By Delia Paunescu

When it started in 1998, Death Cab for Cutie was the solo project of frontman Ben Gibbard. He recorded the first album “You Can Play These Songs With Chords” mostly alone and it stood out if only for its lack of emotion.

But on Monday, the band from suburban Seattle headlined a show at famed Radio City Music Hall, and sold it out. While the indie rock quartet may have become popular with emotionally aware lyrics, it seems that their fashion sense has also struck a chord. Outfitted in the tight jeans and dark-rimmed glasses that Gibbard has come to be known for, Death Cab’s fans came out in droves.

Opening act St. Vincent set the indie tone with music that was mostly instrumental and quite trippy. Like a tea party on acid, the set was sometimes electronic, other times resembling Parisian folk music. But lone band member Annie Clark played on, her voice sounding like that of Fergie if the Black-Eyed Pea ever picked up a book and drank tea with Regina Spektor.

After a short set change, Death Cab took the show with “The Employment Pages.” In fact, several of the first tracks came from prior albums, likely fulfilling a dream of being played in such a grand venue. While the plush seats of Radio City remained filled for the beginning of the show, it was not for lack of engagement. Because their music is sentimental in a universal way, fans could be spotted relating lyrics to imminent break-ups or lost loves.

Though early songs seemed like warm-ups as the band got over their stage jitters, the night really picked up soon after. All songs off this year’s release “Narrow Stairs” were received with great excitement and once the mass stood up, there was no sitting down. Some danced around while most others simply bopped along quietly in a display of enjoyment.

With their latest work, Death Cab didn’t just recreate the simple beauty of songs like “When Soul Meets Body” and “Sound of Settling.” Instead, the sixth studio album is loftier in its goals with the band leaving its cheery depression for more noticeable instrumentals. Monday night was the concert equivalent as the guys traded in small clubs for famous halls.

Not forgetting the fans who brought them this far, Gibbard dedicated the band’s quiet wonder of a single “I Will Follow You Into the Dark” to those who had been rained out of the summer performance at the McCarren Park Pool in Brooklyn. “Technicolor Girls,” the first encore, was a real treat as Gibbard announced it had only been played a handful of times in the last eight years.

Though fancy rods of light beamed onstage as the band played radio hits like “I Will Possess Your Heart,” Death Cab didn’t entirely leave its small beginnings; the garland of lights that looped atop the stage before hanging down looked no fancier than a dorm room dressed up for a party. It’s easy to see why so many people, of ages ranging from 10 to 55 relate to the songs of love, heartache and soulful longing. It is a feat to keep thousands entirely engrossed until the final song but Death Cab accomplished just that, making their largest NYC show to date a huge success.