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Death Cab for Cutie  

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Upcoming concerts (21) See all

Ameris Bank Amphitheatre

Credit One Stadium

Coastal Credit Union Music Park at Walnut Creek

Bridgestone Arena

Schottenstein Center

Petersen Events Center, University of Pittsburgh

Scotiabank Arena

Miller High Life Theatre

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Death Cab for Cutie rose from being a solo side project to becoming one of the defining bands of the indie rock scene of the 2000's, with their emotive songwriting blurring the lines between indie and emo.

Led by Ben Gibbard (vocals/guitar), Death Cab for Cutie began as Gibbard's solo project, undertaken whilst studying at university in Washington, offering a break from his involvement in the power pop band Pinwheel. Gibbard recorded an album's worth of material in 1997, which eventually found release as a cassette, "You Can Play These Songs With Chords." The release found local popularity, with Gibbard deciding to expand the lineup into a full band. Death Cab for Cutie was then born, before signing to Seattle-based label, Barsuk Recrds, the following year.

Their debut album, "Something About Airplanes," was released in 1998, after which a short break ensued, with Gibbard becoming involved with the Postal Service. In 2000, new material arrived, in "We Have the Facts and We're Voting Yes," with their third, "The Photo Album" appearing a year later, building a sizable following in the process. Their emotional yet hook-laden indie rock continued to find success, with 2003's "Transatlanticism" gaining critical praise and mainstream airplay on radio and television. Atlantic Records then snapped up the band, with Death Cab for Cutie signing a major label deal in 2004.

"Plans" became their major label debut, debuting at number four on the Billboard charts. The album eventually became certified Platinum, gaining three hit singles and a Grammy nomination by the end of the year. Continuing to tour and release well-received albums, Death Cab for Cutie became one of the most popular indie bands of the decade. After a short break, the band returned in 2011 with renewed focus, finding a number three album in "Codes and Keys." In 2012, Gibbard released his first solo album, "Former Lives," before his band began work on their eighth album, "Kintsugi," for a release of March 2015.

Live reviews

Death Cab for Cutie brings back memories of simpler times. Ben Gibbard is a musical mastermind and one of those rare talents whose live performance is just as (if not more) ethereal as his recordings. It’s the kind of music that makes you come alive, takes you to that happy place and pushes the boundaries of bliss. You never know what to expect from a live performance and I can happily say that Death Cab for Cutie do not disappoint! If you ever have the opportunity to check them out, don’t miss it! I had the chance to see them perform at the world renowned Fox Theater in Oakland. The lights, ambiance and of course sound were on point. If you didn’t already know, Ben Gibbard is also the vocalist of The Postal Service which is arguably even more incredible. I went to see their first live performance in years at the Grand Sierra Resort in Reno, NV and I have just two words - mind blown. Check out Death Cab and Postal Service on Spotify and if the music doesn’t instantly take you away to dream world, please consult a doctor immediately. Can’t say enough, check these guys (and girls in the case of Postal Service) out if you ever have the chance!

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US indie/rock outfit Death Cab for Cutie have a discography that is now seven albums strong and have amassed a fan base of equal solidity since their formation way back in 1997. The band has no issues packing out auditoriums and venues on both sides of the Atlantic with their powerful live show.

From the opening proud riffs of 'I Could Possess Your Heart', the loyal fans sing back the chorus in time with the band as they tear through a variety of picks from over the years. Premiering new material in the form of 'Black Sun', the audience is receptive to this as the band tease the new eighth album.

The biggest cheer of the night perhaps goes to 'You're A Tourist', an indie anthem that sounds fresh within the set. Whilst the finale combination of 'Soul Meets Body' and 'The Sound Of Settling' make for aggressive fist pumping and even moderate moshing before the band disappears to cheers for encore.

They return much to the crowd's delight and play UK hit single 'I Follow You Into The Dark' and the title track of 2004's 'Transatlanticism' which is considered their most critically acclaimed album.

Honestly, last night was underwhelming. I really love their music, and have seen them before. But last night there was no energy. Which is crazy for playing at red rocks, the whole place should be full of energy.

They started really slow with no introduction, the first two songs on the new album. Ben's voice was off, for the new songs especially.

It seemed like they were more of a jam band than anything. They played 'i will possess your heart', which is great, abiet long. Then they played one song a little later that was easily 15 minutes long, which lost all, if any left, momentum from the crowd.

The setlist was okay, everything you really wanted to hear was in the encore, which I think should have been spaced out a little more. I left before it started and just heard it in the distance because I was about to fall asleep from lack of presence.

I probably won't see them again, but will still listen to their music.

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Death Cab always brings the crowd to it's knees. Their sound has progressed in a more poppy way over the years, but it's the old nostalgic songs that they lean on in every show to connect with the audience and then ultimately, tear them open. On top of that, they sound a lot bigger and louder than you would expect from their albums.

