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The Postal Service

Death cab for cutie.

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The Postal Service & Death Cab for Cutie

With special guest slow pulp.

• Date May 9 , 2024
• Time 7:30 PM
• Availability On Sale Now
• Ticket Prices $94.50, $84.50, $74.50, $54.50, $34.50 plus applicable fees (prices subject to change)

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Doors and Times

5:30 p.m. - Founders Club / Premium Plus Doors 

5:45 p.m. - Club Magenta Doors

6:00 p.m. -  All Doors  

7:30 p.m. - Slow Pulp  

8:30 p.m. - Death Cab for Cutie  

9:35 p.m. - The Postal Service

*Schedule subject to change. 

*GA/Pit can line up starting at 11 a.m. the day of the event at the Oak Street entrance. 

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T-Mobile customers who enter through the T-Mobile customer entrance (including Metro by T-Mobile and MINT customers) will be randomly selected to receive an exclusive #GetThanked perk. 

T-Mobile customers enjoy expedited entry at the T-Mobile customer entrance on Grand Blvd. by showing their T-Mobile Magenta Pass, available for download in the Manage section of the T LIFE app, or T-Mobile, Metro, or Mint branding on their phone screen.

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Guests are encouraged to pack lightly when coming to T-Mobile Center events. To expedite entry and minimize screening touchpoints, bags are not to exceed 12x12x6 inches. Please note that all diaper bags and medical bags will be screened prior to entry.

Event Details

To celebrate two decades of iconic albums, The Postal Service & Death Cab for Cutie will bring their Give Up & Transatlanticism 20th Anniversary Tour to T-Mobile Center  May 9, 2024 . 

The Postal Service and 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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The Postal Service & Death Cab for Cutie

Give up & transatlanticism 20th anniversary tour, fri / oct 13, 2023 - 7:30pm.

Special House Rules Apply

No Glass/Cans/Alcohol or controlled substances allowed on entry.

LIVE NATION | HEWITT SILVA

• The Postal Service
• Death Cab for Cutie

About this Performance

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.

Programs, artists, dates, prices, and availability subject to change. Ticket limits may apply. All sales are final.

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The Postal Service & Death Cab for Cutie

With slow pulp.

• Date Apr 30 , 2024
• Availability On Sale Now

ARRIVE EARLY

Doors scheduled to open at 6PM

Show scheduled to start at 7:30PM

GA guests must enter through SW Rotunda to get wristbands

JOIN US before the show ... Boombox Riot in the East Market at 6PM

SHUTTLES WILL RUN.

Need a ride after the show?  Uber and Lyft pickup is located at St. John Arena

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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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The Postal Service / Death Cab for Cutie

• Date May 2 , 2024
• Event Starts 7:30 PM
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Event Details

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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Two 2003 LPs Changed Ben Gibbard’s Life. He’s Taking Both on Tour.

The Postal Service’s “Give Up” and Death Cab for Cutie’s “Transatlanticism” arrived 20 years ago as part of a wave of indie music that found new paths to the mainstream.

Ben Gibbard, of Death Cab for Cutie and the Postal Service. “A lot of our music has marked time in people’s lives,” he said. Credit... Meron Tekie Menghistab for The New York Times

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By Luke Winkie

• Aug. 22, 2023

Being an indie-rock musician was largely its own reward from the 1980s to the turn of the 21st century. But as Ben Gibbard learned firsthand, in the early 2000s, things started to shift.

Since the late 1990s, he had served as a lead singer and guitarist in Death Cab for Cutie, an indie-rock band known for its chiming guitar lines and wistful lyrics. A chance meeting with the electronic musician and producer Jimmy Tamborello led to a creative spark, and the two formed a group called the Postal Service , named after the nature of their analog partnership: Tamborello, who was living in Los Angeles, sent his airy instrumentals north to Seattle through the U.S. mail system, so Gibbard could add his vocals.

The group expanded to include the singer Jenny Lewis , and when its only album, “Give Up,” was released in February 2003, its romantic tunes set to stuttering beats and bloopy synths became a sensation. It remains the second best-selling record in the history of the indie label Sub Pop — just behind Nirvana’s “Bleach” — and went platinum in 2012.

