Death Cab for Cutie and The Postal Service at All Points East 2024
Hinging around frontman Ben Gibbard, Sunday’s dual headliners present their seminal contributions to indie rock: Transatlanticism and Give Up. Both released in 2003, the former is a concept album exploring themes of love across separation, the latter an electronic weaving of skippy drum machines and sweeping synthesisers.
Despite a smaller turnout compared with previous headliners, Death Cab for Cutie fans compensate with a devoted singalong of The New Year. The passion for their legacy is palpable across the park – in fact, enthusiasm for Transatlanticism only seems to have grown over the last decade. Likewise, the band still skilfully breathes life into these songs, moving across the stage with an infectious dynamism. The title track is an eight-minute ballad, gradually building in volume and emotion around the cathartic refrain “I need you so much closer”. Gibbard’s polished vocals dance effortlessly over the distorted guitars and clamouring drums, lending a superb clarity to Death Cab’s sound.
The Postal Service takes the energy in the arena to greater heights. Frenetic drum machines in tracks like We Will Become Silhouettes mark a satisfying departure from Transatlanticism’s slower, more driving rhythms. Recycled Air on the other hand bathes the East Stage in glacial electronic textures. Jenny Lewis delivers outstanding backing vocals, seizing the spotlight in Nothing Better.
A neat counterpoint to the headliners is provided by earlier acts. The Lemon Twigs evince a long-haired 70s nostalgia, whilst dipping into 50s doo-wop in their tastefully arranged backing vocals. Any Time of Day channels the early Bee Gees, a gleaming ballad which showcases the band’s formidable songwriting talents.
The L’Oreille stage displayed a variety of talented up-and-coming acts throughout the day. Spiritual Camp made a particular impact with their brand of snappy punk, burnished with a sleek psychedelic undertone. Although corporate sponsorship often provides necessary funding to the arts, such in-your-face advertising for distinctly non-musical brands can at times be jarring.
Frenetic zeal bursts from the Cupra North Arena as Gossip takes to the stage. Beth Ditto’s searing vocal performance is unmatched by any other on the festival’s final day. Able to channel the nuance of legends like Kate Bush, Ditto can rapidly switch to a powerful style more reminiscent of Tina Turner. The band’s overall sound is equally flexible. Initially drawing on classic soul during Listen Up, Gossip moves into euphoric pop-disco by the time we reach Moving in the Right Direction.
Despite a particular stylistic focus on the final day of All Points East, the programme revealed an array of talented acts, both established and emerging, who continue to forge into unexplored territory within the indie genre.
Ben Browning
Photos: Courtesy of All Point East/Matthew Pull (supports)
For further information and future events visit The Postal Service’s website here and Death Cab for Cutie’s website here.
Watch the video for the single The District Sleep Alone Tonight here:
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