There is always some sort of unique experience, too. Whether it's jamming out at the end of a random song for 15 minutes, bringing extra musicians or instruments on stage, or even by touring with a full experimental orchestra, DCFC shows are always memorable and powerful. Lastly, lead singer Ben Gibbard can really pluck at your heartstrings with a good acoustic set. If you want to feel something when you go to a show, DCFC won't let you down.

Absolutely smashing. What a great show - a complete retrospective of Death Cab For Cutie. Great songs, great energy, great performance - it was literally non-stop, and the audience loved it. What a shame we couldn’t all stand up and dance - the Royal Festival Hall doesn’t lend itself to that kind of carry-on easily, but at least no one was talking and frankly we were all mesmerised. From the opening of ‘I Will Follow You Into the Dark’ all the way through; I don’t think time has passed so quickly and before you knew it we were all on our feet (deservedly so!) clapping along to the end. I love this band, I think they’re brilliant, and they really gave us a show to remember.

This show was fantastic. GA sold out and HRL was definitely full of Death Cab fans, singing along with every number. The band played a great balance of songs from their new album and their back catalog, including most of their radio hits. It was also a beautiful show--the lighting design was perfect for their style of music and avoided bright spotlights in favor of color LED washes and moving lights, along with some gorgeous effects on the screen behind them. Also, HRL is probably the best venue of its size in town for sound, and this concert was no exception--even the loudest moments were crisp and clear. Overall, just a wonderful experience seeing a band I've loved for years.

It was an amazing performance at such an amazing venue! Death Cab bursted through an entire catalog of music unscathed by the cheering fans! They even told us to stand up because everyone were content sitting down watching them that they had to get us up and moving. There show went through a catalog of the different era's of the band! There moments are always at a climax, for such soft subtle material they really know how to make jam out! I Will Possess Your Heart was there closer of the set before the encore, first time i seen the full version before, and they jammed.....they jammed really well together with the additions that they have added

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Death Cab for Cutie tour dates and tickets 2024-2025 near you

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Death Cab for Cutie is not due to play near your location currently - but they are scheduled to play 21 concerts across 5 countries in 2024-2025. View all concerts.

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Death Cab for Cutie and Postal Service Team Up for Double 20th Anniversary Tour

By Kory Grow

If you purchase an independently reviewed product or service through a link on our website, Rolling Stone may receive an affiliate commission.

Ben Gibbard will be working double shifts next summer when the two groups he fronts, Death Cab for Cutie and the Postal Service , embark on a double-anniversary tour. Each act will perform the album it released in 2003 — Death Cab’s Transatlanticism and the Postal Service’s influential Give Up — on each tour date.

The tour’s general on-sale begins Dec. 16 at 10 a.m. local time. Various presales begin earlier in the week. Details are on the tour’s website .

Death Cab’s Transatlanticism followed on Oct. 7, 2003, and became the band’s mainstream breakthrough, making it up to Number 97 on the albums chart and going gold. The single “The New Year” became one of the band’s set-list staples, and “The Sound of Settling,” “Title and Registration,” and the title track became canon for the group, which released its latest album, Asphalt Meadows , this year.

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Death Cab for Cutie/The Postal Service tour dates:

Sept. 8 – Portland, ME @ Cross Insurance Arena Sept. 9 – Kingston, RI @ The Ryan Center Sept. 10 – New Haven, CT @ Westville Music Bowl Sept. 12 – Boston, MA @ MGM Music Hall Sept. 13 – Boston, MA @ MGM Music Hall Sept. 14 – Washington, DC @ Merriweather Post Pavilion Sept. 17 – Detroit, MI @ Meadow Brook Amphitheater Sept. 20 – New York, NY @ Madison Square Garden Sept. 21 – Philadelphia, PA @ The Mann Center Sept. 24 – Minneapolis, MN @ Armory Sept. 26 – Denver, CO @ Mission Ballroom Sept. 27 – Denver, CO @ Mission Ballroom Oct. 3 – Phoenix, AZ @ Arizona Financial Theatre Oct. 4 – Las Vegas, NV @ The Chelsea Ballroom at The Cosmopolitan of Las Vegas Oct. 7 – Seattle, WA @ Climate Pledge Arena Oct. 10 – Berkeley, CA @ Greek Theatre – UC Berkeley Oct. 13 – Los Angeles, CA @ Hollywood Bowl

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Review: Death Cab for Cutie remembers Austin in 1999 at sold-out ACL Live

"The New Year" by Death Cab for Cutie opens with instantly recognizable patty-cake-of-the-gods guitar chords:

BWOHM BWOHM

BWHOHM BWOHM

And then, the lyrics feel the full force of hormones and the not-so-new-anymore millennium. 

Ben Gibbard and company played "The New Year" early in their set Friday at ACL Live, the second of two sold-out shows in Austin. The opening track off of the Seattle band’s career-making 2003 album, “Transatlanticism,“ it is a signature Death Cab number, a song to which your mind would free-associate if prompted with the words “greatest hits.” Once the poster boys for indie youth culture, Death Cab has become something muscular and mature in the 2020s. Still, their best lyrics existed before therapy was as routine as your annual teeth cleaning. At the merch table Friday, the band sold shirts that read, “SAD MUSIC.”