In the fall of 2003, Death Cab put out “Transatlanticism,” a lush, sweeping record exploring the pleasures and pains of a long-distance relationship that was heralded as a creative high point. With buzz from “Give Up” still reverberating, Death Cab for Cutie landed a few key placements on the inescapable teen soap “The O.C.,” and a year later inked a deal with Atlantic Records .

Gibbard, 47, will be celebrating both anniversaries on a two-month tour starting Sept. 5, where Death Cab for Cutie and the Postal Service will perform both albums in full. In a recent video call from his Seattle home, he discussed one of the most creatively fertile periods of his life, how it feels to become the guardian of a younger generation’s nostalgia and his role in indie rock’s early 2000s commercial renaissance. These are edited excerpts from the conversation.

You first reunited the Postal Service in 2013 for a 10-year anniversary tour . Did you expect to be doing this again?

No, I didn’t. We had done that tour primarily because by the time the Postal Service was done touring in 2004, we realized that the record had taken on a life of its own after we had all gone back to our other jobs. When we were coming up on the 20th anniversary of “Transatlanticism” and “Give Up ,” it made sense that Death Cab would do something to mark the anniversary of what is our breakout record, and what has universally been determined to be our best record. After doing the math, I realized that Death Cab usually plays for two hours, and both of those albums are 40-something minutes. So while it would appear to be more work for me, the total number of songs would be fewer than a normal set.

In 2013, you said one of the motivations for reuniting the Postal Service was for you to take ownership of the band and its legacy.

I’ve always had a complicated relationship with that record. When “Give Up” came out, it very quickly surpassed where Death Cab was, sales-wise. It became this ubiquitous cultural phenomenon. Everyone in Death Cab was supportive of me, but I’d be lying if I said I didn’t feel some tension around the success of the Postal Service.

I want to be very clear that I’m not trying to cry with two loaves of bread in my hand. It was humbling and moving to see the response to “Give Up .” At this point in my life, I’m of the opinion that if you’ve made one thing that has an impact on another human being, you’ve succeeded. And the 2013 tour allowed me to be in those songs again. Being in front of people who love that album closed a circle that I needed to close.

Both “Give Up” and “Transatlanticism” sold over 500,000 copies, blowing the ceiling off expectations for an indie band. What did it feel like to be at the center of a transformation of the scene?

To someone becoming a sentient music fan in the late ’80s and early ’90s, selling 50,000 copies was indie-rock gold and platinum. The dream in 1997 and 1998 was only to not have a job while on tour. In 2003, a lot of people of my generation found themselves in music supervision in TV, movies and commercials and could suddenly say, “I don’t want to use Paula Cole in this teen drama, let’s use Death Cab, or Bright Eyes, or Modest Mouse.”

I think that was what started the drive of indie rock into the mainstream — or at least as close to the mainstream as it could get. People in decision-making positions wanted to use the music they loved, at a moment, in the late ’90s and early 2000s, when mainstream rock ’n’ roll was the worst it’s ever been. People who like classic rock, or were into the Cure or Depeche Mode, said, “You know what? There must be an alternative to Creed.” There was a thirst for a change, and as the internet started disseminating pop culture, suddenly there was an avenue to find out about it.

So I was pleased that the music we were making was reaching a larger audience. But I was also a 28-year-old who wasn’t used to the attention that comes from both adoration and scorn. I’m not going to say it was an incredibly difficult time in my life, but it’s only now, 20 years later, that I’m able to have a real appreciation for what these records accomplished and what a unique situation we found ourselves in.

You often talk about how making “Give Up” was loose and enjoyable. What about the Postal Service stopped feeling so easy?

