The Postal Service and Death Cab for Cutie unveiled as joint headliners for All Points East

The Postal Service and Death Cab for Cutie have today (December 8) been unveiled as joint headliners for next year’s All Points East festival.

• READ MORE: Ben Gibbard on landmark 20th anniversaries for Death Cab and The Postal Service

The two acts will co-headline the Sunday evening at All Points East next year on August 25 at Victoria Park, London. They join previously announced headline acts Loyle Carner, who plays on August 17, and LCD Soundsystem, who appear on August 23. Tickets for the show go on general sale on December 12 here.

The Postal Service’s album ‘Give Up’ and Death Cab For Cutie’s album ‘Transatlanticism’ both turn 20 next year and the band have previously announced details of a co-headline tour to celebrate the milestone.

A press release from the festival added: “this will be The Postal Service’s first appearance in London for over 10 years, so All Points East next summer will be an incredibly special celebration of two groups who defined an era and are held in the hearts of music fans across the world.”

Benjamin Gibbard, the co-founder of both bands, will perform 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).

To celebrate two decades of ‘Give Up’ and ‘Transatlanticism’, @PostalService and @dcfc have joined forces for an extraordinary 20th anniversary performance at Uber One presents All Points East, with a full lineup TBA ⚡️

More info: https://t.co/OpHW29JMHC#AllPointsEast pic.twitter.com/Z564Yy4xkB

— Uber One presents All Points East (@allpointseastuk) December 8, 2023

After a string of shows in September and October, Gibbard recently announced a string of extra US tour dates.

Tickets for the US joint shows go on general sale today (December 8) at 10am for all dates except Salt Lake City. You can get yours here.

Check out the full list of dates below:

Death Cab For Cutie and The Postal Service will play: 

April 2024
23 – Atlanta, GA – Ameris Bank Amphitheatre*
24 – Orlando, FL – Amway Center*
26 – Charleston, SC – Credit One Stadium*
27 – Raleigh, NC – Coastal Credit Union Music Park Raleigh*
29 – Nashville, TN – Bridgestone Arena*
30 – Columbus, OH – The Schottenstein Center*

May 2024
2 – Pittsburgh, PA – Petersen Events Center*
3 – Albany, NY – MVP Arena*
4 – Toronto, ON – Scotiabank Arena*
6 – Milwaukee, WI – Miller High Life Theatre*
7 – St. Louis, MO – Chaifetz Arena*
9 – Kansas City, MO – T-Mobile Center*
11 – Salt Lake City, UT – Venue TBA*
12 – Boise, ID – Idaho Central Arena*
14 – Vancouver, BC – Doug Mitchell Thunderbird Sports Centre*
15 – Portland, OR – Moda Center*

The Postal Service released their debut and only album ‘Give Up’ in 2003. Gibbard previously downplayed the possibility of the trio reuniting to make new music: “I love Jimmy and Jenny so much, but the dream or idea of doing more music kind of died when we attempted to make the second record in 2004 and 2005,” he told NME at the time.

Meanwhile, Death Cab For Cutie released their newest album ‘Asphalt Meadows‘ last year.

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.”

Earlier this year, Gibbard spoke to NME about the 20th anniversaries of ‘Give Up’ and ‘Transatlanticism’, and the upcoming tour. “Reflecting on who you were 20 years ago is necessary to understanding who you are today,” he said. “I’m looking forward to it. There are no skeletons in those records that I can’t face head-on.”

He also spoke about being ahead of the curve making 80s synth-pop music: “By the late ‘90s, electronic music had become a thing for connoisseurs – it had become very clinical and process-oriented,” he argued. “There weren’t a lot of synth-pop bands around, and certainly no one that was melding emotional American indie rock stylings with beats.

“It wasn’t a conscious reaction, but looking back on that climate and what was coming out at the time, there wasn’t anything like it. I’m hearing a lot of bands today that sound like they came out of a time machine from 1994, and if you’re 20-years-old today then you probably don’t know that. In 2003, people probably weren’t aware of a lot of the reference points, so it would have felt really new and fresh to them.”