Decades on, the band still channels the ineffable, while the passage of time is very, very effable.

When they transitioned into “The New Year,” the artists sank into a swimming pool of clattering, post-rocky sound, glowing under prismatic light gels that made a Willy Wonka tunnel into your memories. (The first of a few times.) As the title telegraphs, the song concerns itself with beginnings, endings and the door hinge that makes passage between them possible. Gibbard sang of “explosions off in the distance,” which is a great way to describe something, anything, that you felt deeply in 2003.

“I wish the world was flat like the old days,” he sang. “Then I could travel just by folding a map.”

More by Eric Webb: When Alison Brie and Dave Franco came to Austin

For me, someone who admittedly likes to wallow a little, I thought fondly of my own explosions off in the distance, sad as they were. With decades removed, though, songs like “The New Year” are just as joyful now as they are sad.  An evening with Death Cab reveals that the two sensations have, just maybe, become a bit more comfortable coexisting. The years have created a little more map to fold.

That's all a little florid, I know. (I did grow up listening to Ben Gibbard songs.) A person deep in their cup said it more plain, exclaiming from the mezzanine at the beginning of Death Cab’s encore: “Play that emo s___! Let’s go!” The band immediately started playing “Brothers on a Hotel Bed,” about two people who grow so old they lose all their passion.

Gibbard reminded the audience at one point that it’s been seven years since Death Cab played their own show in Austin. (They did just play the second weekend of Austin City Limits Music Festival in October.) We could cut it down to five, he offered, since two of those years have been a pandemic wash. 

“We’ve been coming to Austin for 24 years,” Gibbard later said. He told the story of the band’s first visit, to play at the old downtown Emo’s in August 1999. Ever a Pacific Northwest boy, Gibbard walked around town in a sweatshirt in triple-digit heat. He got heatstroke; they didn’t end up playing the show.

The band members were staying with some local musician friends in an apartment with not near enough rooms for the number of people, and they let Gibbard have a bedroom all to himself to recover. He remembered being taken aback by the kindness he found in Austin.

“That’s what this community has always been about,” he said. Death Cab then played “Rand McNally,” a song about “being a band in the late 1900s,” with lyrics like, “We lived on whiskey and Twizzlers, and youth's discontent.” The refrain: “I won’t let the light fade.”

More: Parish music venue reopening in East Austin after fire

When conjuring past versions of yourself through ancient spells (aka songs you heard on “The O.C.”), it helps to cant your perception toward the surreal. Death Cab understands this. The opening bars of “I Don’t Know How I Survive,” the first track on last year’s “Asphalt Meadows,” found Gibbard in a column of white light surrounded by ink.

“Black Sun,” an apocalyptic single from 2015’s “Kintsugi,” was a solar flare, sonically. To lead the eyes where the ears were already going, the stage was blown out in purples and greens befitting a mushroom trip, or the Hulk.  And perhaps to help a latter-day single pack a little more punch, the band went literal for  “Northern Lights,” a radio-friendly pop-rock piece off of 2018’s “Thank You for Today.” The colors of the aurora borealis flashed behind the band on panels before escaping and washing everything rainbow.

During “Roman Candles,” a close-shorn Gibbard shook his head around like he still had those mid-2000s bangs. Been there. Death Cab cycled through a setlist of classics: The melancholic wedding march of “Cath…,” the full, predatory piano intro to “I Will Possess Your Heart,” the gray-skied thirst of “We Looked Like Giants,” the hippy-dippy twinkle of “Soul Meets Body.”

But the big hit, uh, hit different. A packed ACL Live shrieked in painful, euphoric recognition as soon as the opening strums of “I Will Follow You Into the Dark” started up. 

Gibbard took the stage alone and gave the kind of history lesson befitting an “MTV Unplugged” sesh. The band came up during the second wave of emo, he explained as if passing down generational lore. So, they got pegged as an emo band. “We didn’t like that, but we had to deal with it,” he said good-naturedly.

Back in those days, they didn’t like to do the thing where they turned the microphone to the crowd and let them sing the song. Times, as we have well established, change.

“I’m much more secure in who I am and who we are,” Gibbard said.

And like proof that maybe cults are onto something — a Zilker Park’s worth of people singing the words to “Dancing On My Own” in 2019 as Robyn looked on, gushing, also comes to mind — a sold-out venue professed its eternal devotion to their neighbors, to Death Cab, to themselves, to their beer, maybe. I saw two ladies standing in the upper decks, bodies T-shaped and swiveling from their seats, eyes shut tight.

In stereo: “If heaven and hell decide that they both are satisfied/ Illuminate the 'no's on their vacancy signs/ If there's no one beside you when your soul embarks/ Then I'll follow you into the dark.”