I felt very self-conscious. I was already dealing with the weight of expectations on “Transatlanticism .” My ability to write both of those albums concurrently was predicated by a year-ish long break Death Cab took from touring. We had almost broken up, and we had a meeting where we decided to take some time away. During that break, there wasn’t nearly the same sense of expectation to the songs I was writing. Yes, there were fans of Death Cab who I’m sure were anticipating a new record, but in 2001 and 2002, the band still felt very small. But by the time that “Give Up” was out and had gone gold, and we’re touring “Transatlanticism” with Pearl Jam — we literally signed with Atlantic Records backstage at a Pearl Jam show — I was feeling a ton of pressure from my main gig.

Eventually Jimmy and I had a conversation where we were like, “Hey, this isn’t happening, is it?” He was the perfect partner. Jimmy is the most easygoing dude in the world. If I had made “Give Up” with someone who was a little more success-oriented, or career-oriented, it would’ve gone very poorly.

Without radio or MTV, how did you become aware that you had an indie hit in 2003?

With Death Cab it was more cut and dry. For a long time, and with good reason, there was no mention of Death Cab without “The O.C .” That was our MTV, that was our radio, and that made more sense to me. It made sense that as we were being beamed into people’s homes on network television, our band’s profile would grow. And so, you’d just walk into places and hear the record. You’d hear it in coffee shops, or coming out of people’s cars. I could feel it jumping outside the insular circles of indie rock. But we weren’t famous. We weren’t pop stars.

I think a lot of people know some of the music I made, but they don’t know anything about the band, or who’s in it or what I look like. That’s been an absolute godsend; to have the success that we’ve had, without the visibility.

The Postal Service process got a lot of attention: Jimmy would send you instrumentals on burned CDs through the mail, and you’d add vocals.

In 2001 and 2002, I’m sure people were figuring out how to send files back and forth. We just weren’t technologically advanced enough to have that knowledge. We were both definitely aware of the novelty of it. I’d get an email from Jimmy being like, “Hey, I put a CD in the mail, it’ll be there in a couple of days.” So I’d get a sense of anticipation, waiting for it to show up to my house. I’d get it, put it in my CD player, and walk around coming up with ideas. I don’t necessarily think the anticipation directly correlated to the creative process, but everyone I knew was tickled by the idea of it.

Going on an anniversary tour is engaging pretty plainly with the culture of nostalgia.

One of the most important things for bands and artists who span decades is that you continue to try to make new things, and find new creative ways to express yourself musically, while also having self-awareness for why people are here to see you. To honor your own past.

I’m first and foremost a fan of music, and it’s frustrating to see a band you love — that was formative for you — only for them to say, “Yeah, we’re playing a new album and four old songs.” I’ve always tried to serve that balance. It is most likely that the records that will be on my tombstone have already been made, but I’m also dedicated to making new things that can stand alongside the things that people love. I want our new music to remind people why they love our music. A lot of our music has marked time in people’s lives. It’s not because we’re so amazing, it’s because we make music. And music marks time.

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The Postal Service are going on indefinite hiatus after their ‘Transatlanticism/Give Up’ tour ends

"We will see you all again somewhere down the road"

The Postal Service have announced that they are going on an indefinite hiatus following the conclusion of their current tour – find out more below.

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

The Ben Gibbard -led band announced the hiatus on social media last night (September 16), confirming that they’re going on a break after their final show at the HFStival in Washington, DC on September 21. You can get tickets to their final show here .

Ben wrote in a statement: “As we bring the ‘ Transatlanticism/Give Up ‘ tour to a close, I want you all to know that getting the opportunity to perform these two albums live has been one of the greatest thrills and honors of my entire life. On behalf of Death Cab for Cutie and The Postal Service; Thank you so much for coming out and singing along.”

Gibbard signed off: “We will see you all again somewhere down the road.”

Our final show of the Give Up & Transatlanticism 20th Anniversary Tour will be held at HFStival in Washington, DC on September 21. Tickets at  https://t.co/0UJGoGOl1a pic.twitter.com/9RMTBev6iN — The Postal Service (@PostalService) September 16, 2024

Gibbard’s two bands The Postal Service and Death Cab For Cutie have been on a joint co-headlining tour to celebrate the 20th anniversaries of ‘Transatlanticism’ and ‘Give Up’ since 2023 .

