Show Review // Death Cab for Cutie / The Postal Service

It was a good night for nostalgia and some new music at the MGM Music Hall at Fenway in Boston on September 12th when Death Cab for Cutie and The Postal Service played the new venue to a reluctantly aging emo crowd. Death Cab for Cutie and The Postal Service each played entire albums which turned 20 this year, Transatlanticism and Give Up. 2003 was a big year for Ben Gibbard—the frontman for both bands. He was in fine form Tuesday night doing his “Ben Gibbard Shuffle” wherein he tucks his elbows behind the guitar he’s holding and awkwardly hops from foot to foot in time with the music, full of nervous energy. He put it all out there for the duration of the show, resulting in masterful performances from the two bands.

Lauren Mayberry of CHVRCHES fame opened with songs that are from her new solo album including a great cover of Madonna’s Like a Prayer. She was very energetic when the songs called for it and wrapped up the set with a real banger. Her voice was as distinct as ever; strong, bright, clear, and divine. She always has the best banter, and this night was no exception with gems like “that’s probably the most depressing song in the set…it’s too fucking sad” after a low-key song and saying she feels guilty for playing a set of songs that no one has heard before. Her set teased her upcoming album, but for now, listeners will have to settle for listening to her new single, Are You Awake on streaming.

Death Cab for Cutie played the entirety of Transatlanticism for a crowd that couldn’t get enough. The audience sang along to nearly every song and gave a standing ovation the moment the last notes were heard from the album. The stage design was segmented into 3 horizontal sections demarked by 3 strips of light that changed colors creating 2 tiers of musicians. The band wore all black for the set. There was a drummer, a bass player, someone on acoustic and electric guitar, someone on synth/keyboard, and Ben Gibbard on guitar and singing. It made for a classic emo sound, just as good as the studio version—if not better because of the energy the band brought. At the end of the set Gibbard announced he would be back in 15 minutes, and he was–with The Postal Service!

The Postal Service came out wearing all white. Gibbard had even switched the sweat band on his wrist for a white one and even the guitar cables had been switched for white ones. They performed their only album Give Up with vigor. The horizontal lights were still there, and the crew added vertical color-changing lights that extended to the top of the stage and gave the set the feeling of a cathedral. Jenny Lewis was on guitar and keyboard, singing backup vocals and lead on the duet Never Better. There were 2 other band members on synths and keyboards. Gibbard doubled up and played drums while singing on 3 of the songs until the drummer from Death Cab for Cutie relieved him of drumming duties for the final songs. There wasn’t a lot of banter throughout the evening, other than minimal pleasantries–but there were plenty of delightfully crisp transitions between songs.

Death Cab for Cutie and The Postal Service were both note-perfect playing their well-loved songs. It appeared they were all enjoying playing with one another even after all these years, even more so when the remainder of Death Cab for Cutie joined The Postal Service during their encore where they all enthusiastically performed Enjoy the Silence by Depeche Mode. Both bands received well-deserved standing ovations at the end of their performances. Gibbard thanked the audience at the end by saying “Thank you guys for coming tonight, this has been a real treat.” It was just as much a treat for the audience as it was for the musicians, a night no one will soon forget.