death cab for cutie postal service tour setlist

Here Is The Postal Service’s ‘Give Up 20th Anniversary Tour’ Setlist

Last night at Washington DC’s The Anthem, The Postal Service made their grand return for their first concert performance since 2013. The reunion tour finds the group celebrating the 20th anniversary of their 2003 album, Give Up .

Given that Ben Gibbard is also part of The Postal Service, the tour is also a joint run with Death Cab For Cutie — giving tribute to their other album from that same year, Transatlanticism .

“I know for a fact I will never have a year again like 2003,” Gibbard previously said. “The Postal Service record came out, Transatlanticism came out. These two records will be on my tombstone, and I’m totally fine with that. I’ve never had a more creatively inspired year.”

For fans who are planning to catch the stacked tour at one of the upcoming stops, as the two bands are set to play in Boston, NYC, and other North American cities, you might be wondering what songs The Postal Service will be playing.

Thankfully, we have you covered. Continue scrolling for their opening night setlist, according to setlist.fm .

1. “The District Sleeps Alone Tonight” 2. “Such Great Heights” 3. “Sleeping In” 4. “Nothing Better” 5. “Recycled Air” 6. “Clark Gable” 7. “We Will Become Silhouettes” 8. “This Place Is A Prison” 9. “Brand New Colony” 10. “Natural Anthem” 11. “Such Great Heights” (Ben & Jenny only, Ben on acoustic guitar) 12. “Enjoy the Silence” (Depeche Mode cover) (with Death Cab For Cutie)

Some artists covered here are Warner Music artists. .

Inside Death Cab For Cutie and The Postal Service’s anniversary tour: “It’s been more informative than nostalgic”

Ben Gibbard tells NME about the experience and what’s next for both bands, as the ‘Transatlanticism’ and ‘Give Up’ 20th anniversary tour gears up for a landmark London show at All Points East

Death Cab For Cutie and The Postal Service frontman Ben Gibbard has spoken to NME about the joint 20th anniversary celebrations for ‘Transatlanticism’ and ‘Give Up’ – which hit UK shores this week – as well as the future of both bands.

Playing both seminal albums in full across back-to-back sets, Death Cab and The Postal Service will headline London’s All Points East Festival on Sunday (August 25), alongside dates in Cardiff, Glasgow and mainland Europe . After extensive celebrations across the US, these gigs will mark the conclusion of the highly-anticipated anniversary tour, and the second reunion of The Postal Service, who haven’t released any music since 2003’s ‘Give Up.’

“Once we got going, it was like riding a bike”, exclaimed Gibbard, who told NME how old Postal Service keyboard sounds had to be rebuilt from scratch. “Death Cab being an active band, all that material from ‘Transatlanticism’ has been peppered through our sets for 20 years, but getting the Postal Service machine up and running took a fair amount of work in the front end.”

“I’ve never really had a gauge on what ‘Give Up’ and ‘Transatlanticism’ mean to the greater public, specifically in the UK”, he explained, with All Points East set to mark either band’s biggest ever UK show.

“In 2003, you guys [were] freaking out about The Strokes , The White Stripes , Interpol , Yeah Yeah Yeahs – fucking great bands, right? If you’ve heard [Death Cab’s] music, you know we don’t really slot in with that. We never really found a cultural lane in the UK until the last five to 10 years.”

Read our full interview below, where Gibbard also spoke to NME about the anniversary celebrations, plans for Death Cab’s 11th album and if the tour has changed his stance on a second album from The Postal Service.

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NME: Hello Ben. You’ve brought The Postal Service back for a second time, how does it compare to the 2013 reunion?

Ben Gibbard : “This time, it has felt even more pronounced. There are assuredly people who were too young to see the 2013 shows, who are seeing The Postal Service for the very first time. Looking at the audiences – of course, younger people tend to be in the front – there’s some people in the front row singing along, who were 100 per cent not alive when this record came out. The snowballing enthusiasm around these different people who formed a relationship with ‘Give Up’ has made these shows utterly bananas.”

Was there a moment, in or around 2003, where you’d realised you’d made two records that would stand the test of time in ‘Give Up’ and ‘Transatlanticism?’

“I don’t know if there was a point, certainly not that early. ‘Give Up’ was becoming a cultural phenomenon, in the sense that there was no band. There were no shows, interviews or TV appearances – the records were just selling like crazy… without any work on our behalf, other than having made the album. With hindsight, I think it was definitely a function of the early internet, word-of-mouth buzz. This cultural shift was happening, where indie rock was going from people’s secret music to a more mainstream style of music. Riding that wave was exciting, and terrifying at times.”

Has the tour impacted the way you feel about either of those albums?

“It’s been really illuminating. It’s making me reassess some of the choices that I’m currently making, musically. Not so much that I want to remake ‘Transatlanticism’, or ‘Give Up’, for that matter. Sometimes, as an artist, you’re moving forward at such [pace] that one can lose sight of what one does best. It’s not so much that I want to recreate the past, I want to make sure that I’m checking in with myself more often, creatively. The best career artists are the ones who know what lane they’re in, and their diversions still bring them back to that path, over the course of an album or a song. It’s been more informative than nostalgic.”

You touched on the organic growth of The Postal Service. In an age where artists are expected to constantly churn out music, what is the beauty, for you, in leaving something untouched for 20 years?

“I’m in a band that has been actively making music for 27 years, and I’m also the partial author of a one-and-done cult record. As a member of Death Cab, I have been living with the critiques that come with being a career artist, where people [ask], ‘Why can’t you make a record like ‘Transatlanticism’ or ‘Plans’ again?’

“Then I also have… let’s call it ‘the Neutral Milk Hotel perspective’ – I know they have a couple of records, but for argument’s sake. You put out this record, it becomes this cultural phenomenon, and you leave people in that place where they can dream on what a follow-up might have sounded like, but there will always be unfulfilled potential. But they have that one record. For me, it’s been really fun to have my cake and eat it too, where I can also be in the messy band [Death Cab]: we made a bad record, but then we made a good record.”

