MOG

I've come to the point in my life, where I've written about Death Cab's live show in a way that (hopefully) allows readers to live vicariously through my experience...one too many times. I guess seeing them play over eight times, and writing similar styled reviews close to that number, has made me little uninspired to write about them again in that same manner. It's not to say that I won't do it again the future, but I think it's time to try something new. With that said, I'd like to introduce you to what I'd like to call the Footnotes Edition.

We all know what footnotes are. They're those little references at the bottom of your page or in the back of your book that highlight small notes, often pertaining to the actual body of the text, but also seemingly not relevant, important, and/or cohesive enough for the author to stick into the main text. With that in mind, anytime I write a Footnotes Edition of any concert review, I'm just going to list disjointed observations that may or may not only seem interesting to those who have also seen the band in question. With that said, welcome to Death Cab for Cutie at the Nokia Theatre LA, Footnotes Edition.

^1. Bixby Canyon Bridge has replaced long-lived the New Year as the opening song. Normally I would shake my fist at anything replacing the epic-ness of New Year opening, but Bixby Canyon Bridge is not only of the best opening tracks of any album I've heard in my life, but also a fine replacement to open a DCFC concert with.

-Bixby Canyon Bridge and New Year back-to-back has to be one of the best one-two punch combos in the history of flying like a butterfly and stinging like a bee

^2. Grapevine Fires and Cath... are soon to be added into my list of favorite tracks performed live by Death Cab based solely on the merit that the songs send chills down my spine. They're close to already joining the ranks of Title Track, Transatlanticism, New Year, and We Looked Like Giants (+ baby drum kit)

-If something as slow as Grapevine Fires makes the cut for a live set, how come Brothers on a Hotel Bed, can't? I know they've played it here and there, but it's rarely a staple set list addition (and I’ve sadly never heard it once). Perhaps "Your New Twin Sized Bed" holds the same fate? Disheartening, considering both are favorite tracks off of Plans and Narrow Stairs, respectively

^3. Company Calls + Company Calls Epilogue = high five inducing, literally. I'm sure many people in the audience couldn't truly appreciate the sheer awesomeness of this back-to-back combo, but there were definitely at least two people that did (See Beckie Blog).

^4. It's good to see that Death Cab hasn't resorted to ridiculous stage antics and/or props to spice up their set – it’s still just a simple back drop or two, and well cued stage lighting. I know that elaborate light shows and moving platforms work beautifully for bands like Coldplay (and I’m sure Miley Cyrus and the Jonas Brothers), but it's still just as powerful to see bands like Death Cab or Tegan and Sara completely blow away an audience with music alone.

^5. Is it blasphemous to say that I’m a little tired of hearing I Will Follow You Into the Dark live? I mean, it’s a great song, and I do love it, but it’s slightly disheartening when the entire crowd goes crazy and belts out the lyrics to only a select few songs, and sometimes even drowns out the song in the worst way possible. I shouldn’t have to find myself cringing during an acoustic ballad that has all the ingredients of being the shit. Honestly, I wouldn’t mind if I Will Follow You Into the Dark was momentarily retired and switched out for something such as Death of An Interior Decorator or maybe Blacking Out the Friction.

-Sort of reminds me of this one time Transatlanticism was close to being completely ruined when I saw it played at the Greek, with a special cameo by two drunk girls singing (incorrect) lyrics loudly, obnoxiously, and completely off key into my right ear

^6. If Jason McGerr is the band member to watch during Transatlantcism, Nick Harmer definitely takes the cake for "I Will Possess Your Heart." I wonder if he has to do finger muscle exercises to prepare for that song alone?

^7. Ben Gibbard tried to trick us all in the encore by not playing Title and Registration with his drum pad. It was the first time I've seen him take the mic in his hand and frolic around the stage singing, headbanging, and dare I say, hip swinging. Very. Awkward. (And we all know that I love awkward guys)

^8. "Wait" also made the encore. It seemed a little out of place and probably would have made a more positive presence in the actual set somewhere. Still though, a pleasant surprise live, and I wouldn’t have had it replaced

^9. Transatlanticism does it to me every time. Every time.

Overall, the perfect show to have seen on my inaugural trip to the uber-fancy Nokia Theatre in Los Angeles

PS, I'm sorry this was so text heavy; I'm going to work on gradually becoming more concise, haha.