‘Give Up’ marks The Postal Service’s only studio album to date, while the tour is the second time the group have reformed; they first reunited in 2013 for the album’s 10th anniversary. In 2020, the band released their only live album, ‘Everything Will Change’.

Recommended

The Postal Service’s hiatus isn’t entirely surprising though, as Gibbard has been vocal about the band likely never releasing new material. He said in a chat with NME last month : “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!”

Meanwhile, Death Cab For Cutie released their newest album ‘ Asphalt Meadows ‘ two years ago. In a  four-star review of the LP ,  NME  called ‘Asphalt Meadows’ “as assured and stately as you’d expect and hope for from indie veterans now 10 albums and 25 years into their career, but this beaut is as consistent and satisfying as their early-mid ‘00s career peak. Here are a band still very much in love with what they do.”

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• Ben Gibbard
• Jenny Lewis
• The Postal Service

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First Listen

First listen: death cab for cutie, 'transatlanticism (10th anniversary edition)'.

Stephen Thompson

Death Cab For Cutie, 'Transatlanticism (Demos)'

Death Cab for Cutie's Transatlanticism (10th Anniversary Edition) comes out Oct. 29. Courtesy of the artist hide caption

Death Cab for Cutie's Transatlanticism (10th Anniversary Edition) comes out Oct. 29.

Life hands us many milestones as we wend our way from cradle to grave. From first teeth to first kisses to first loves and losses, we mark off our crucial firsts as transformative events; we're no longer babies, or children, or teenagers, or dependent on others to get by. One of those milestones, for those of us who so often set our lives to music, is the first time we get to mutter, " That came out 10 years ago ? God, I am so old."

Death Cab for Cutie 's Transatlanticism played in the background of countless decade-old milestones around the world, especially the ones involving first kisses and so forth, and it's no wonder. The album, and its epic title song in particular, played on an endless loop across popular culture — on movie soundtracks and in dramatic moments from such TV shows as Six Feet Under . The way singer Ben Gibbard channeled youthful confusion, vulnerability and sweetness mirrored universal fumbling feelings of growing up and facing down the complexities of love, heartbreak, long-distance yearning and budding nostalgia. From the first line of its first song ("So this is the new year / and I don't feel any different"), Transatlanticism swims in uncertainty, as if its narrator isn't even quite sure how feelings work yet.

For all its ubiquity and imitators , Transatlanticism holds up as an exquisitely produced, largely flawless record in which every song is bound to serve as someone's favorite. As such, though new would-be fans are born every day, most of its target audience already owns the thing, right? Enter this reissue, out Oct. 29, in which the original album is packaged alongside an identically sequenced but otherwise revelatory set of demo versions.

For those who've immersed themselves in Transatlanticism 's studio version over the course of the last 10 years, these demos form fascinating sketches of a great album in progress. Some, like "The New Year" and "We Looked Like Giants," are overwhelmed by a ticky-tack drum machine. The title song, which in its final form blooms into a wondrous slow-motion cataclysm over the course of nearly eight minutes, here peters out in six, with the album's most important line — "I need you so much closer" — rendered flat, repetitive and uneventful. "The Sound of Settling," so zippy on the record, is slowed to a crawl. It's fascinating to take these songs apart in an effort to determine which ideas and production decisions had already formed, just as it is to hear the occasional song ("Passenger Seat," for example) that got left almost entirely as is.

It's a little strange to consider Transatlanticism as a kernel of nostalgia; after all, its cultural impact hasn't really receded into the past. Death Cab for Cutie has made terrific records both before and since, even as Gibbard and producer/multi-instrumentalist Chris Walla dabble in solo projects. Heck, for many, the album has been sitting in iTunes the whole time. But that 10th anniversary and this stack of demos make this a fine time to check in with how cleanly and effortlessly Transatlanticism has aged. We should all be so lucky.

