infectiously casual demeanor spread through the audience, and the festival-goers who stuck around were treated to a final, beautiful rendition of Goldtone and On Tour, two of my favorite tracks. Overall, the atmosphere Kurt Vile brought on tour was a caricature of the man himself, and exactly what I came to hear.

The show was great! Kurt's musical sincerity and quirky personality shined! I loved it. I only wish the crowd and venue could've done their part in creating an environment that respected his talent. Unfortunately, Marathon never brings in crowds that are 'present' or truly respect the performer/music. It's disheartening because Kurt showed up, performed a beautiful set, but Nashville let him down with their overly chatty tinder dates and disengaged crowd. Regardless, my friends and I got a lot out of it and our appreciation for Kurt Vile and artists like him continues to grow.

It was a great show.KV was presenting his last record "Bottle it in", released last week, and most of the songs was from this album. Not one of my favourite KV's albums but always better than the average rock albums.

Previously played Meg Baird and Mary Lattimore. It was just a 30 minuts concert but very intense and exciting.

The venue was full and the sound was awesome (Sala Apolo is my favourite club in Barcelona). Definitely a great night.

Mr. Vile seemed plagued by pedalboard and monitor problems at the start of the set; but things got better as the show rolled along. Setlist skewed towards slower acoustic numbers, with a predictable encore of "Pretty Pimpin". The Sadies definitely stole the show with their high-energy opening set, and the audience was reminded of this when Kurt Vile had them back onstage at the end of the show for a great closer.

Very disappointing. The 'Pretty Daze' album took a while to find it's following in London, but by summer this year, it was the soundtrack to every hip coffee joint in the city. But there's been a new record since then, and that formed the majority of the set. I don't think I was alone in being disappointed by this fact, since the crowd lost energy with each track played, and many began leaving before the end.

Great show from a seemingly very shy man, played mainly eyes to the ground, behind a curtain of hair.

The first few songs felt a little chaotic, but about a third of the way through the set the band settled in and Kurt starting whipping his guitar off his shoulders at the end of songs at breakneck speeds. Despite his reservedness, Kurt's enthusiasm for the music, venue and performance shone through.

I have seen at least 200 hundred shows and I have walked out on 3. Kurt Vile was one of them. There was no show. It was basically like watching the album being played on stage by a robot. No emotion. No showmanship. Nothing special. My husband, who loves live music as much as I do, was super disappointed as well. Total bummer.

I did not know him a week ago but was very exciting meeting him and his band.

It was an excellent show! He is an amazing guitarist and his last album is very great. Looking forward seeing him again with the Violators!

Very folk and rock!

I bought his last vinyle on the way home, Bottle It In.

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Kurt Vile Concert Review: The Magician Enchants Boston Crowds

“Been on the road for three years, just to get here, just to bring it back to Boston,” indie rocker Kurt Vile said as he returned to the stage for an encore at the Royale Nightclub in Boston on Oct. 30.

Vile lived in Boston for two years. In an interview with D’Addario and Co., he shared that in the early 2000s, “I was up in Boston where I didn’t really know anybody. I worked this crappy warehouse job and then I’d go home and just get zoned out and just play.” His connection to Boston fostered an intimate concert experience. Throughout the Royale show, he chatted with the crowd, asking people how they were doing, what they were dressing up as for Halloween (someone in the crowd yelled “you!”), and if an old favorite vinyl store Stereo Jack’s was still around (according to a helpful audience member, it is now in a new location ).

Fans don’t go to a Kurt Vile concert to see impressive stage stunts; they go to be transported by his poetic lyrics and guitar genius. It’s impossible not to smile watching Vile in his element as he leans over his guitar to play incredible solos time and again, his long frizzy hair covering his face. His unique guitar style was formed in part by his experience learning to play music on the banjo. “If guitar was my first instrument, I’d go probably take some lessons and then they’d be like, ‘here are the barre chords,’ and you’re kinda stuck in a box, whereas because I started in open tuning there was not those walls,” Vile said.

Vile played a mix of songs from his 2022 album “(watch my moves)” alongside long-time fan favorites like “Pretty Pimpin” on multiple guitars colored red, turquoise, orange, and yellow. He chose to incorporate some of his longer songs, including “Wakin On A Pretty Day” from 2013’s “Wakin On A Pretty Daze” and “Skinny Mini” from 2018’s “Bottle It In” into the setlist.

The set for the night had a slightly grungy feeling with the addition of songs like “Loading Zones” and “The Hunchback.” These darker tracks contrasted with the songs from “(watch my moves),” which have an airy feel and depend on a lighter touch of Vile’s deep voice alongside his mellow yet cathartic chord progressions. The crowd enjoyed the mix, yelling for the songs they recognized, and standing with eyes fixed on the guitarist, trying to take in his wicked fingerpicking skills during the longer songs.

Vile is often in conversation with other artists in his music. In “Cool Water,” the second song he played in his encore and one of the most sonically beautiful songs on “(watch my moves),” Vile references early American Western singing group Sons of the Pioneers, who recorded a song of the same name in 1941. He layers in references to other artists who picked up the song during their own musical careers, including Hank Williams and Marty Robbins.

The musical references continued with Vile’s last song of the night, a cover of “Punks in the Beerlight” by the Silver Jews. The finale of his set offered a homage to the band’s founder, the late David Berman. Vile remembered Berman in a 2019 Instagram post where he said, “His music and lyrics and vocals have touched me to this day and are still growing in significance.” He went on to say that he often sings Silver Jews songs to his daughters before they go to bed, and they have learned some of them by heart. Clearly, for Vile, this was an important tribute.

Vile’s Boston fans were happy to have him back. The feeling was mutual — “I should have been here two years ago and I’m pissed,” Vile said. The blissed-out crowd that came to support Vile on Halloween eve made it clear that they would welcome him back anytime.

—Staff writer Lena M. Tinker can be reached at [email protected].

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• April 15, 2022 Setlist

Kurt Vile Setlist at Rough Trade East, London, England

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• Flyin (Like a Fast Train) Play Video
• Loading Zones Play Video
• Pretty Pimpin Play Video
• Hysteria Play Video
• Damaged ( Primal Scream  cover) Play Video
• Slow Talkers Play Video
• Say the Word Play Video
• Smoke Ring for My Halo Play Video
• Feel My Pain ( Kurt Vile & the Violators  song) Play Video
• Wild Imagination Play Video
• Mount Airy Hill (Way Gone) Play Video
• Baby's Arms Play Video

Note: 'Watch My Moves' release show; Kurt solo, acoustic

Edits and Comments

4 activities (last edit by kfinch , 1 Jun 2022, 09:01 Etc/UTC )

Songs on Albums

• Flyin (Like a Fast Train)
• Mount Airy Hill (Way Gone)
• Say the Word
• Pretty Pimpin
• Wild Imagination
• Loading Zones
• Baby's Arms
• Smoke Ring for My Halo
• Damaged by Primal Scream
• Feel My Pain by Kurt Vile & the Violators
• Slow Talkers

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Kurt Vile Gig Timeline

• Sep 25 2021 Jeanne Rimsky Theater Port Washington, NY, USA Add time Add time
• Sep 26 2021 Woodsist Festival 2021 Accord, NY, USA Add time Add time
• Apr 15 2022 Rough Trade East This Setlist London, England Add time Add time
• May 27 2022 Goose Island Brewhouse Chicago, IL, USA Add time Add time
• Jun 17 2022 World Cafe Live Philadelphia, PA, USA Start time: 12:00 PM 12:00 PM

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