We know you’ve had a firm stance on this matter for two decades, but has the tour inspired a newfound desire to write new music for The Postal Service?

“I think the main reason that a second Postal Service record has never come to fruition – and will never come to fruition – the time commitments that Death Cab ended up taking, which really started with ‘Transatlanticism’, haven’t really ever let up. There’s just not enough time, let alone creative juices flowing, to make a suitable follow-up [to ‘Give Up’]. I think anything that we would attempt to make at this point would be thoroughly disappointing.

“The stakes are just lower [in Death Cab] when you’re putting an album out every two to three years. If people don’t like this one, there’ll be another one later. But after 20 years, there is no way we could ever follow that up in a way that would be satisfying to people. I would rather have all my focus on Death Cab than be watering both projects down. I just don’t have the capacity to do both. Some might argue I barely have the capacity to do one!”

Speaking of Death Cab, it’s been two years since the acclaimed ‘ Asphalt Meadows ‘. Have you turned your attention to album 11 yet?

“The band has been writing intermittently, over the last couple of years. I can’t — nor would I – give you a release date for a new record, but I think we’re going to take time off from touring and being in the limelight. We have asked our fans for a lot over the last two years. Speaking merely strategically, it is very much in our best interest to get the fuck out of people’s faces! We’re from an era where artists went away for a while, into the woodshed…”

How are you feeling ahead of All Points East – your biggest ever show in the UK?

“I’m cautiously optimistic. There are some old homies of ours [on the line-up ] — The Decemberists , Sleater-Kinney . That’s a lot of Americans showing up in London, we’ll see how this goes…

“There’s obviously a long-utilised playbook of a US band going over to the UK before their first record comes out, and starting to develop that buzz. We never did that, we didn’t play a show in London until our third album. By that point, we might as well have been 75 years old compared to the speed at which things move through the culture there! Although, we’ve certainly been embraced by people in the UK. I’m not going to play the underdog card.”

Death Cab For Cutie and The Postal Service headline All Points East on August 25, respectively playing ‘Transatlanticism’ and ‘Give Up’ in full. Check out their full tour dates below and visit here for tickets and more information.

AUGUST 23 – OVO Hydro, Glasgow 24 – Utilita Arena, Cardiff 25 – All Points East Festival, London 27 – Poble Espanyol, Barcelona 29 – KALORAMA, Madrid 30 – MEO Kalorama, Lisbon SEPTEMBER 21 – HSFstival, Washington D.C.

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• Death Cab for Cutie
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Transatlanticism 20th Anniversary Tour

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The Death Cab/Postal Service Tour Is Peak Millennial Nostalgia, in the Best Way

Ben Gibbard , thank god, is self-aware. “I know for a fact I will never have a year again like 2003,” he said in a press release announcing this fall’s double twentieth anniversary tour celebrating Death Cab for Cutie ’s Transatlanticism and the Postal Service ’s Give Up . “...These two records will be on my tombstone, and I’m totally fine with that. I’ve never had a more creatively inspired year.”

Few musicians have released two culture-shifting records in the span of a single year, and even less have done it with two different musical outfits. And while it may seem like a gauntlet to play every night, for 30+ shows, Gibbard said in a recent interview that for him, performing two 45-minute albums back to back, with a brief intermission to swap bands and outfits, is roughly the same workload as a typical two-hour Death Cab for Cutie concert. Maybe there’s a touch of pride as well: “I felt [that] because I found myself in this unique position to even attempt this, it would be foolish not to do it.”

Back in 2003, Death Cab for Cutie was Gibbard’s main band and the Postal Service was his side project, the latter coming about through traded tracks with producer Jimmy Tamborello (aka Dntel ) sent via snail mail. Eventually Jenny Lewis , then of Rilo Kiley, joined in, providing gorgeous vocal tension for Gibbard on Give Up , the first and only Postal Service LP. They were barely a band in a traditional sense—they played just one tour, in 2003—but it hardly mattered: commercially speaking, the platinum-selling Give Up eclipsed anything Death Cab ever released. Which was impressive in its own right: Transatlanticism went Gold, became Seth Cohen’s entire personality on The O.C. , and remains a touchstone for fans of introspective, emo-tinged indie rock. But Give Up was a force of nature among young millennials, with its glowing-orb synths and chintzy-feeling drum machines, its soft-focus masculinity and doomed romance, and its massive hooks that launched a thousand late-2000s/early 2010s vocal-electronic indie acts .

When the Postal Service returned a decade ago, to headline festivals and tour nationally, the nostalgia cycle for the early 2000s hadn’t yet commenced—it was mostly that no one had ever seen the trio live. Death Cab, on the other hand, was and is a touring workhorse; you could catch a song or two off Transatlanticism at any one of their many tours over the last 20 years. Bottling that moment in time now is smart, just as my generation is facing middle age and longing (even more) for the music of their youth.

On Tuesday night, at the first of two tour stops at Madison Square Garden, Transatlanticism opened the show, providing the initial pang of nostalgic catharsis. Death Cab, which has been performing without original guitarist-producer Chris Walla for nearly a decade, sounded heavy in the places needed to deliver that catharsis, like the overpowering crescendo of the title track. (Drummer Jason McGerr brought a brooding power to these songs.) In the few bright spots on a classic record about the bummerdom of long distance relationships, like “The Sound of Settling,” the quartet really kicked up the energy; Gibbard seemed like he might sustain physical damage with how forcefully he was jangling his arm at his guitar.

I saw the Transatlanticism tour as a teenager, dragged my dad to it in fact (he made me leave early), and I don’t remember Gibbard having anywhere near this much goofy charisma. (A coworker who saw both Death Cab and the Postal Service live in 2003 felt the same way.) Gibbard is now an avid runner , and it’s hard to not think of that when he’s so light on his feet onstage, moving spryly along to the moody grooves where he used to spend most of his time on stage flipping his bangs out of his face. When he took the front part of the stage alone to sing Transatlanticism ’s saddest ballad, “Passenger Seat,” he came across like a tender-hearted crooner, an indie-rock game Chris Isaak. When he sang lines like, “When you need directions/Then I’ll be the guide/For all time,” fans screamed out their devotion in return. On bended knee, a visibly moved Gibbard blew kisses to the crowd at the end of the song. He seemed at peace with the angsty masterpiece he made as a young man, and the role it’s played in the lives of listeners who are now adults themselves.