• Death Cab for Cutie

The Postal Service Announces Indefinite Hiatus Following Death Cab for Cutie Joint Tour

Lauren Boisvert

Updated: 

Ben Gibbard has announced the indefinite hiatus of The Postal Service following the conclusion of the band’s joint tour with Gibbard’s other project, Death Cab for Cutie. The two Gibbard-led bands have been on the road performing the albums Transatlanticism and Give Up in full as they celebrate the albums’ 20th anniversaries.

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Gibbard wrote on Twitter, “As we bring the ‘Transatlanticism/Give Up’ tour to a close, I want you all to know that getting the opportunity to perform these two albums live has been one of the greatest thrills and honors of my entire life. On behalf of Death Cab for Cutie and The Postal Service; Thank you so much for coming out and singing along.”

The final show will be at HFStival on September 21 in Washington, D.C. Gibbard concluded the statement with the hopeful if ambiguous message, “We will see you all again somewhere down the road.”

Our final show of the Give Up & Transatlanticism 20th Anniversary Tour will be held at HFStival in Washington, DC on September 21. Tickets at  https://t.co/0UJGoGOl1a pic.twitter.com/9RMTBev6iN — The Postal Service (@PostalService) September 16, 2024

[RELATED: The Meaning Behind The Postal Service’s “Such Great Heights” Conveys Both Analog Tenderness and Digital Fragility]

The Postal Service to Go On Indefinite Hiatus After Joint Death Cab for Cutie Tour

The Postal Service has only released one studio album— Give Up from 2003. It featured hits like “Such Great Heights,” which has inspired several covers from bands like Iron & Wine and Streetlight Manifesto. It also included the tracks “We Will Become Silhouettes” and “Brand New Colony.”

The group has only toured a handful of times for the album. They reformed in 2013 for the 10th anniversary of Give Up , and again in 2023 for the 20th. In 2020, they also released a live album, Everything Will Change. Despite the meager offerings from the band, fans have remained loyal, although there is much overlap between The Postal Service fans and Death Cab for Cutie fans.

This hiatus shouldn’t come as a surprise for fans of either band, however. Ben Gibbard has been vocal in the past about the time constraints that prevent The Postal Service from releasing new music.

“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,” Gibbard told NME in August. “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.”

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Pop supergroup going on ‘indefinite hiatus’ after 20th anniversary tour

I f you’re a fan of The Postal Service , let’s hope you had a chance to see the pop supergroup on its 20th anniversary tour. The band — an indie darling that features Ben Gibbard of Death Cab for Cutie , Jenny Lewis and Jimmy Tamborello — is going on an “indefinite hiatus” after its reunion tour wraps on Sept. 21 at the HFStival in Washington, D.C.

A publicist confirmed Monday that the festival date would be The Postal Service’s final show on the tour, and said it “will mark the beginning of an indefinite hiatus for the band.”

The Postal Service has just one studio album to its credit, “Give Up,” released in 2003 by Sub Pop Records . The platinum-selling record has a cult following and is beloved for its “indietronica” sound — with guitar, drums, keyboards and samples — and tracks that include “Such Great Heights,” “We Will Become Silhouettes,” “The District Sleeps Alone Tonight,” “Clark Gable” and “Nothing Better.”

The band reunited for a 20th anniversary tour in September 2023, performing concerts in North America, the United Kingdom, Spain and Portugal. Gibbard’s primary band, Death Cab for Cutie , also performed on the tour as a co-headliner , celebrating the 20th anniversary of its “Transatlanticism” album.

“As we bring the Transatlanticism/Give Up Tour to a close, I want you all to know that getting the opportunity to perform these two albums live has been one of the greatest thrills and honors of my entire life,” Gibbard said via a press release. “On behalf of Death Cab for Cutie and The Postal Service; thank you so much for coming out and singing along. We will see you all again somewhere down the road.”

In a Sept. 12 Instagram post , Lewis called touring with The Postal Service a “dream trip.” In another post , Lewis expressed her joy about playing for “oodles of folks” overseas. The tour was extended through 2024 due to popular demand, a publicist said, and has drawn half a million fans.

