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Death cab for cutie.

Here Is Death Cab For Cutie’s ‘Transatlanticism 20th Anniversary Tour’ Setlist

This year marks a big one for Death Cab For Cutie . In 2003, the band released their fourth studio album, Transatlanticism , which proved to be a breakthrough album for them. Two decades after the fact, Death Cab has embarked on a special tour commemorating this special album.

The tour kicked off last night (September 5) at The Anthem in Washington DC, where Death Cab performed the album in its entirety (per setlist.fm ). Later in the night, Death Cab’s lead vocalist Ben Gibbard performed as his side project, The Postal Service , in a special commemorative concert for the Give Up album, which was also released in 2003.

The tour for both albums will continue throughout the United States into October.

You can see the setlist for Death Cab For Cutie’s set, as well as the remaining tour dates below.

1. “The New Year” 2. “Lightness” 3. “Title And Registration” 4. “Expo ’86” 5. “The Sound Of Settling” 6. “Tiny Vessels” 7. “Transatlaticism” 8. “Passenger Seat” 9. “Death Of An Interior Decorator” 10. “We Looked Like Giants” 11. “A Lack Of Color”

09/08/2023 — Portland, ME @ Cross Insurance Arena 09/09/2023 — Kingston, RI @ The Ryan Center 09/10/2023 — New Haven, CT @ Westville Music Bowl 09/12/2023 — Boston, MA @ MGM Music Hall At Fenway 09/13/2023 — Boston, MA @ MGM Music Hall At Fenway 09/14/2023 — Washington, DC @ Merriweather Post Pavilion 09/17/2023 — Detroit, MI @ Meadow Brook Amphitheater 09/19/2023 — New York, NY @ Madison Square Garden 09/20/2023 — New York, NY @ Madison Square Garden 09/21/2023 — Philadelphia, PA @ The Mann Center 09/24/2023 — Minneapolis, MN @ The Armory 09/26/2023 — Denver, CO @ Mission Ballroom 09/27/2023 — Denver, CO @ Mission Ballroom 10/03/2023 — Phoenix, AZ @ Arizona Financial Theatre 10/04/2023 — Las Vegas, NV @ The Theater At Virgin Hotels 10/06/2023 — Seattle, WA @ Climate Pledge Arena 10/07/2023 — Seattle, WA @ Climate Pledge Arena 10/09/2023 — Berkeley, CA @ Greek Theatre 10/10/2023 — Berkeley, CA @ Greek Theatre 10/11/2023 — Berkeley, CA @ Greek Theatre 10/13/2023 — Los Angeles, CA @ Hollywood Bowl 10/15/2023 — Los Angeles, CA @ Hollywood Bowl

Death Cab For Cutie is a Warner Music artist. .

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: 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 opinions expressed in reader comments are those of the author only and do not reflect the opinions of The Seattle Times.

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Photos: Death Cab for Cutie and the Postal Service perform at Ameris Bank Amphitheatre

The indie rockers played Alpharetta on April 23

Photograph by Perry Julien

Singer and guitarist Ben Gibbard brought his two musical projects, Death Cab For Cutie and the Postal Service, to Alpharetta’s Ameris Bank Amphitheatre on Tuesday evening. Each band was celebrating the 20th anniversary of their respective iconic albums, Transatlanticism for Death Cab and Give Up , the Postal Service’s only album. Death Cab played first, dressed in all black to perform Transatlanticism in its entity, and after a 15 minute break, the Postal Service came out dressed in all white, with keyboardist and vocalist Jenny Lewis joining the crew to perform Give Up in full. Here, check out the scenes photographer Perry Julien captured at the show.

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

Chaifetz Arena Parking - The Postal Service & Death Cab for Cutie

Chaifetz arena | st. louis, mo.

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Give Up 20th Anniversary Tour

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Scorpions Setlist at Luzhniki Stadium, Moscow, Russia

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• Blackout Play Video
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• Song of the Volga Boatmen ( [traditional]  cover) ( Russian folk song ) Play Video
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13 activities (last edit by MockingbirdST , 7 Feb 2022, 04:36 Etc/UTC )

Songs on Albums

• Bad Boys Running Wild
• Big City Nights
• Rock You Like a Hurricane
• Still Loving You
• No One Like You
• Rhythm of Love
• Song of the Volga Boatmen by [traditional]

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