Of course, not everyone was singing each over-articulated verse of “Tiny Vessels” quietly to herself. Most people throughout the seated areas of the arena spent the entire Transatlanticism set sitting down. But the floor was packed by the time the Postal Service took the stage around 10 p.m., people in the stands were finally on their feet, and Gibbard had switched out of an all-black outfit into a white one (the red mic cords, a nod to the Transatlanticism album cover, were also swapped), all meaning: It’s time for a little fun.

The Postal Service set had more energy, and it wasn’t just the crowd or the peppier nature of the songs. Gibbard, Lewis, Tamborello, and multi-instrumentalist Dave Depper turned MSG into an in-my-feelings dance party. Every fan I talked to before seeing the tour had commented on what a gift it is to see Jenny Lewis up there, and they weren’t wrong: she appeared to be having the time of her life, twirling around in a chic white dress, banging drums and shredding guitar, dueting adorably with Gibbard on “Nothing Better.” (“It’s kind of a boy-girl thing,” he cheekily commented before that track.) Unsurprisingly, the live versions of “The District Sleeps Alone” and “Such Great Heights” hit the hardest; these homespun little dance tracks felt like they had been written for arenas.

At a show where you know every turn of the setlist, an element of surprise is a gift. The encore consisted of “Such Great Heights” again, performed acoustically by Gibbard and Lewis in the folksy style of Iron & Wine’s cover, and both bands teaming up to go to town on Depeche Mode’s “Enjoy the Silence.” The last song’s for “the old heads,” Gibbard said, and the stage lights turned rainbow. It’s nice to dance to songs that made you cry in your youth, like a happy ending to a sad story.

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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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Death Cab For Cutie & Postal Service at All Points East 2024: set times, schedule and lineup

Ben Gibbard’s two legendary indie bands will be performing ‘Transatlanticism’ and ‘Give Up’ in full to close out All Points East 204

Can you believe it’s been over 20 years since the release of Death Cab For Cutie’s Transatlanticism and the Postal Service’s Get Up ? Us neither. Ben Gibbard’s two indie noughties classics came out back in 2003 – and now, just over two decades later, he’s celebrating both records by playing them in their entirety in a headline show at All Points East .

The Victoria Park fest’s 2024 edition has already seen stacked lineups headed up by Kaytranada , Loyle Carner , Mitski and LCD Soundsystem . Death Cab For Cutie and the Postal Service headline the final day of this year’s festival – and it’s set to be a mighty day for indie throwbacks. Also playing on Sunday (August 25) are the likes of Yo La Tengo, Phoenix, Sleater-Kinney, Teenage Fanclub and Gossip.

Off to APE this Bank Holiday Sunday? Here’s all the essential information you need to know, from the full schedule and stage splits to the weather forecast.

If you’re in Victoria Park over the next couple of weeks, look out for Time Out’s billboards dotted around Hackney. We’re getting word out about our brand-new East London Whatsapp channel – which you can follow here .  

RECOMMENDED: 🎸   The best music festivals in London . 🎤   The UK’s best music festivals .

Death Cab For Cutie and Postal Service are headlining All Points East 2024 on Sunday August 25. Gates open at 2pm, though ‘primary entry’ ticket holders can get in from 1pm.

You can find out all about timings (and bag policy) of All Points East 2024 here .

Set times, schedule and lineup

The headline set from Death Cab and Postal Service is scheduled to kick off at 8.15pm on the East Stage (All Points East’s main stage). So far on the tour, Death Cab and Transatlanticism have typically played before the Postal Service and Give Up .

The full schedule with timings and stage splits can be found below, though take ‘em with a pinch of salt: all info is taken from the All Points East app, so is subject to change.

• 2.15pm-2.40pm: Split the Dealer
• 3.05pm-3.35pm: Wednesday
• 4.05pm-4.40pm: Yo La Tengo
• 5.10pm-5.55pm: Sleater-Kinney
• 6.30pm-7.30pm: The Decemberists
• 8.15pm-10.25pm: The Postal Service and Death Cab For Cutie
• 2.30pm-2.55pm: Matt-Felix
• 3.20pm-4pm: LANY
• 4.30pm-5.10pm: Teenage Fanclub
• 5.45pm-6.30pm: Everything Everything
• 7.15pm-8.15pm: Phoenix

Cupra North Arena

• 2.35pm-3.05pm: Luvcat
• 3.30pm-4.10pm: Gustaf
• 4.40pm-5.20pm: The Lemon Twigs
• 5.50pm-6.35pm: Say She She
• 7.05pm-8.05pm: Gossip 

BBC Radio 6 Music Stage

• 2pm-3.25pm: DEADLETTER (DJ set)
• 3.25pm-4.25pm: Lambrini Girls (DJ set)
• 4.25pm-5.25pm: Nathan Shepherd (Good Future)
• 5.25pm-6.25pm: Los Bitchos (DJ set)
• 6.25pm-7.25pm: Self Esteem (DJ set)
• 7.25pm-8.25pm: Steve Lamacq

L’Oréal Paris Stage

• 3.35pm-4.05pm: Cucamaras
• 4.40pm-5.10pm: Bo Staloch
• 5.55pm-6.25pm: Soft Launch
• 7.45pm-8.15pm: Spiritual Cramp

Amex Unsigned Stage

• 3.05pm-3.30pm: Abz Winter
• 4.10pm-4.40pm: John-Robert
• 5.20pm-5.50pm: Daily J
• 6.25pm-7.05pm: Mehro

There’s some availability remaining for Death Cab For Cutie, Postal Service and the rest on the final day of All Points East 2024. General admission starts from £74.45, while VIP (including access to the Uber One VIP Garden) starts from £94.40. You can buy all tickets on the All Points East website here . 