This is the second reunion tour for The Postal Service, following a 10th anniversary trek in 2013. The band initially released a handful of singles from 2003′s “Give Up” — “Such Great Heights” was featured on the TV show “Grey’s Anatomy” — but never became a full-fledged touring unit as the musicians pursued other projects.

The “Give Up” album was reissued in 2013 with two new songs and some bonus tracks, and the first Postal Service reunion tour ensued. The group officially disbanded that year, much to fans’ chagrin, although a concert documentary, “Everything Will Change” came out in 2014. A live album linked to the documentary, also called “Everything Will Change,” was released in 2020 via Sub Pop.

Although Gibbard hasn’t ruled out a future reunion of The Postal Service, fans may have to wait another nine or 10 years for a 30th anniversary tour. Some folks already are anticipating a band revival, with Facebook comments such as “Absolute joy to see you again. Thank you. Please come back soon!” and “I missed this tour because I took a new job. I’ll be first in line when you come back on tour!”

©2024 Advance Local Media LLC. Visit al.com. Distributed by Tribune Content Agency, LLC.

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The Postal Service Will Go on Indefinite Hiatus After Wrapping ‘Give Up’ 20th Anniversary Tour

By Jon Blistein

Jon Blistein

The Postal Service will go on an indefinite hiatus following the conclusion of the band’s co-headlining tour with Death Cab for Cutie .

The indie trio of Ben Gibbard , Jimmy Tamborello, and Jenny Lewis reunited last year for the joint tour with Death Cab (Gibbard’s other band), with both groups celebrating the 20th anniversaries of classic 2003 albums, The Postal Services Give Up and Death Cab’s Transatlanticism . The shows marked the Postal Service’s first in 10 years, following their previous reunion in 2013 . 

After a run of 2023 dates, the Postal Service and Death Cab extended the tour into 2024 . It will finally wrap this weekend, with the final show taking place on Sept. 21 at the HFStival in Washington D.C. 

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Give Up remains the Postal Service’s only studio album — an early-Aughts indie classic that managed to crack through to the mainstream thanks to singles like “Such Great Heights” and “The District Sleeps Alone Tonight.” The album eventually peaked at Number 45 on Billboard ’s albums chart and was certified platinum. 

The only other release in the band’s catalogue is their 2020 live album, Everything Will Change . The album was preceded by a documentary/concert film of the same name, which was originally released in 2014 and captured two shows in Los Angeles during the band’s 2013 reunion trek.

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The Postal Service to Go on Indefinite Hiatus

Set to begin after the final show of the 20th anniversary 'Give Up' / 'Transatlanticism' co-headlining tour with Death Cab for Cutie on Saturday

BY Megan LaPierre Published Sep 16, 2024

There have been a few stages to the Postal Service 's (second) comeback (after a brief 2013 reunion), which technically began in 2020 with a voting PSA . They kicked off the Millennial sob-inducing co-headlining tour with Death Cab for Cutie (behind the 20th anniversaries of Give Up and Transatlanticism , respectively) in 2023, adding a live album into the mix before extending the stint on the road into this year.

The final show of the tour takes place this Saturday (September 21) at HFStival in Washington, D.C., and Ben Gibbard has confirmed that the Postal Service will be going on "indefinite hiatus" after.

"As we bring the Transatlanticism / Give Up Tour to a close, I want you all to know that getting the opportunity to perform these two albums live has been one of the greatest thrills and honours of my entire life," Gibbard wrote in a note to fans on Instagram. "On behalf of Death Cab for Cutie and the Postal Service; Thank you so much for coming out and singing along. We will see you all again somewhere down the road."

If they aren't eager to give up patterns, we can probably expect to see them again around 2033 when Give Up turns 30. See the post below, and check out Exclaim!'s review of the tour's Toronto show at Scotiabank Arena a few months back.

View this post on Instagram A post shared by Death Cab for Cutie (@deathcabforcutie)

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• Death Cab for Cutie and Postal Service Looked Perfect from Far Away in Toronto
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The Postal Service Announces Indefinite Hiatus Following Final 2024 Live Performance

The Postal Service has announced plans to go on an indefinite hiatus following its final 2024 tour date later this week.

