Death Cab for Cutie, Manchester Academy 4th July 2011 5/10

This review is unlikely to endear me to die-hard Death Cab for Cutie fans. I'm not a seasoned veteran of their back catalogue, I won't attempt to give a song by song analysis of the concert, and my verdict will probably contradict the feelings of many present in Manchester last night.

Some in the queue had travelled far even Europe for this gig, the first in the UK since 2008, and even I had paid well over face value to secure a ticket. The support act, The Head and the Heart, were frustratingly inconsistent: female vocalist Charity Rose Thielen sometimes stretched her pitch too far, giving a suspicion she wasn't quite sure where the centre of the note lay. It was however moving to hear her explain that not long ago, she'd busked in central Manchester. This band's rise since 2009 has been a great example of word of mouth, and they are certainly self starters. The closing two numbers were stirring, ending with Mumford and Sons style crescendos, and they finally brought the 2000 strong crowd to life. This act has potential, but I feel they lack the spark of originality which would make them truly distinctive. I still hope there'll be a second album, when they may have matured.

The Head and the Heart were obviously opening for Death Cab due to local connections, but they didn't really make a logical choice: their indie folk style has little in common with DCFC, and none of the fans in the queue I spoke to had heard of them. It's a reflection of my taste that I enjoyed them more than the main act. I love exploring new music, instead of devotedly following one of two acts I'm fanatical about. I hope my mind stays open, but I could see the danger of a situation developing where I become obsessed about Portugal. The Man. I can be fairly certain that I won't be going on tour with Death Cab.

Now, Death Cab certainly sounded tight and were technically excellent, whilst lead Ben Gibbard has a distinctive and attractive voice. He also showed considerable energy on stage, and played a generous near-two hour set, which ranged wide through their six album back catalogue. To me though, to play relatively little of their 2011 album Codes and Keys shows a lack of confidence, and is in start contrast to the way Radiohead lead their fans to unexpected places. Codes and Keys has a softer, less guitar lead and more keyboard and electronic sound than the earlier work, and Gibbard seemed almost apologetic when he announced several songs into the set that he was playing a new one. The first few songs in this set were marred by the sound: I found the distortion excessive. Admittedly, I was directly in front of the PA system, and I'm aware of the low-fi aesthetic, but it was over-done.

I've mentioned  my firm belief in the link between music and place in previous reviews, something I put partly down to culture, but more tangibly the natural or urban landscape in which it is composed. I've visited Death Cab's home town of Bellingham, and know the Pacific Northwest well: I'll be there later this week, and it's one of my favourite natural environments. Still, I can't discern a link between their relatively down beat, claustrophobic sound and their magnificent domain of Washington State. There's almost a sense of alienation at times, which is incongruous to my ears. I'm not arguing that everyone from this part of the world has to sound like The Fleet Foxes, but The Head and the Heart's seem truer to their roots.

I'm writing this as an outsider, who hasn't seen Death Cab before, but I just wonder if the band has (gradually, through hard work and talent) become too successful, comfortable and tempted to play safe, having acquired family to support. The gig was so slick and professional there wasn't sufficient sense of risk. There was uplifting singing along to the hit songs, but the dancing was pretty low key, with the exception of a small group at the front, and the audience didn't go mad. My own emotions were coloured by the attitude of the venue staff: the refusal to allow water on the hottest day of the year, lack of ventilation in the hall (even Gibbard asked at one stage if someone could open a window), and the intolerance of photography. This venue has previously had an eminently reasonable attitude, so I can only attribute the hard line to the band's tour rider (a suspicion fuelled by the fact I was allowed to openly film the support act). Some enlightened musicians like Trent Reznor actually encourage the sharing of amateur footage amongst fans: participation encourages passion to develop around a band, and inspires new fans to pay to go to concerts.

At one point, a door behind the stage swung open, revealing gorgeous sunlight and trees swaying in the breeze outside, in stark contrast to the claustrophobic, contrived atmosphere in the hall. A highlight for me were two acoustic numbers performed sensitively by Gibbard, showcasing his considerable vocal talents, with greater affinity to my own musical values and the beautiful world we live in.

Videos

5/10