Once you’re in the gates at APE 2024, there are other ways to upgrade your experience. If you’re an Uber One member, for instance, you’ll be able to ride free electric buggies between the East Stage and West Stage, thereby saving a bit of travel time between sets.

While Friday’s APE and Saturday’s Field Day are looking like they’ll have pretty patchy weather, that isn’t the case for Sunday. The day is currently predicted to enjoy no rain and quite a bit of sunshine, with temps between 15C and 20C. As with the entire bank holiday weekend, it’ll likely be quite windy. 

Check the most recent forecast on the Met Office here .

All Points East festival map in Victoria Park

According to AXS, this is the site map for APE 2024, showing the East, West and North (Cupra) stages – the L’Oréal Paris Stage is between the North and East stages. Pink shows the VIP garden, orange is the VIP pit.

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The Postal Service & Death Cab for Cutie at Moda Center

Moda center at the rose quarter, portland, oregon, the postal service & death cab for cutie, moda center at the rose quarter, tickets from $66.

Celebrating 20 years of their career-defining records "Give Up" and "Transatlanticism" respectively, The Postal Service and Death Cab for Cutie are set to rock the stage. Teaming up for a co-headlining double 20th-anniversary tour, the two bands are set to awaken the teenage rocker in everyone. Having kicked off the tour in 2023, the bands are extending the rockin' trek throughout 2024. Part of its extended run is a stop at Moda Center on Wednesday, May 15. Both albums have set industry-defining sonic attitudes in the world of new wave and rock. Gearing up to celebrate 20 years of shaping rock heads around the globe, it's definitely a show you can't miss. Get ready for a night of timeless hits and bangin' crowd favorites at their rockin' show. We bet you'll be singing out every single word! Don't miss out by booking your tickets now!

The Postal Service & Death Cab for Cutie Tickets from $66

Celebrating two milestones - the twentieth-year anniversary of two influential records for The Postal Service and Death Cab for Cutie, Ben Gibbard is on a roll, set to rock the stage. As 2023 marked 20 years of changing the game with "Give Up" and "Transatlanticism" - both shaping the sonic universe of new wave and rock, both bands are teaming up for a co-headlining tour. Originally set to stage celebrations throughout 2023, Gibbard just announced extended tour dates, stretching throughout 2024. As both records share their iconic attitudes, it's bound to be an unforgettable night.

The Postal Service has Jimmy Tamborello and Jenny Lewis on the team. They released "Give Up" back on February 18, 2003, with its certified-Gold single "Such Great Heights". It definitely soared to great heights as the album became a crowd favorite in the indie scene. It also featured other hits - "We Will Become Silhouettes", "The District Sleeps Alone Tonight", "Be Still My Heart", and "A Tattered Line of String", becoming staple favorites of early-2000s rock heads. The album kept rising and eventually became certified Platinum by the RIAA. Blending indie rock attitudes with new wave elements of synth-pop, it's a no-brainer that the record won everyone's hearts.

Gibbard's Death Cab for Cutie followed through with its own successful release - fourth LP "Transatlanticism". It marked their first mainstream breakthrough, debuting on the Billboard 200 chart. It also won itself a Gold certification from the RIAA. It featured the band's hit singles The New Year", "The Sound of Settling", and "Title and Registration". It isn't the band's most successful album, but it sure did pave the way for their amazing run and recognition in the indie-rock scene.

"I know for a fact I will never have a year again like 2003," Ben Gibbard shared. "The Postal Service record came out, Transatlanticism came out. These two records will be on my tombstone, and I’m totally fine with that. I’ve never had a more creatively inspired year."

Celebrating 20 years of industry-defining albums and 20 years of rockin' moments around the world, Ben Gibbard is stoked to keep "Give Up" and "Transatlanticism" on the road. Don't miss out by booking your tickets now!

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Moda Center at the Rose Quarter, Portland, Oregon, 97227, US

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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 and Death Cab For Cutie ‘grateful’ to close festival

A lternative rock bands The Postal Service and Death Cab for Cutie closed out All Points East with an emotional and electric set, celebrating the 20th anniversaries of their respective albums Give Up and Transatlanticism.

The American bands, both fronted by 48-year-old Ben Gibbard, played the albums in full to a 35,000-strong crowd in East London’s Victoria Park.

Death Cab for Cutie opened the headline slot with the track The New Year, as frontman Gibbard announced: “We are Death Cab for Cutie, we are from Seattle , Washington – this is Transatlanticism.”

The indie rock band, who wore all black outfits, moved through the album track by track with the crowd particularly enjoying upbeat hit The Sound of Settling and the more sombre Tiny Vessels.

The album Transatlanticism explores the sadder side of relationships, with lyrics about lost loves, fleeting loves and loves that are not meant to be.

During the title track, the crowd sang along to the refrain “I need you so much closer”, bringing a depth of emotion to the mid-point of Death Cab for Cutie’s section.

Gibbard dedicated the track We Looked Like Giants to Oregon-based band The Decemberists, who played the same stage earlier in the day, reflecting on the festival’s line up by saying it felt like a north-western USA “family reunion” backstage.

After a 45-minute set, which closed out with an acoustic version of A Lack of Color, The Postal Service took to the stage, launching into their set with the electronic-tinged The District Sleeps Alone Tonight.

We are so unbelievably grateful to all of you.

Gibbard returned with the rest of The Postal Service dressed in all white, and fans sang and danced along to Give Up’s opening track.

The second half of the headline slot brought more upbeat, electronic-influenced tracks, with an engaged crowd dancing throughout as Gibbard proved his skills as a frontman.

“Ladies and gentlemen, hes, shes and theys,” he said. “This is The Postal Service and we are proud to present to you our album Give Up”.

Vocalist Jenny Lewis , wearing a flowing white dress, is note perfect and her bandmate Gibbard labels her a “queen”. He performed on the drum kit for several tracks to the crowd’s delight.

