By Alexandria Sardam

Indie rock band Death Cab For Cutie played The Louisville Palace Friday with special guests, Magik*Magik Orchestra. Yes, this is the same orchestra that played on Death Cab’s latest album, “Codes and Keys.”

The band delighted the Palace with electric performances of, “Codes and Keys,” “Cath…,” “Soul Meets Body” and of course, “I will Follow You Into The Dark.”

The heightened anticipation of the audience elevated with every inch the heavy, velvet curtain rose, revealing more and more of the half empty stage.

Upon the stage rested the band’s equipment and a cluster of perfectly postured men and women, Magik*Magik Orchestra, with their hands guiding bows up and down and back again with graceful precision.

The conductor stood strong, yet sensible, with a tight bun resting upon her petite frame. Her arms moved proudly while the trickling blue hue of lights playfully filtered through her stoic movements.

The glowing lights danced upon her loose fingers as they gracefully flickered, conducting the orchestra to produce a bellowing sound so unimaginably heart wrenching that the only possible cause was the date — Friday the 13th.

The orchestra came to a stop as the lights remained low, while a tall and somewhat lanky figure in black strolled across the stage, taking post behind a piano.

It was Ben Gibbard.

His casual stride tremendously camouflaged his significance as an influential musician, making him that much more admirable. His hands rested upon the keys and began to play those iconic notes that introduce the song “Passenger Seat.”

Gibbard’s voice was spot on. His voice rang matter-of-factly over the piano that subtly accompanied him.

The simplicity of the song served as the perfect example of less is more. The audience’s gratitude of recognizing the song stopped almost immediately, not because intrigue had subsided, but because the set opener was so powerfully hypnotizing that applause would taint the pureness of such a moment.

His voice and the same three descending keys, repeatedly played, captivated the audience and froze them into an honest submission.

Then as he sang the lyrics, “Do they collide? I ask and you smile,” the orchestra accompanied Gibbard, creating an even larger swell of emotion that washed over the mesmerized listeners.

The way the strings paired with Gibbard’s songs crafted this overwhelming wave of emotion in sound and in feeling. They mastered the ability to generate contradicting emotions of sadness and hopefulness into one song and into one moment of music.

After the song concluded and segued into “Different Names For the Same Thing,” the remaining members of Death Cab joined Gibbard and the orchestra on stage. The piano picked up, leading the lights to brighten and the orchestra to emulate that escalating energy that pulsated through the band members.

The band and orchestra continued to magically charm the audience until the very last note was played and Gibbard took a bow. The connection between ears, hearts and music had never.