LIVE: James / The K’s / Tom A. Smith – Llangollen Pavilion – 29.06.2025

With a reputation forged through decades of hosting the world-renowned Llangollen International Musical Eisteddfod, the Pavilion has become a seasoned stage for artists and audiences from across the globe. This summer, it’s raised the bar once again, welcoming standout acts like KT Tunstall, The Script, and our personal favourite – James. We were there on a sweltering Sunday night to witness the indie legends deliver a career-spanning set that was nothing short of electrifying – made all the more powerful by stellar support from Tom A. Smith and The K’s.

First up was Tom A. Smith – a rising star who’s no stranger to the James crowd, having supported the band on several occasions. A musical prodigy, Tom began turning heads before he was even a teenager, and his talent has only deepened with time. Backed by a full band, he launched into a dynamic set packed with energy, tearing through tracks like ‘Little Bits’ and ‘What’ with confidence and flair. In a bold move for a support act, he led the crowd in a singalong of fan favourite ‘Never Good Enough’, effortlessly commanding an audience of around 6,000 – a clear sign of his strength as a frontman. One of the standout moments came with his closing track ‘Fashion’ – still unreleased, but already sounding like a future anthem. Gritty, bass-heavy, and laced with snarling vocals, it saw Tom ditch his guitar and stalk the stage with swagger, radiating confidence. With each passing year, both his songwriting and stagecraft continue to evolve. Tom’s future isn’t just bright, it’s blazing.

Second on stage were The K’s, who have supported James several times this summer ahead of the release of their eagerly anticipated second album, Pretty on the Internet. The Earlestown boys kicked off with ‘Icarus’, flowing effortlessly into ‘Gravestone’ without a moment’s pause. Their polished performance kept the energy soaring as they raced through a set packed with high-octane tracks – including the ever-popular ‘Chancer’, ‘Black & Blue’ and ‘Glass Towns’. Based on the crowd’s enthusiastic reaction and the sea of K’s t-shirts on display, it’s clear that wherever the band perform, demand for their energetic live shows is sky-high.

By the time James took the stage, the Pavilion was absolutely packed, and the heat inside was almost tangible. From the very first note, the band had the crowd electrified, kicking off with an improvised version of ‘Johnny Yen’ that gave drummer David Baynton-Power a serious workout – setting the tone for the unpredictable, nine-piece live experience that followed. The mood then shifted with the slow-building ‘Seven’, its lush arrangement captivating the audience, before the synth-driven intro of ‘Come Home’ pulsed through the tent. Following a powerful trio of early James classics – each one a celebration of the band’s impressive longevity – the set shifted gears with ‘Way Over Your Head’. The first track of the evening from the band’s latest album, Yummy, the song unfolded slowly, building to an exhilarating peak before fading into a harmonious outro with the band singing in unison.

Next came ‘Leviathan’ from 2018’s Living in Extraordinary Times. Anchored by Mark Hunter’s sparkling keyboard intro, the standout track solidified its place as a setlist powerhouse and witnessed frontman Tim Booth’s first close encounter with the audience at the barrier, before returning to the stage for ‘Stay‘. Written as a call to arms for the younger generation to stay and fight for the planet, the track was brought to life by multi-instrumentalist Saul Davies, who played guitar with his eyes closed, completely lost in the song’s haunting beauty. Before performing it, Tim shared that Chris Martin of Coldplay had recently crafted this particular arrangement of the track. While the new version reaches the chorus more quickly, it retains every bit of its emotional power. 

‘Just Like Fred Astaire‘ drew a fantastic response, its melodic instrumentation providing the perfect backdrop for a massive singalong that built to a stirring finale with Tim and Saul harmonising on the outro. Staying with the classics, the band then shifted to ‘She’s a Star’, featuring Adrian Oxaal’s understated slide guitar and some of Tim’s most powerful vocals of the evening. The atmosphere shifted for ‘Shadow of a Giant‘, with vocalist Chloe Alper quietly commanding the stage, seated and bathed in light as she sang the ethereal introduction. And the song’s impact extended beyond the vocals, highlighting Saul’s mesmerising violin and Adrian’s masterful cello performance. The mood held steady and reflective for ‘PS’, which felt cinematic in the live setting as Tim’s impassioned vocals merged with the evocative strings, heightening the song’s emotional power.

In stark contrast, ‘Heads‘ burst forth with pounding drums and raw, shouty vocals – a pointed commentary on the current turmoil in America. Over the past year, the bands live sets have been accompanied by striking visuals, and those paired with ‘Heads‘ vividly captured the track’s message, brilliantly reflecting the disillusionment and chaos defining today’s world. Only James could pull off a full 180 again, following the Living in Extraordinary Times track with ‘Moving On’ – a tender reflection on death and new life. Driven by Jim Glennie’s funky bassline, the track features an urgent, soaring chorus, topped off by Andy Diagram’s evocative trumpet. Its emotional depth was further heightened by its heart-wrenching video from animator Ainslie Henderson being displayed on the screen. Often shown to children in hospitals, the delicate video depicts a character made of yellow wool slowly unraveling – a tender portrayal of grief and the act of letting go.

When the unmistakable bass-line of ‘Beautiful Beaches‘ rang out, the audience roared – an impressive response for a newer addition to James’ extensive eighteen-album catalogue. The performance was a standout moment for Debbie Knox-Hewson, whose interplay with David in a high-energy drum duel showed just how much her presence has expanded and reinvigorated the band’s sound. ‘Sit Down’ came next, keeping the energy high and highlighting just how much fun the band are having onstage these days. Andy, Chloe, and Debbie stepped away from their instruments to connect with the crowd – with Debbie going a step further, climbing onto the barrier beside Tim. As the rest of the band returned to the stage for the euphoric ‘Tomorrow’, instantly recognisable by Saul’s acoustic intro, Tim stayed with the audience, wandering up into the seats and stopping to interact with fans, including a moving visit to the disabled area.

The main set closed with the anthemic ‘Sometimes’, a song that always builds a palpable sense of anticipation, leaving the band gazing out in awe – and this time was no exception. The crowd continued singing long after the final note faded. Following a brief pause, the band returned with ‘Sound‘ – a track that thrives on the band’s love of improvisation and risk-taking. This rendition soared even higher, thanks to some extra guitar licks from Saul. Breaking down the barrier between stage and audience is central to James’s live shows – everyone becomes one – and true to form, Andy vanished from the stage to deliver his iconic solo right from the seats. ‘Sound‘ can run as short as five minutes, but when it takes flight, it can stretch to fill the entire encore. Luckily, while the band delivered a sublime rendition, there was still enough time left for them to dive into ‘Laid‘ – a joyous, shared moment as the audience eagerly echoed Tim’s vocals to close the night.

The heat may have been high, but so was the energy in the Pavilion, as James carried the crowd on a beautiful, immersive journey through their vast catalogue, with a palpable sense of unity throughout.