The frontman recalled first playing London in 2003, at a venue he described as “some dump – don’t even remember what its name was”.

“We are so unbelievably f****** grateful to all of you,” he said to the crowd, who lapped up the final tracks into the encore, before the band huddled together in thanks before fans headed home.

Festival goers on the final day of 2024’s All Points East also enjoyed sets from American indie rock favourites Gossip, fronted by Beth Ditto, playing hits from their indie- and dance-infused rock back catalogue.

The Decemberists brought folk fun to the main East Stage, while French synth-pop group Phoenix made the West Stage into a dance party in the early evening.

Sleater-Kinney, Everything Everything, The Lemon Twigs and LANY also played throughout the day, which was blessed with sunshine as the East London festival drew to a close.

The August bank holiday weekend has seen the second weekend of the East London festival, where electronic rock band LCD Soundsystem headlined on Friday and Justice topped the bill on Saturday at Field Day, the electronic-focused festival day.

The previous weekend saw headline sets from Haitian-Canadian rapper Kaytranada, hip hop Londoner Loyle Carner and American singer-songwriter Mitski.

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The Postal Service & Death Cab for Cutie

Give up & transatlanticism 20th anniversary tour.

• Date May 7 , 2024
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The Postal Service & Death Cab for Cutie: Give Up & Transatlanticism 20th Anniversary Tour. To celebrate two decades of ‘Give Up’ and ‘Transatlanticism’, The Postal Service & Death Cab for Cutie have joined forces for an unprecedented 20th anniversary co-headline tour. Each night, Benjamin Gibbard, the co-founder of both bands, will pull double duty performing with The Postal Service – comprised of Gibbard, Jimmy Tamborello, and Jenny Lewis – as well as with Death Cab for Cutie (alongside Nick Harmer, Dave Depper, Zac Rae, and Jason McGerr). The extraordinary live run will see both iconic groups performing their seminal 2003 albums in full.

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16 August 2024 3:00 PM

The Postal Service and Death Cab For Cutie’s Ben Gibbard on the legacy of ‘Give Up’ and ‘Transatlanticism’

Ahead of the uk leg of the bands' 20th anniversary tour, gibbard discusses welcoming a new generation of fans and whether this tour really means the end for the postal service..

By Will Richards

Ben Gibbard has spoken to Rolling Stone UK about The Postal Service and Death Cab For Cutie ’s upcoming UK tour and celebrating the legacies of both acts.

Last year, the two bands began a tour of North America celebrating 20 years of The Postal Service’s sole studio album, Give Up , and Death Cab’s Transatlanticism , both released in 2003. This week, the tour will land in the UK for a short run of shows that ends with a massive London gig as part of All Points East.

In our interview, Gibbard discusses the legacy of the two albums, how Transatlanticism changed everything for Death Cab, welcoming a new generation of fans, and whether this tour really means the end for The Postal Service.

View this post on Instagram A post shared by The Postal Service (@postalservicemusic)

How did you find the US leg of the tour that began last year?

I felt confident that it would go well, but I didn’t have a sense of how overwhelmingly triumphant it would feel. When we put the American shows on sale, we had a Climate Pledge Arena [show] here in Seattle, and we had a Hollywood Bowl, and a Madison Square Garden. I felt confident that we would sell those out, but I was totally blown away that we’d be adding dates. That was just totally insane. I felt confident that it would go well, but it’s one thing to feel confident, it’s another thing to be out playing these shows and watching the crowds have the kind of responses that they ended up having.

The Postal Service last played together in 2013 – have you seen a new, younger generation of at these shows?

It’s tempered by the fact that young people tend to be up close at the shows, and people in my general age group tend to want to be in the back or want a seat! In the last 20 years of  being a music fan, how we discover, share and listen to music has changed because of the sheer fact that we are not required to purchase every album that we listen to. Younger generations have the ability to sift through all these things and find the things that they like. It seems clear that Give Up and Transatlanticism have fallen into that category.

You can also never underestimate the power of your parents’ record collection. Speaking for myself, I grew up in a household where The Beatles and AC/DC and The Cars and Devo were all on the time on the stereo. I grew to love those records. Those were quite literally the first records I fell in love with because I was exposed to them as a very young child.

Give Up marks an obvious and sole place in The Postal Service’s discography, but what did Transatlanticism do for Death Cab in 2003?

At the time that Give Up came out, Death Cab were what I thought was a fairly successful American indie rock band. We were selling 50,000 records and playing larger clubs to maybe 800 or 1000 people. We were touring in a van and living the dream, so to speak. We didn’t really consider that there would be anything bigger than this. Then Give Up came out and just became this strange musical cultural phenomenon where it was just selling and selling and selling. We weren’t doing anything or promoting it – it was a true word of mouth, early internet phenomenon.

When Transatlanticism came out, it was odd to be have this side project that was at the time – by the numbers – more successful than anything that Death Cab had done at that point. In the States in 2003, there was this inflection point, not dissimilar to 1991 What would traditionally be called college rock or indie started to become more mainstream. As has become part of the story, there was also this little television show that just came out of nowhere that started putting us in it all the time. We had a slightly complicated relationship with that at the time, but I think looking back on it, radio wasn’t playing Death Cab for Cutie at the time. MTV wasn’t playing our videos. I don’t think we even had a video! Looking back, we’re rather grateful for this strange cultural phenomenon that was beaming our band into kids’ living rooms on network television.

At All Points East, you’re playing with The Decemberists and Sleater-Kinney amongst others – did you have a kinship in the Pacific Northwest with those two bands?

Sleater-Kinney less so, because they were a little older than us. It sounds weird, but when you’re 25 and someone else is 35, that seems like a lot. The Decemberists were early friends of ours and are friends of ours to this day. Chris Walla [ex-Death Cab For Cutie guitarist] produced for them. I remember going to see The Decemberists in 2001 on the recommendation of a friend at this small club on Capitol Hill in Seattle, where I live. There were maybe 50 people there and I remember just being like, ‘Wow, holy shit. This guy’s a great fucking songwriter.’ It wasn’t so much having a sense of thinking this was going to be huge, but I was really blown away by the musicianship and the songwriting. We became allies in music.