The Seattle group has been on a reunion tour co-headlined by Death Cab for Cutie since summer 2023, with dates extended through Sept. 2024 due to popular demand. The tour celebrated the 20-year anniversaries of Postal Service’s “Give Up” and Death Cab’s “Transatlanticism,” with both albums being played in full.

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The Postal Service’s final show will take place this Saturday at Washington, D.C.’s HFStival, which will also feature performances from Bush, Garbage, Jimmy Eat World, Girl Talk and more. News of the indefinite hiatus was shared in a press release from representatives along with a quote from Postal Service frontman Ben Gibbard commemorating the tour’s conclusion.

“As we bring the Transatlanticism / Give Up Tour to a close, I want you all to know that getting the opportunity to perform these two albums live has been one of the greatest thrills and honors of my entire life,” he said. “On behalf of Death Cab for Cutie and The Postal Service; Thank you so much for coming out and singing along. We will see you all again somewhere down the road.”

Gibbard, of course, is a member of both bands and formed the Postal Service to release its debut and only album “Give Up” in Feb. 2003. The Postal Service’s core group included Gibbard and Jimmy Tamborello, with Lewis providing vocals and subsequently joining as a full-time member. “Give Up” was assembled by the artists sending instrumentals and music through the mail.

Talk of a sophomore album percolated for years following the release of “Give Up,” and while it never materialized, the band remained active with a reunion tour in 2013. That year, Gibbard said that its Lollaplooza after-show would be its last-ever performance, and it wouldn’t be until 2020 that the group put out a new project with the live album “Everything Will Change.”

Just last month, Gibbard reiterated that a new Postal Service album would likely never materialize. “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,” he told NME . “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.”

Our final show of the Give Up & Transatlanticism 20th Anniversary Tour will be held at HFStival in Washington, DC on September 21. Tickets at  https://t.co/0UJGoGOl1a pic.twitter.com/9RMTBev6iN — The Postal Service (@PostalService) September 16, 2024

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"See you all again somewhere down the road" - The Postal Service to go on indefinite hiatus after final 2024 show

Seattle group The Postal Service plans to go on an indefinite hiatus after its final 2024 tour date this week. The band took to its social media platforms on September 16 to confirm that the members will be going on a break after their last show at the HFStival in Washington, DC, on September 21. The performance will also feature other artists like Bush, Garbage, Jimmy Eat World, Girl Talk, and more.

Band member Ben Gibbard, in a statement, said,

"As we bring the 'Transtlanticism/Give up' tour to a close, I want you all to know that getting the opportunity to perform these two albums live has been one the greatest thrills and honors of my life. On behalf of Death Cab for Cutie and The Postal Service; Thank you so much for coming out and singing along."

His sign-off message read,

"We will see you all again somewhere down the road."

Ben's two bands, The Postal Service and Death Cab for Cutie, have been on a joint tour since 2023 to celebrate the 20th anniversary of Transatlantisim and Give Up .

Before their tour started in 2023, The Postal Service had not gone on tour since 2013, and their album for the tour, Give Up, marks their only studio album to date.

Ben Gibbard on The Postal Service's break

This isn't the first time band member Ben Gibbard has talked about his band, The Postal Service, taking a break. In August, while speaking to NME, Ben hinted at the probability of the band not releasing new music.

He said the main reason the second record by The Postal Service never worked out and "will never come to fruition" was because of the team and that he had to devote to Death Cab for Cutie. He mentioned that there isn't enough time to make a "suitable follow up (to Give Up )" and that anything that they attempt to create "would be thoroughly disappointing."

While comparing The Postal Service with Death Cab for Cutie, Ben said,

"The stakes are just lower (in Death Cab for Cutie) when you're putting an labum 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 that would be satisfying to people."

He also mentioned that he would rather focus on Death Cab for Cutie "than be watering both projects" and that he doesn't have the "capacity to do both."

Death Cab for Cutie released their recent album, Asphalt Meadows, two years ago.

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