Death Cab for Cutie

Since its construction in the ’40s, the art deco-ish Ridglea Theater near downtown Fort Worth has played host to everything from weddings and movies to Christian hair metal (Stryper is playing here in a week.) On a recent autumn evening, it welcomed indie-turned-major-label rock band Death Cab for Cutie.
Much has been made about the fifth Death Cab album, Plans, and the fact that it’s the quartet’s first Atlantic release. And judging from the line stretching around the venue and “Sold Out” posters when we arrive, it’s clear the word is out about these talented Seattle-based rockers.
Following an energetic and inspired set by Montreal’s Stars, the fog machines began signaling Death Cab’s arrival at 10:15. Wasting little time getting into the new album, Ben Gibbard and his carload of merry men (Nick Harmer, bass; Chris Walla, keyboards/guitar/vocals; Jason McGerr, drums) burst right into Plans’ opening track “Marching Bands of Manhattan.”
Dressed in black with a blonde electric guitar slung around his neck, Gibbard swayed rapidly back and forth while passionately singing. What the Ridglea lacked in stage décor—a blank white canvas behind the band combined with colorful lights casting shadows like a Cure “Boys Don’t Cry” video—the combo made up for in energy and musicianship. Of course, this is an outfit that doesn’t need Green Day pyrotechnics to beef up a show; the music speaks for itself.
And the musicianship was spot on, with band members switching instruments nearly every song. On “Title and Registration” for instance, Gibbard grabbed a drumstick to play toms set up near his mic stand while Walla moved over to the keys.