I think when scenes are coalescing, or when people write about music scenes, there’s a lot of placing people in the same room who maybe were not actually in the same room, or actually associated with each other, and calling it a scene. There were never any manifestos about what we were trying to accomplish at the time or anything, but we definitely felt as if The Decemberists were a band that we shared a lot of DNA with, and certainly similar ethics.

Finally, are you assuming that this tour will mark the end of The Postal Service?

That would be the most logical conclusion to draw. I feel like I got in trouble… well no, I didn’t get in trouble – I’m a grown man – but there was some pushback when we announced these shows. [People were saying]: ‘You guys said on stage at the Metro in 2013 this was your last show!’ Like, yeah, people say a lot of things. I think that it’s always a never say never, and we’re all good friends, but we’re never making a second record, and at a certain point you need to at least telegraph to the world that we are shutting this thing down, most likely for good, but definitely for a very, very long time.

And it seems like doing that now is going out on a high…

Oh, absolutely. I really would have felt that if the 2013 tour was the last one then we would have accomplished what we set out to. When we toured Give Up in 2003 in the States, we were playing on average 250-capacity clubs. We played some kind of dump in London, which I had never heard of before and haven’t heard of since.

We’re not running a charity here, so I don’t want to give the impression that money is not a factor, but at the same time, I think we realise that there are a lot of people who have relationships with this record and for whom it means a lot. Giving the fans of Give Up one last opportunity to see these songs played live would obviously benefit us financially, but also be spiritually fulfilling for people who this album has meant so much to. It’s meant a lot to us too.

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The Postal Service and Death Cab For Cutie ‘grateful’ to close festival

Alternative rock bands The Postal Service and Death Cab for Cutie closed out All Points East with an emotional and electric set, celebrating the 20th anniversaries of their respective albums Give Up and Transatlanticism.

The American bands, both fronted by 48-year-old Ben Gibbard, played the albums in full to a 35,000-strong crowd in East London’s Victoria Park.

Death Cab for Cutie opened the headline slot with the track The New Year, as frontman Gibbard announced: “We are Death Cab for Cutie, we are from Seattle, Washington – this is Transatlanticism.”

View this post on Instagram A post shared by Uber One presents All Points East (@allpointseastuk)

The indie rock band, who wore all black outfits, moved through the album track by track with the crowd particularly enjoying upbeat hit The Sound of Settling and the more sombre Tiny Vessels.

The album Transatlanticism explores the sadder side of relationships, with lyrics about lost loves, fleeting loves and loves that are not meant to be.

During the title track, the crowd sang along to the refrain “I need you so much closer”, bringing a depth of emotion to the mid-point of Death Cab for Cutie’s section.

Gibbard dedicated the track We Looked Like Giants to Oregon-based band The Decemberists, who played the same stage earlier in the day, reflecting on the festival’s line up by saying it felt like a north-western USA “family reunion” backstage.

After a 45-minute set, which closed out with an acoustic version of A Lack of Color, The Postal Service took to the stage, launching into their set with the electronic-tinged The District Sleeps Alone Tonight.

Gibbard returned with the rest of The Postal Service dressed in all white, and fans sang and danced along to Give Up’s opening track.

The second half of the headline slot brought more upbeat, electronic-influenced tracks, with an engaged crowd dancing throughout as Gibbard proved his skills as a frontman.

“Ladies and gentlemen, hes, shes and theys,” he said. “This is The Postal Service and we are proud to present to you our album Give Up”.

Vocalist Jenny Lewis, wearing a flowing white dress, is note perfect and her bandmate Gibbard labels her a “queen”. He performed on the drum kit for several tracks to the crowd’s delight.

The frontman recalled first playing London in 2003, at a venue he described as “some dump – don’t even remember what its name was”.

“We are so unbelievably f****** grateful to all of you,” he said to the crowd, who lapped up the final tracks into the encore, before the band huddled together in thanks before fans headed home.

Festival goers on the final day of 2024’s All Points East also enjoyed sets from American indie rock favourites Gossip, fronted by Beth Ditto, playing hits from their indie- and dance-infused rock back catalogue.

The Decemberists brought folk fun to the main East Stage, while French synth-pop group Phoenix made the West Stage into a dance party in the early evening.

Sleater-Kinney, Everything Everything, The Lemon Twigs and LANY also played throughout the day, which was blessed with sunshine as the East London festival drew to a close.

The August bank holiday weekend has seen the second weekend of the East London festival, where electronic rock band LCD Soundsystem headlined on Friday and Justice topped the bill on Saturday at Field Day, the electronic-focused festival day.

The previous weekend saw headline sets from Haitian-Canadian rapper Kaytranada, hip hop Londoner Loyle Carner and American singer-songwriter Mitski.

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Green Day overcomes blunder, plays 'Dookie, 'American Idiot' at Milwaukee Brewers stadium

Consummate crowd-pleasing entertainer that he is, Billie Joe Armstrong came up with seven perfect words to tell a Milwaukee crowd at Green Day’s American Family Field concert Saturday.

”You guys are way louder than Chicago!” he proclaimed after the punk band played “Welcome to Paradise” six songs into the set.

A smooth move, for sure — although he nearly wiped out that goodwill with a big blunder six songs later — when he enthusiastically screamed “Madison!”

“Oh, right,” he quickly followed, his flabbergasted eyes signaling the gravity of his mistake. “We’re in (expletive) Milwaukee.”

I don’t think any fans paying attention took it personally — there wasn’t any booing — but Armstrong overcompensated with more geographic acknowledgements the rest of the night. He talked about enjoying a day off of the tour in town Friday — seeing the Bronze Fonz, eating cheese curds ( at Lakefront Brewery, perhaps ?) and taking a boat on Lake Michigan.