Not to brag, but a man in front of me turned around and told me I have wonderful pipes. I would, indeed, follow him into the dark.

The final song of the night, of course, was “Transatlanticism,” the title track of an album so massive that it has spawned its own 20th-anniversary tour this year (paired with a two-decade tribute to “Give Up,” the similarly seminal album from Gibbard’s side project, The Postal Service). “I need you so much closer,” that song’s lyrics chant. An easy bow to tie on a night about coaxing the far-gone and the silvery into a room so frustratingly now.

So, in the interest of variety, “A Movie Script Ending” from 2001’s “The Photo Album,” might have left Austin with the neatest takeaway from a night of time travel and blissfully sad music. Gibbard sang clearly and kindly: “Passing through unconscious states/ When I awoke, I was on/ The onset of a later stage/ The headlights are beacons on/ The highway, highway.” And then, as the fans know, you sing the word “highway” 30 times, with maximum wistfulness.

Play that emo s___. Let’s go.

Death Cab for Cutie setlist on Feb. 10 at ACL Live

• "I Don't Know How I Survive"
• "Roman Candles"
• "The New Year"
• "A Movie Script Ending"
• "Here to Forever"
• "Black Sun"
• "Northern Lights"
• "I Miss Strangers"
• "Crooked Teeth"
• "Rand McNally"
• "I Will Follow You Into the Dark"
• "I Will Possess Your Heart"
• "Your Heart Is an Empty Room"
• "Asphalt Meadows"
• "The Ghosts of Beverly Drive"
• "We Looked Like Giants"
• "Soul Meets Body"
• "Foxglove Through the Clearcut"
• Encore: "Brothers on a Hotel Bed"
• "Marching Bands of Manhattan"
• "Transatlanticism"

I drove five hours to see Death Cab and The Postal Service. It was totally worth it.

We all have those events — concerts, sports, weddings, etc. — we'd consider attending regardless of cost and travel. For me, I usually need a little incentive to make going to these events a reality: opportunities to visit landmarks, see distant friends, etc.

So, when Death Cab for Cutie and The Postal Service (two of my all-time favorite bands) announced a joint tour celebrating the 20th anniversaries of their seminal albums, my mind immediately started weighing the logistics of getting to the show. See, when the tour was announced in December 2022, there was exactly one show located in the central time zone: The Armory in Minneapolis on Sunday, Sept. 24 (they later added two shows in Chicago).

Minneapolis isn't too far to the average Midwestern road-tripper. But it isn't particularly close, either.

When it comes to seeing two albums indispensable to their genres and formative to my upbringing — Death Cab's Transatlanticism and Postal Service's Give Up — that I may never be able to see performed live again, I deemed it worth the five-plus-hour journey.

The thing about visiting other cities for cultural events is that you get to compare them to your home city. In this case, unfortunately, Milwaukee doesn't hold a candle to what Minneapolis has going for its downtown sports and entertainment district. The baseball stadium, basketball arena, football stadium and major concert venue are all in the downtown corridor, connected by a robust network of bike lanes, buses and a convenient light-rail line.

Milwaukee also doesn't have a venue that compares to the Armory. Built in 1936, it primarily served the Minnesota National Guard but also had other uses, including concerts, civic events and hosting the Minneapolis Lakers before the team moved to Los Angeles in 1960. It eventually lost its luster and became a parking garage in the mid-2000s. Then, in 2017, an investment group spruced it up again as an events-only mega-venue.

I did none of this research before I walked in the door, so I was pretty surprised by the sheer size of it. After getting through security, which functioned like the building had a military background, stairs take you directly into the rear of the space, opposite the stage. As I looked up at the high arched roof, my first thought was: Oh wow, this place is massive. Ben Gibbard, the mastermind behind this tour as lead man for both Death Cab and Postal, at one point called it "so cavernous and awesome."

The wide-open floor was completely packed before opener Warpaint began promptly at 7:30 p.m. Two building-length VIP levels flanked the sides, highlighted by frequent flashes of strobe lights carried by bottle servers, like they would in a Miami nightclub. Adjacent to the steps, a long merch table (with 19 shirt options) was surrounded by orderly chaos. We squeezed our way along the side wall to the middle of the crowd, a sold-out 8,400 capacity that definitely felt like more.

Death Cab for Cutie

As I wrote earlier, both Transatlanticism and Give Up were formative for me, but in different ways. The former, released in October of 2003, is a quintessential record that toes the line of indie rock and pseudo-folk. It's an album that has gotten me — and presumably many others — through long-distance relationships and break-ups. Many tears have been shed to this record.

There's something really special about anniversary shows because you can almost guarantee most of the people in attendance are there to see a particular album that resonated with them in some way. This was evident from the get-go, as I and others around me sang the lyrics to some "deep cuts" like "The New Year," "Expo '86" and "We Looked Like Giants."

