Fans have been waiting for The Postal Service to arrive on these shores for over a decade. With one show in each UK country, it was with pride that All Points East exclusively presented their only England show on what has been their first visit since 2013.
And that was only a part of the package. This was a double-header that has gone down a storm in the US and has been hotly anticipated here: Death Cab for Cutie and The Postal Service brought together for special, twin, full-album sets.
The early noughties were a particularly fruitful creative period for Death Cab for Cutie’s principal songwriter and frontman, Ben Gibbard. His purple patch resulted in two classic albums, both released in 2003: Death Cab’s ‘Transatlanticism’ and his electronic side-project The Postal Service’s sole album, ‘Give Up’.
To close out All Points East 2024, each band took their turn to play their respective albums in full. Each album was presented faithfully, and in order.
With that in mind, the crowd may have known every upcoming twist and turn, but it only added to the connection forged between band and fan. Arms were held aloft in unison at the more upbeat moments, such as Transatlanticism’s ‘The Sound of Settling’ and Give Up’s ‘Such Great Heights’, whereas hushed reverence greeted more introspective moments.
During Death Cab for Cutie’s set, Gibbard paused to reflect on the day’s bill: “This festival has been like a north-west [US] reunion: Sleater-Kinney and The Decemberists… I was watching Decemberists thinking Colin (Meloy) is such a brilliant songwriter,’’ he said, before dedicating ‘We Look Like Giants’ to Meloy’s band.
As the sweet, gentle acoustic lament ‘A Lack of Colour’ came to a close, wrapping up Death Cab’s set, the lights went down. Fifteen minutes later, The Postal Service appeared, bedecked in matching all-white suits.
“We proudly present to you our album, ‘Give Up’” Gibbard said to a roar, before their third song, the somnambulant electronic pulse of ‘Sleeping In’ coated the crowd. Gibbard went on to acknowledge Jenny Lewis’s presence at the conclusion of ‘Nothing Special’ by calling her ‘’the queen’’. And, later, he had more to share: “Looking out on you all, I can’t help but remember the first time we played in London in 2003, I remember seeing [Flaming Lips’] Wayne Coyne in the balcony”, said Gibbard, while thanking everyone for taking the album to their hearts. What followed was a spirited ‘Brand New Colony’.
The cumulative effect of these two sets was emotional catharsis for devotees, casuals and every and anyone else. The fact is that many, many souls love these two records. This was the perfect reminder why. An encore that closed with a surprise, sublime cover of Depeche Mode’s classic ‘Enjoy the Silence’ was a fitting musical night cap.
Earlier, the smooth, stylish sounds of Phoenix delivered a perfect synth-pop potion. Backed by an immense backline and hypnotic visual backdrop, they were an adrenaline shot apt for closing out the West Stage for All Points East 2024. ‘‘This is the last show of the tour! Come on!,’’ instructed frontman Thomas Mars. The crowd obeyed, as hit after hit was dispensed. ‘Funky Squaredancer’ rocked hard and heavy, and there was a palpable sense of bittersweet joy for a band revelling in the last moments of their time on the road.
For the last song of a tour that has included the closing ceremony of the Olympic Games, the indie legends tore through a feisty and fun ‘1901’.
In front of a teeming tent, scintillating sounds of Beth Ditto’s quasi-disco/rock hybrid, Gossip, were a roof-raising force of nature. Songs such as ‘Men In Love’ and ‘Move in the Right Direction’ pushed sinewy basslines and full-throated vocals front and centre. And prior to an explosive ‘Heavy Cross’, Ditto told the crowd: “I begged for this song to be left off the record. If it had, my life would be very f***ing different. I’ve learnt, ‘don’t listen to me’”
Donning bright orange hair and black leotard, Ditto’s star power was as evident as ever. She was vocal about her gratitude for her career (“Thanks for giving us a job,” she remarked) and focused on the job at hand: ‘‘We don’t have a lot of time and I talk a lot. This is me not talking very much. You have no idea’’ she joked. ‘Standing the Way of Control’ was an inevitable party-starter as the group wrapped up a fantastic performance.
Over on the East Stage, The Decemberists treated fans to a rare UK appearance. The Oregon group proved to be a transfixing proposition and their songcraft sated fans’ appetites. Furthermore, the band were equally grateful to be back: ‘‘Lovely to see you. It’s been a while, people of London!,’’ declared frontman Colin Meloy prior to a stirring rendition of ‘Burial Ground’, the opening track from their 2024 double album, As It Was, So It Will Be Again. What followed was an hour of gorgeous, indie folk heaven.
Everything Everything are riding the crest of yet another acclaimed work by way of this year’s concept album, Mountainhead. Buoyed by the effusive critical and commercial that has greeted it, this performance had the distinct feeling of a victory lap. In front of a packed West Stage crowd, their kaleidoscopic tones thrilled. ‘Distant Past’ was irresistible: all shape-shifting, amorphous textures, while the closing ‘No Reptiles’ provided a powerful climax.
Say She She rolled into All Points East with a simple mission: “We came to make you dance,’’ they imparted. What followed was a time capsule trip back to ‘70s New York disco funk. The slap-and-snap of ‘C’est Si Bon’ was emblematic of the prevailing mood, and a bouyant Cupra North Stage lapped it up. Resistance was futile as a sea of dancing feet matched the tireless moves of the trio and their adroit backing band.
Bar an eight year hiatus between ‘06-‘14, Sleater-Kinney have been a reliable ever-presence since the mid-90s. This influential group’s second chapter has seen five diverse albums drop in a ten-year window that has stretched their sonic palette into exciting fresh waters. All of this was on display on East Stage. Coruscating guitar and tribal drums melded to their soaring vocals.
Cultivated through exquisite taste and well-honed chops, the D’Addario brothers have turned The Lemon Twigs into an outfit that transcends their estimable influences, and yet honours them at the same time. Arguably, 2024 has seen the release of their most accomplished record yet, A Dream Is All We Have, and they were a transportive experience in the Cupra North Stage. ‘My Golden Years’, ‘In My Head’ and ‘Any Time of Day’ were just a sample of songs that fixed firm smiles on all those looking on.
Teenage Fanclub are indie royalty, and the winsome harmonies and tasteful guitar interplay that dominates their acclaimed catalogue were presented beautifully on the West Stage.
The warm hug that is ‘About You’ from Grand Prix was an early highlight, as the band also concentrated on plucking songs from their latest LP Nothing Lasts Forever, including the chiming ‘Tired of Being Alone’. This was a set perfect for a balmy Sunday afternoon.
Indie rock stalwarts Yo La Tengo brought their seductively off-kilter wares to a large afternoon audience on the East Stage. Drawing from their storied 17-album career, melodious lo-fi jangles vied with squalling distortion, as these beloved tunesmiths brought onlookers into their gloriously ragged orbit.
Additional highlights from APE Day Five included Gustaf, Split the Dealer, Leo Gosh and many more.
