OTTAWA - Grey skies seemed not about to clear up Saturday evening as a predominantly teen-and-tween crowd waited to be admitted to the Civic Centre. But then, spreading sunshine all over the place has never exactly been Death Cab for Cutie's role.

Through six albums, the Seattle-based band has been all about the angst. Resident singer-songwriter Ben Gibbard acknowledges as much through sly lyrics like, "I stared at my shoes in the ICU."

And he likely should not have been surprised when teen prime-time soap The OC elected Death Cab as something akin to its official band, with their achingly beautiful melodies that belie sometimes-distressing, fatalist lyrics. It is, folks, the soundtrack to our times.

It's also, let us remember, only rock and roll. At least, it was Saturday, as Gibbard and bandmates Nick Harmer, Chris Walla and Jason McGerr tore it up during a set that offered a revved-up cross-section of a formidable catalogue.

From the opening performances of 405, The New Year and We Laugh Indoors -- three albums properly touched on within the set's first 10 minutes -- it was clear that Death Cab in concert is an altogether more lively, celebratory animal than the quiet, contemplative combo captured on disc.

Which is as it should be. Particularly in a setting such as a hockey arena, where nuances are likely to be lost. Yet, by We Laugh Indoors, it was also clear how the audience-performer relationship was going to work. McGerr pounded out an incessant beat, Gibbard wrestled with his guitar and Harmer fairly leapt about the stage; the audience, meanwhile, stood motionless.

The packed general-admission section in front of the stage let it be known that they were there to be moved, but not to move. Seldom, even in Ottawa, has so much rock fallen on so many still bodies.

Of course, this is Death Cab, a band that inspires emotional, not physical dancing in the aisles. And sitting on their hands did not stop fans from squealing when Gibbard mounted the drum riser, singing along to every word of the exquisite Follow You Into the Dark or demonstrating an impressive knowledge of the band's vast repertoire.

Gibbard, presumably, appreciates such loyalty. It was, however, difficult to ascertain as much from his stilted efforts at between-song patter, the bulk of which was of the "Is everybody doing all right?" variety. No matter, the music and lyrics spoke eloquently enough for the reluctant centre-of-attention.

Gibbard did depart from his inquiries as to our well-being long enough to tell us he was "pleased as punch" to be touring with Ted Leo and the Pharmacists. Leo's adrenaline-fuelled opening set was a perfect power pop primer.