With "album in full" shows, you can also rely on the predictability of the setlist. In this case, there was a palpable build-up to the record's title track, a weighty eight-minute tear-jerker that includes a simple lyric I'm sure was a mainstay of AIM profiles everywhere: "I need you so much closer."

Yet for as much as I love this 20-year-old album and the nostalgia accompanying, I couldn't help but feel that this isn't an album meant to be performed front to back live. The track list oscillates too much for the crowd — and the band, for that matter — to hit any sort of groove.

Rock song ... slow sad song ... upbeat rock ... back to the sadness.

I felt like Gibbard, in a mood-setting all-black outfit, was trying too hard to make Transatlanticism work. Don't get me wrong, it was all good. But some of the songs are better left recorded.

Postal Service

After a tidy 47-minute Death Cab performance, Gibbard announced he'd be back in 15 minutes for the second portion of the show. He was right on, coming out in an all-white ensemble along with Postal Service bandmates Jimmy Tamborello and Jenny Lewis.

It may be the nature of Give Up 's upbeat sound when compared to Transatlanticism , but Gibbard seemed like a different performer for the second act. His voice sounded stronger, and his presence was more energetic. He even hopped up on the drum kit at times to bang around and add more substance to the tracks.

The tone was set from the jump, almost by default, because the first two songs on the album are by far the most popular in its 20-year history. "The District Sleeps Alone Tonight" and "Such Great Heights" had the floor literally bouncing, which was a little scary until I remembered we were in a literal military shelter.

The energy kept going throughout, with peaks at sometimes unexpected moments. That included song No. 4 in the set, "Nothing Better," which prominently features Lewis's vocals. The crowd erupted every time she was featured, but especially for her solo in that duet.

Another standout moment was toward the end of the set, when Gibbard invited the arena to join in singing the outro to "Brand New Colony." You better believe I was belting out: "Everything will change, oooooh."

View this post on Instagram A post shared by ArmoryMN (@armorymn)

The final surprise was the encore, which wasn't a given considering we already got two headliners for the price of one. After an acoustic duet of "Such Great Heights" with Lewis (which I could've done without, honestly), Gibbard brought out his Death Cab bandmates to join Postal for a very well-done rendition of Depeche Mode's "Enjoy the Silence."

In the end, both sets equaled the length of an average show, wrapping up around 10:30 p.m. But I could've stood in that packed crowd until midnight (or later) listening to Gibbard and co. reprise the hits and rare cuts that helped catapult careers and impact the lives of so many, like me.

And it wouldn't matter the place or distance from home — I would do it again.

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• September 6, 2023

The Postal Service/Death Cab For Cutie Launch Tour at Washington DC’s The Anthem (RECAP)

• By Ryan Dillon
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This fall is promising to be a busy one for Benjamin Gibbard. 2023 marks the twentieth anniversary of two different albums from two Gibbard-fronted bands, Death Cab for Cutie’s Transatlanticism and The Postal Service’s Give Up , and he’s celebrating through revisitation of these landmark releases. Last night (September 5) Gibbard and his bands kicked off a national tour that will have the frontman working a double as each of his respective bands will perform their 20-year-old albums in full. This marks the first Postal Service show in over ten years, their last performance being at 2013’s Lollapalooza. The first stop of this 20th anniversary was in Washington D.C. at The Anthem with Gibbard sticking to his promise while throwing in a few surprises to keep things interesting. 

Last night’s setlist stuck to the nature of the tour. Death Cab for Cutie ripped through Transatlanticism while The Postal Service reveled in the excitement of their return show. The Postal Service ran through Give Up but they didn’t stop there. Gibbard and the iconic Jenny Lewis joined forces for an acoustic duet of “Such Great Heights”. The night ended with members of both bands covering Depeche Mode’s “Enjoy The Silence. 

This is just the start of a Gibbard mania as both his bands are hitting the road in a big way. The bands will stay another night at The Anthem before heading out to Portland, Maine for a show on September 8. The tour will have the bands on the road until mid-October with stops in Philadelphia, Boston, and Denver, and ends with a string of shows across the West Coast. Check out the full list of dates, full setlist, and footage from last night’s show below. 