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He also swapped “Anaheim” for “Wisconsin” during “Jesus of Suburbia,” suggested the heroic protagonist of “She’s a Rebel” was from Milwaukee, and gave Visit Milwaukee a new tagline they can work with, proclaiming our city “the awesome sauce of the Midwest.”

But the main way Armstrong made good with Green Day’s Milwaukee fans was by giving them a good show, and a very generous one.

Celebrating the 30th anniversary of “Dookie” and the 20th anniversary of “American Idiot,” Armstrong, bassist Mike Dirnt, drummer Tré Cool and their three touring bandmates played both albums in their entirety — plus more, amounting to 37 songs over two hours and 20 minutes. (Although this seemingly was too generous for some. The warm venue started to thin out nearly an hour before the concert concluded.)

The band jumped into "Dookie" almost instantly, honoring the album's scrappiness, snark and breakneck pacing, playfully sprinting through "Burnout," "Having a Blast" and "Chump" before Dirnt's immortal bass grooves slowed things down for "Longview" — one of four undeniably catchy, career-best classics from that album that made punk rock broadly, and Green Day specifically, such mid-'90s sensations.

Aside from some of Armstrong's patented theatrics — like the cartoonish eyebrow lifts straight out of a Chaplin film ahead of "Basket Case" — Green Day didn't do anything drastic or dramatic revisiting the material. There was some inspired staging, like the cartoon nuclear bomb from the album art that appeared on stage partially as an inflatable, partially on a video screen, plus an inflatable airplane that dropped bombs onto the crowd for "Coming Clean" and "Emenius Sleepus."

The greatest recontextualizing was for "She," with a collage of women protesting on the stage's screens. "Dookie" is remembered for its cheeky subversiveness, but "She" feels just as poignant and timely in 2024, with Armstrong asking "are you feeling locked up in a world that's planned for you?" and visualizing an oppressed woman breaking free "to smash the silence with a brick of self-control."

On paper, the more ambitious, Grammy Album of the Year nominee "American Idiot," which revitalized the band 10 years later — and inspired a Broadway musical — would seem much more conducive to a stadium show. It certainly demonstrates more emotional depth, greater sweeping grandeur — and in 2004, potent commentary on political events of the time.

But that album's front-to-back treatment wasn't as electric as "Dookie's" Saturday. In terms of crowd momentum, it didn't help that it appeared later in the set, on a warm summer night, four hours after the night's first band took the stage.

"American Idiot," too, is frontloaded with some of the band's most rousing rockers and anthems — including the title track, "Holiday" and "Boulevard of Broken Dreams." Inevitably, the night's energy peaked with the latter, and people noticeably started leaving — despite an abundance of fireworks and flames and Armstrong's crowd-baiting banter trying their darnedest to keep the masses engaged.

Certainly there were diehards who relished hearing the album's deeper cuts, and later in the album presentation, "Wake Me Up When September Ends" was among the night's most moving performances. Although when that classic ended, people started heading out at a heavier clip.

In terms of show momentum, would Green Day have benefited by doing what the Postal Service and Death Cab for Cutie did in Milwaukee this May, and essentially just play the albums?

Despite what some artists may think post "Eras Tour," less can be more, and minute by minute Green Day's latest Milwaukee concert was less exciting than their tighter sets in town at the Harley-Davidson Homecoming Festival last year and at Summerfest in 2021.

Between "Dookie" and "American Idiot," Green Day also played seven other songs, most of them from the band's newest album "Saviors," which the tour is named after. To his credit, Armstrong's charisma conjured up a faint singalong for that album's "Dilemma," and it's a good song about the allure and perils of addiction. But let's be honest: "Saviors" isn't going to get its own front-to-back treatment 20 years from now.

That section of the show did have hits from other albums that earned their place in the setlist, including "Minority" and "Brain Stew," and a funny reset with Cool in a cheetah-printed robe (that didn't cover his muscular bare legs) prancing around the stage as video and sound of an orchestra played "All By Myself."

This between-albums section also had the highlight of the night.

In the middle of "Know Your Enemy," Armstrong tends to seek out a volunteer to come on stage and sing it with him, and he found a great fan in the pit named Quinn, a beaming girl likely between the ages of 6 and 8 who sported an Armstrong-like skinny red tie over a black dress shirt. Quinn nailed the vocals and got to play rock star when Armstrong invited her to jump off a riser at the song's end as explosions erupted.

And when Armstrong demanded that the crowd rock the stadium, the sight of Quinn bouncing with abandon triggered a ballpark-wide jump around, with the section I was in moving from the bouncing masses. In that moment, it really was like we were in Madison, jumping around at a Badgers game at Camp Randall.

Smashing Pumpkins, Rancid and the Linda Lindas opened at American Family Field

• “I hope you’re having a reasonable time today,” Smashing Pumpkins guitarist James Iha told the crowd early in their hourlong set. Not the kind of crowd-pumping banter you’d expect at a stadium show, nor did the Pumpkins initially deliver a typical stadium show. To kick things off, the band opted for deep cuts like “The Everlasting Gaze” and “Doomsday Clock” instead of a crowd-thrilling smash. Newer songs played later, “That Which Animates The Spirit” and “Sighommi,” also stunted audience momentum, although a very dense, Pumpkins-style cover of U2’s “Zoo Station” was a setlist highlight. But ultimately frontman Billy Corgan was in stadium showman mode across what became a signature-heavy set — including “Today,” “Tonight, Tonight,” “Disarm,” “Bullet With Butterfly Wings” and “1979.” He even cut off a mid-sentence Iha near the end, suggesting, “There’s nothing left to say, the only thing to do is rock,” before Corgan, Iha, and great new addition Kiki Wong played guitar gods for the one-two closing punch of “Cherub Rock” and “Zero.”
• It’s fairly common for artists playing American Family Field to don Brewers jerseys, but for Oakland A’s fan Lars Frederiksen of Rancid , it was the ultimate betrayal. He suggested Saturday that he had to keep bandmate Matt Freeman away from the Brewers store. But Frederiksen understood Freeman’s temptation, given the sorry state of the A’s, passionately calling on their owner John Fisher to sell the team during a brief pause in a half-hour set heavy on rousing standards like “Ruby Soho.” Considering the crowd’s reception to tunes like that one from their biggest album “… And Out Come the Wolves,” which singer and guitarist Tim Armstrong suggested was their best album, don’t be surprised if Rancid does its own album anniversary tour for its 30th next year.
• The Linda Lindas isn’t like the other bands on the bill, or almost any other rock band touring at this scale. Its four members — guitarist Bela Salazar, guitarist Lucia De La Garza, drummer Mila De La Garza and drummer Eloise Wong — are ages 14 to 19. But you sure as hell can’t call them a novelty act. All four delivered visceral vocals as they confidently commanded the stage and runway for 20 minutes of white-knuckle punk rockers. And the new tunes they played Saturday, set for forthcoming sophomore album “No Obligation” — like “All In My Head,” which smartly pairs the lyrics “nobody knows the pain I’m going through” with toe-tapping hooks oblivious to the turmoil — show the Linda Lindas’ songwriting continues to get stronger.

