Postal Service and Death Cab for Cutie played the hits at Orlando's Kia Center

Iconic rock band Death Cab for Cutie and electronic-pop band The Postal Service transported Orlando back in time on Wednesday night for their double headline concert.

The two starkly different — yet somehow cohesive — projects changed the game for indie pop and rock music back in the early 2000s, specifically 2003, with the release of Death Cab’s Transatlanticism and The Postal Service’s Give Up. The tour served as a celebration of both albums, with back-to-back full playthroughs of each, led vocally by the distinguished Ben Gibbard.

These albums not only redefined each genre and inspired a shift in tone of pop music's toolbox years ago, but redefined alternative-rock culture. It’s pretty significant to see an entire arena full of fans of two albums that released over 20 years ago (especially considering Give Up is the only release from The Postal Service before their initial disbanding). By the looks of the fans waiting to enter the arena, you could tell many had been waiting quite a while for such an opportunity, maybe even the full two decades since the original releases.

Dreamy indie-rock band Slow Pulp opened up the night, serving as a charming, almost hypnotic introduction to the rest of the evening.

As the lights dimmed for Death Cab’s set, an orchestral overture filled the arena, signaling that something of great stature was soon to follow. And that great something was Transatlanticism in its entirety, which naturally began with the iconic guitar intro of “The New Year."

Transatlanticism is considered to be the Death Cab release that really propelled the band into the spotlight, expanding their fanbase and popularity across the globe. Part of the notable nature of this album comes with the way it seems to cover all bases with finesse, easily sliding between classic rock tracks and more intimate piano tracks. Gibbard’s lively stage presence had the audience captivated and jumping along to “The Sound of Settling,” but just as rapt during the ballad “Passenger Seat.”

One of the highlights of the Death Cab set was easily the titular “Transatlanticism,” a beloved track that soared live. This song underlined the larger emotional poignancy of the tour, with the building chorus serving as a significant high point in the set. Gibbard’s passion for performing is infectious, and this is the track that really translated this passion for the audience, providing a sweet reward for those of them who had grown alongside Transatlanticism over the years.

As high-energy as this night may have been, Gibbard mentioned that some of the “craziest fucking shows” the band has ever played have actually occurred at another treasured Orlando venue just a couple blocks down — The Social. He recalled the many times Death Cab has ventured down to Florida to play in the area, thanking the fans for sticking with him and his bandmates all this time.

After wrapping up Transatlanticism with the moving “A Lack of Color,” Gibbard exited stage for a brief 15-minute intermission before returning alongside guitarist Dave Depper, Postal Service producer Jimmy Tamborello and powerhouse vocalist Jenny Lewis.

Although the arena’s energy already felt incredibly palpable during the Death Cab set, it soared to a new height as The Postal Service began with “The District Sleeps Alone Tonight,” causing everyone to instantaneously rise to their feet and start dancing.

Following suit with Death Cab, The Postal Service played Give Up in order, in entirety. “Such Great Heights,” one of the band’s most popular hits, was up second, which even further revitalized the audience.

And we can’t discuss The Postal Service without mentioning the oh-so-wonderful Jenny Lewis, whose charm and vocals were met with cheers and applause as soon as she opened her mouth. Lewis and Gibbard played harmoniously off each other, through the duo-based “Nothing Better,” and especially during the encore acoustic performance of “Such Great Heights.”

“Recycled Air,” “We Will Become Silhouettes” and “This Place Is a Prison” were other highlights of the set (with the latter even sparking a single lighter to go up in the pit, another throwback to the days before iPhone lights became the new norm to wave around), but nothing could top the electric “Brand New Colony.”

The real joy of the night came not just from the music played, but the full nostalgia-fest it evoked in the audience. Not many albums can stand such a test of time, bringing so many fans out of the shadows and into a packed arena after 20 years, all singing each and every word and jumping along to each and every beat.

While Death Cab and The Postal Service are a study in contrasts soundwise, both have an undeniable legacy to their name. To see that played out live was a treat — a great testament to both the longevity of their sound and the joy that it continues to evoke. Who knows, maybe we’ll see them again for the 30th?