09-06 Washington D.C. – The Anthem 

09-08 Portland, ME – Cross Insurance Arena

09-09 Kingston, RI – The Ryan Center

09-10 New Haven, CT – Westville Music Bowl

09-12 Boston, MA – MGM Music Hall

09-13 Boston, MA – MGM Music Hall

09-14 Columbia, MD – Merriweather Post Pavilion

09-17 Detroit, MI – Meadow Brook Amphitheater

09-19 New York, NY – Madison Square Garden

09-20 New York, NY – Madison Square Garden

09-21 Philadelphia, PA – The Mann Center

09-23 Chicago, IL – The Salt Shed

09-24 Minneapolis, MN – Armory

09-26 Denver, CO – Mission Ballroom

09-27 Denver, CO – Mission Ballroom

09-28 Denver, CO – Mission Ballroom

09-30 Austin, TX – Germania Insurance Amphitheater 

10-01 Grand Prairie, TX – Texas Trust CU Theatre 

10-03 Phoenix, AZ – Arizona Financial Theatre

10-04 Las Vegas, NV – The Theater at Virgin Hotels

10-06 Seattle, WA – Climate Pledge Arena

10-07 Seattle, WA – Climate Pledge Arena

10-09 Berkeley, CA – Greek Theatre – UC Berkeley

10-10 Berkeley, CA – Greek Theatre – UC Berkeley

10-11 Berkeley, CA – Greek Theatre – UC Berkeley

10-13 Los Angeles, CA – Hollywood Bowl

10-14 Santa Barbara, CA – Santa Barbara Bowl

10-15 Los Angeles, CA – Hollywood Bowl

10-16 Los Angeles, CA – Hollywood Bowl 

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Review: The Postal Service, Death Cab for Cutie turn back the clock in Seattle

The triangular Ben Gibbard-shaped silhouette feverishly rocked and swayed as a wave of guitar distortion slowly grew in force. The Death Cab for Cutie frontman and his mates were only faintly visible on the giant low-lit stage, but it was impossible not to see and feel Gibbard’s adrenaline mounting as the band launched into “The New Year” in front of a virtually sold-out Climate Pledge Arena — a big stage, even by Death Cab standards — on Friday.

The track is one of the Seattle indie rock greats’ most explosive songs and the ready-to-blow crowd reciprocated as the blustery rocker came crashing in with those swelling guitars and Nick Harmer’s stabbing bass lines.

Conveniently, the fuse-lighting fan favorite is the opening track off Death Cab’s seminal “Transatlanticism,” which the band is playing in full on its current tour with another Gibbard-led band, The Postal Service. The co-headlining run marks the 20th anniversary of “Transatlanticism” and The Postal Service’s lone record “Give Up” — two era-defining indie rock albums, for Seattle and the genre more broadly.

For fans of a certain age, the album anniversary tour has become commonplace, both a crowd-winning serving of nostalgia and a savvy marketing move. The strong response to the Gibbardpalooza tour even surprised the man himself, who didn’t expect to play two nights at the hometown arena Death Cab helped christen in 2021. There isn’t a babysitter in Seattle with the weekend off, as another millennial-heavy crowd is expected to pack Climate Pledge for the second show on Saturday, exactly 20 years to the date since “Transatlanticism” was released on Seattle’s Barsuk Records.

But Friday night wasn’t just another stop on a ticket-selling anniversary run.

“Seattle, oh my God, we’re so [expletive] happy to see you guys,” Gibbard exclaimed before another fan favorite, “Title and Registration.”

Really, he didn’t need to say anything. His body language made it clearer than a translucent vinyl record. Gibbard, as pensive and eloquent a songwriter as his generation’s produced, isn’t necessarily thought of as a dive-headfirst-into-the-drum-set sort of rocker. But early on, the amped-up frontman furiously paced and stomped around the outsized stage like he could smash his guitar at any second, even during the delicate “Title and Registration.”

Unlike The Postal Service, Gibbard’s one-off collaboration with electronic producer Jimmy Tamborello that played a reunion run a decade ago, Death Cab has steadily toured and recorded over the past 25 years. With a number of songs off “Transatlanticism” — Death Cab’s commercial breakthrough that officially made the band indie-famous — ingrained in its set lists over the years, it was the deeper cuts, like acoustic closer “A Lack of Color” that made for the most memorable moments.

As the album’s title track, a set-list staple that’s one of the band’s more subtly dramatic numbers, segued seamlessly into the less common “Passenger Seat” (just as it does on the album), the crowd seemed to savor the moment. The audience, one of the most attentive and engaged that arena’s ever seen, was frequently pindrop-quiet when songs like the stripped-down piano ballad — performed by Gibbard and multi-instrumentalist Zac Rae — called for it.

Between Gibbard’s upshifting falsetto on the back half and the crowd’s perfect response, concisely howling with appreciation during Gibbard’s first few vocal pauses, it was as bone-chilling as a Seattle January.

As intimately as Seattle has come to know Death Cab and Gibbard — the Capitol Hill OG seen around town stumping for the Showbox or catching Treepeople at the Croc — over the years, it was almost a little strange (in a good way) to see their faces blown up on the arena’s big screens. No doubt a major reason the co-headlining run is drawing crowds so large is the opportunity to see The Postal Service for the first time since Gibbard, Tamborello and singer-songwriter Jenny Lewis reunited for a 10th anniversary run in 2013.

Released on Sub Pop eight months before “Transatlanticism,” “Give Up” became a certified indie smash — the second highest selling album in the homegrown label’s esteemed history, trailing only Nirvana’s “Bleach.” That’s some serious company, and appropriate considering that the two landmark albums helped ensure that Seattle and the Pacific Northwest would play a prominent role in the indie-rock boom of the 2000s, after the grunge era’s sunset.