5 takeaways from Green Day's Milwaukee concert

• Green Day had a 17-year gap between Milwaukee shows, but after coming to town in 2021, 2023 and on Saturday, they’re likely to take another longer break. While not empty by any means, this was a rare Brewers ballpark concert at which there were plenty of firsthand seats still available after the show began — to the point that pit tickets were going for $169, some field seats were $99, and some loge level seats even going for $39 (all before fees) on Ticketmaster.
• Another silver lining from the somewhat soft sales for fans: This was my easiest experience ever getting into the ballpark for a show, with nearly no car backups coming down Mitchell Boulevard from Blue Mound Road at 5 p.m., and speedy lines through security, too. Getting out of the ballpark was still a bit tedious; the preferred parking lot I was in was mostly clear by 11:45 p.m., nearly an hour after the show ended.
• Cutest “moshing”: A mom and her son, who likely was between the ages of 10 and 13, playfully slamming against each others’ shoulders a few rows in front of me during “Longview.”
• Often outspoken, Billie Joe Armstrong didn’t talk about the 2024 presidential election Saturday — except to tweak some lyrics for “American Idiot” to “I’m not a part of a MAGA agenda.”
• At 16, Linda Lindas bassist and singer Eloise Wong isn’t old enough to vote, but that didn’t stop her from urging concertgoers in battleground Wisconsin to “vote so no more racist, sexist boys get into office” before closing their set with “Racist, Sexist Boy.”

Green Day's American Family Field setlist in Milwaukee

• "The American Dream Is Killing Me"
• "Having a Blast"
• "Welcome to Paradise"
• "Pulling Teeth"
• "Basket Case"
• "Sassafras Roots"
• "When I Come Around"
• "Coming Clean"
• "Emenius Sleepus"
• "In The End"
• "All By Myself"
• "Know Your Enemy"
• "Look Ma, No Brains!"
• "One Eyed Bastard"
• "Brain Stew"
• "American Idiot"
• "Jesus of Suburbia"
• "Boulevard of Broken Dreams"
• "Are We the Waiting"
• "St. Jimmy"
• "Give Me Novacaine"
• "She's a Rebel"
• "Extraordinary Girl"
• "Letterbomb"
• "Wake Me Up When September Ends"
• "Homecoming"
• "Whatsername"
• "Bobby Sox"
• "Good Riddance (Time of Your Life)"

Contact Piet at (414) 223-5162 or  [email protected] . Follow him on X at  @pietlevy  or Facebook at  facebook.com/PietLevyMJS .

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The Postal Service Concert Setlists & Tour Dates

Give up 20th anniversary tour, the postal service, upcoming shows.

• Date and Venue Doors Scheduled
• Aug 29 2024 Kalorama Madrid 2024 Madrid, Spain Add time  –  Scheduled: 8:45 PM Add time Add times 8:45 PM
• Aug 30 2024 MEO Kalorama 2024 Lisbon, Portugal Add time  –  Scheduled: 10:05 PM Add time Add times 10:05 PM
• Sep 21 2024 HFStival 2024 Washington, DC, USA  –  Find tickets Add time Tickets Add time Add times

The Postal Service at Poble Espanyol, Barcelona, Spain

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The Postal Service at All Points East 2024

• The District Sleeps Alone Tonight
• Such Great Heights
• Sleeping In
• Nothing Better
• Recycled Air
• Clark Gable
• We Will Become Silhouettes
• This Place Is a Prison
• Brand New Colony
• Natural Anthem
• Enjoy the Silence

The Postal Service at Utilita Arena Cardiff, Cardiff, Wales

The postal service at the ovo hydro, glasgow, scotland, the postal service at outside lands music & arts festival 2024, the postal service at just like heaven 2024, the postal service at moda center, portland, or, usa, the postal service at doug mitchell thunderbird sports centre, vancouver, bc, canada, the postal service at idaho central arena, boise, id, usa, the postal service at kilby block party 2024.

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Most played songs

• Such Great Heights ( 164 )
• Brand New Colony ( 112 )
• Clark Gable ( 112 )
• Nothing Better ( 112 )
• The District Sleeps Alone Tonight ( 112 )

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Alien Clouds As It Is Alec Benjamin Lucy Bernardez Birdy Scott Bradlee & Postmodern Jukebox Carlos Sadness Chick Wallace Colt Clark Confide Constant Alarm Death Cab for Cutie Desire Cape The Dismemberment Plan downey The Dresden Dolls Emo Night Karaoke Fairmont Ben Folds Benjamin Gibbard Glen Hansard Chris Holland Iron & Wine Toh Kay Lex Land Jenny Lewis Charlotte Martin Ben Marwood Michael Foxall-Smith Matt Nathanson Amanda Palmer Postmodern Jukebox Rilo Kiley Robo Hops Alexandra Scott Ryan Smith Streetlight Manifesto Tayls The Fantastic Plastics The Trouble With Templeton Frank Turner Raye Zaragoza

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2,762 people have seen The Postal Service live.

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