A few days before he is set to embark on something of an unprecedented tour serving double duty in the Postal Service and Death Cab for Cutie, Ben Gibbard
Instead of dissolving Death Cab, Gibbard left Seattle for Los Angeles and worked on what would become. By late 2002, the band was on more steady footing and regrouped in the studio with new drummer Jason McGerr. The result was, a concept album tackling themes of isolation and long-distance relationships which breathed new life into the band and dramatically expanded its audience.
In the below conversation, Gibbard elaborates on the reasons for doing so, how he feels about the full-album-as-live-show experience, and what’s next for Death Cab for Cutie.SPIN: How did the idea originate to not only reunite the Postal Service but also tour with Death Cab?Initially the idea had been floated about doing these as two separate tours, and I felt that the show would be significantly more impactful if we did both.
Oh, of course, I felt confident that we would be able to fill some of these venues we had signed on to play, but I didn’t think we’d get the two Madison Square Gardens, or two Climate Pledges [Arena in Seattle], or certainly three Hollywood Bowls. During the initial on-sale, I was feeling confident, and then we did that thing were we held some second dates, just in case. And then, the first set of dates blew out, so we decided to add other ones, which is totally humbling.
We’re living in a world now where not a lot of people are buying physical albums. They’re not interfacing with the physical embodiment of a record. I mean some people buy vinyl, but people don’t buy CDs anymore, people don’t read the liner notes, and people don’t know who produced the record. In this phenomenon of artists playing the record live, it’s really a wave.
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