“There started to bubble up this, I would like to think unpretentious, but very literate, emotive, earnest music that was coming from the Northwest,” Gibbard said in an interview before the shows, referencing bands like Modest Mouse and Portland’s The Shins and The Decemberists. He continued: “These weren’t, like, cool records. People weren’t writing about them as if they were cool, because I think that earnestness is often uncomfortable for some people.”

There’s a high degree of humility in those words, as the critical consensus on the well-aged indie classics (and those PNW bands collectively) has certainly been favorable over time. And when the just-enough stage and arena lights brightened to illuminate the packed-out upper levels during The Postal Service’s set, it was a clear testament to the staying power of two records Gibbard wrote in an attic apartment on Mercer Street 20-some years ago.

After a brief intermission, The Postal Service — dressed in all white and bolstered by Dave Depper and pop-ins from drummer Jason McGerr, both of Death Cab — took the stage with the humming synths that open one of the band’s more recognizable tunes, “The District Sleeps Alone Tonight.” As the clacking electronic beats swept in and Lewis’ airy backing vocals signaled the crew was ready for liftoff, the crowd erupted in response.

Even with all the glitchy, bleeping electro notes twirling about, there’s a stillness at the center of “The District” and so many Postal Service songs that make them feel like standing in the middle of an 8-bit snow globe.

While hardly uncommon today, The Postal Service’s melding of indie rock and electronic music was still a novel concept back in the early 2000s. What sets the band apart even to this day is the synergy between Tamborello’s warm tones and Gibbard’s poetic heart-on-sleeve lyricism, delivered with a gentle breeze. It’s a wonder how well-worn the songs felt, even back then, considering the long-distance collaboration between Gibbard and Tamborello that had the two snail-mailing each other demo CDs (hence the band name). That tender harmony was on full display with songs like “Sleeping In” and a slow-drifting “Recycled Air.”

As well-received as Death Cab’s brisk run through “Transatlanticism” was, prompting a standing ovation, the crowd was even giddier for the once-in-a-decade chance to see The Postal Service. The rarity of the performance and more danceable fare made the reunited act the de facto headliner of what’s technically a co-headlining tour, all told roughly a two-hour show, including the intermission.

For a special Seattle treat, The Postal Service was joined by local singer-songwriter Jen Wood to sing her buzzing and buoyant duet with Gibbard on “Nothing Better,” a gleeful rendition that put a whimsical spin on a love denied.

While Lewis, a prominent indie rock singer-songwriter in her own right, is a little underused in The Postal Service, she received a larger share of the spotlight during the encore, joining Gibbard for a second, acoustic-only pass through “Such Great Heights.” The penultimate duet — mimicking an indie-folk version fellow Sub Pop vets Iron & Wine recorded years ago — set up a walk-off cover of Depeche Mode’s “Enjoy the Silence,” featuring the rest of the Death Cab crew.

Dedicating the endearingly lo-fi “Brand New Colony” to the hometown a few minutes earlier, Gibbard harked back to the songs’ attic-apartment origins, sounding a little astonished to be playing them on the Climate Pledge Arena stage two decades later. “I never in a million [expletive] years would have ever thought that you guys would have been here tonight. So Seattle, this song is for you.”

As successful as the anniversary run has been, perhaps we’ll see ’em in another 10.

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The Postal Service & Death Cab For Cutie: Give Up & Transatlanticism

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The postal service on october 17, 2023.

Give Up 20th Anniversary Tour

Hollywood Bowl, Los Angeles, California

Death Cab for Cutie’s setlist spanned nine albums and over 22 years for an intimate show in Charlotte

January 31, 2023

A Sunday night didn’t stop folks from piling into Ovens Auditorium to see Washington indie rock band, Death Cab for Cutie. The Asphalt Meadows tour, named for the band’s latest album, came to the Queen City on its third stop in the new year, after visits to Raleigh and Asheville during the first leg in October. 

Los Angeles rock band Momma opened the show. They started their set with “Rip Off,” the first song off their 2022 album Household Name . The duo, consisting of Etta Friedman and Allegra Weingarten, continued showcasing their ‘90s grunge-style vocals and catchy guitar riffs, alternating lead vocals for their 30-minute set before exiting the stage. 

Crew members quickly turned over the stage and the house lights dimmed for a prompt 9:00 p.m. start time for Death Cab for Cutie. Red and blue ambient lights took over with the calm opening lines of “I Don’t Know How I Survive,” from their latest album. Frontman Ben Gibbard began with the softer vocals before leading into the thunderous chorus donning his usual striped shirt and black jeans. They followed with “Roman Candles,” another track off Asphalt Meadows . 

If there’s one thing Death Cab for Cutie has learned over 20 years of touring, it’s how to work a crowd. For “Soul Meets Body,” Gibbard had the crowd chant the “ba-da-ba-da ba-ba” that acts as the first chorus. Fans also sang along to some of their most recognizable songs, including “Cath…,” “I Will Follow You Into the Dark,” and “You Are a Tourist.” For the high-tempo hits like “Crooked Teeth,” Gibbard skipped between both sides of the stage to play alongside bassist Nick Harmer and guitarist/keyboardist Dave Depper. 

Every song during the show was paired with a unique light sequence. “Northern Lights,” had a colorful wash of lights covering the stage. Red lights appeared during “I Will Possess Your Heart,” matching the tension of the four-minute bass-heavy intro to the song. A single spotlight drew focus from the baseline to the increasing volume of Gibbard playing the piano. 

Death Cab for Cutie ended their set with “Foxglove Through the Clearcut,” from Asphalt Meadows . The low-fi rock sounds resonated through the swaying crowd before each member left the stage one by one. It was a quick pause before the encore. The band picked up right where they left off, playing “Pepper,” the following track off Asphalt Meadows . 

Death Cab’s setlist spanned nine albums and over 22 years. The oldest song came during the encore, after Gibbard joked, “People always ask us to play our old stuff. This is for them.” He then started “405” off their second studio album, We Have the Facts and We’re Voting Yes (2000). 

Soft blue and green lights filled up the auditorium as Gibbard made his way to the piano. The serenity that took over the room could only mean one thing:“Transatlanticism.” The crowd’s cheers turned silent for the eight-minute song as the band gently played through the end of the show. The stillness that overtook the auditorium broke and the audience erupted in applause.

Later this year, Death Cab for Cutie will be joined by The Postal Service on tour. The Postal Service, a project consisting of Ben Gibbard, singer-songwriter and musician Jenny Lewis and producer Jimmy Tamborello, will play their album Give Up in its entirety, while Death Cab will be doing the same with Transatlantiscm . Both albums are celebrating their 20th anniversaries this year. 

“I Don’t Know How I Survive” “Roman Candles” “The New Year” “Cath…” “A Movie Script Ending” “Here to Forever” “Black Sun” “Northern Lights” “I Miss Strangers” “Crooked Teeth” “Rand McNally” “I Will Follow You Into the Dark” “I Will Possess Your Heart” “Your Heart Is an Empty Room” “Asphalt Meadows” “You Are a Tourist” “The Ghosts of Beverly Drive” “Soul Meets Body” “Foxglove Through the Clearcut”

“Pepper” “405” “Marching Bands of Manhattan” “Transatlanticism”

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In this article

• Asphalt Meadows
• Asphalt Meadows Tour
• Ben Gibbard
• death cab for cutie
• ovens auditorium
• The Postal Service
• Transatlantiscm

DETHKLOK 2024 tour kickoff: see brutal setlist and video

Pick up Revolver's Dethklok special collector's edition magazine over at our shop .

Last night (April 7th) at Myrtle Beach, South Carolina's House of Blues, Brendon Small triumphantly brought Dethklok — the real-life version of the cartoon Metalocalypse band — back to the stage for the first date of their "Mutilation on a Spring Night" tour.

Marking the first Dethklok set since the fall of 2023, the latest leg found the most brutal band in the world dipping into the comedic death-metal carnage of their deep catalog — from the requisite, introductory "Deththeme" and original Dethalbum classics like "Murmaider" and "Thunderhorse," up to more recent Dethalbum IV rippers like "SOS" and "Mutilation on a Saturday Night."

You can see fan-shot footage from the show up above.

The show also featured animated support sets from shred-happy power-metal vets Dragonforce , and green-masked metal oddballs Nekrogoblikon .

Check out Dethklok's full setlist below, courtesy of  Setlist.fm . The Mutilation on a Spring Night tour rolls for another few weeks, culminating in a finale at Portland, Oregon's Roseland Theater on May 3rd.

Dethklok setlist, 4/7/24: Deththeme Briefcase Full of Guts Birthday Dethday Mutilation on a Saturday Night Bloodlines Awaken The Gears Castratikron Hatredcopter Dethsupport Duncan Hills Coffee Jingle Aortic Desecration I Ejaculate Fire The Duel Murmaider Thunderhorse Fansong SOS Go Into the Water

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Hear KITTIE embrace nu-metal roots on new anthem "We Are Shadows"

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• April 12, 2024 Setlist

Sepultura Setlist at Centro de Convenciones Vasco Nuñez de Balboa, Panama City, Panama

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Sepultura Gig Timeline

• Mar 22 2024 Live Curitiba Curitiba, Brazil Start time: 10:00 PM 10:00 PM
• Mar 23 2024 Arena Opus São José, Brazil Start time: 9:15 PM 9:15 PM
• Apr 12 2024 Centro de Convenciones Vasco Nuñez de Balboa This Setlist Panama City, Panama Add time Add time
• Apr 13 2024 Pepper Club San José, Costa Rica Add time Add time
• Apr 14 2024 Calle 13 Bar Bogota, Colombia Add time Add time

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