The Smiths and James are two of the most prolific band’s to have emerged from the Manchester music scene, so it was a big deal over the Summer when Johnny Marr supported James at two UK festival shows. It was an even bigger deal when they announced that they’d be heading to North America together, marking nearly four decades since James supported The Smiths in 1985. We caught their show at Chicago’s Riviera Theatre on 17th October 2024.
James kicked off their set with ‘Way Over Your Head’, a subtle yet captivating opener. Its introspective lyrics immediately drew the crowd in, as the track gradually built up to a stunning crescendo and a beautiful outro. The band followed up with the surprise of ‘Sometimes’ – one of their most iconic hits, it’s typically reserved for the finale at their UK shows. The timeless song, rich with rhythm, had the energy and atmosphere of an encore, leaving the audience electrified early in the set.
Keeping the energy levels high, ‘Life’s a Fucking Miracle’ followed. Driven by a funky bass-line from Jim Glennie, the life-affirming track saw Tim Booth make his first visit to the crowd, flawlessly delivering every word without missing a beat. As the charismatic frontman returned to the stage, he shared a lighthearted quip with the crowd about everyone’s reliance on mobile phones, before politely requesting that if he were to visit them again, they refrain from putting their phones in his face. The aptly timed ‘Mobile God’ came next. Written from the unique perspective of a mobile phone, the song’s pulsating rhythm was matched by a stunning visual display, with the screen behind the band showcasing impressive AI-generated graphics.
The rousing ‘She’s a Star’ followed, showcasing Tim’s powerful vocal range, which remains as strong and captivating as ever. Things then lowered in tempo for a mesmerising duo of tracks – ’Shadow of a Giant’ and ‘Out to Get You’. While both tracks highlighted Saul Davies’ exceptional violin skills, ‘Shadow of a Giant’ placed particular emphasis on Chloe Alper’s ethereal vocals. Her voice has brought a fresh dynamic to James, intertwining beautifully with Tim’s, adding depth and harmony that elevates the band’s sound to new heights. More fresh material arrived with ‘Stay’, a poignant track led by keyboard maestro Mark Hunter. The song acts as a beacon of hope for those facing struggles, with its heartfelt lyrics and soothing melodies providing a sense of comfort and encouragement.
We were then treated to two tracks from the band’s La Petite Mort album – ‘Moving On’ and ‘Curse Curse’. Accompanied by a beautifully animated music video that perfectly captures the track’s poignant subject matter, ‘Moving On’ drew an overwhelmingly emotional response from the crowd. The performance also spotlighted Andy Diagram’s evocative trumpet playing. In complete contrast, the synth-driven ‘Curse Curse’ brought an explosion of energy, with Tim once again making his way through the crowd. Although Chloe wasn’t part of the band when the track first debuted, her presence – megaphone in hand – breathed new life into it, with her dynamic vocals adding an electrifying new layer.
One of the real perks of seeing James in North America is the contrast in venues. While they regularly sell out arenas in the UK, their shows across the pond often take place in stunning, theatre-style venues. Ever the fearless performer, Tim embraced his edge-walking nature during ‘Waltzing Along’, climbing up to visit fans seated in the balcony, putting his trust in them as he walked along the edge with his signature daring spirit. After a jubilant performance of the anthemic ‘Getting Away With It (All Messed Up)’, the set reached its finale with ‘Laid’. As the band’s biggest hit in America, it was an undeniable crowd favourite. Feeding off the audience’s energy, it was clear that the band enjoyed performing it just as much as the crowd enjoyed hearing it.
After igniting the crowd’s excitement with the sound of blaring sirens echoing from the stage, Johnny launched his set with the standalone single ‘Armatopia’. Bursting with energy, it was the perfect opener as it seamlessly matched the vibe of James’ performance. The instantly recognisable intro of ‘Panic’ erupted next, before he transported the audience back to 2013 with the the exhilarating “Generate! Generate!” – a crowd favorite that stuns with its electrifying guitar breakdown. Maintaining a brisk tempo, the electronic-infused ‘Spirit Power & Soul’ followed, highlighting Johnny’s growth as a frontman as he confidently danced to the beat before delivering his opening riff.
‘Hi Hello’ came next, bringing a moment of pure beauty to the stage as Johnny delivered some of his most poetic lyrics, alongside jangly guitar riffs, and gloomy keyboard melodies, courtesy of James Doviak. Following a song as powerful as ‘Hi Hello’ is no easy feat, but Johnny handled it effortlessly as he launched into the Smiths anthem ‘This Charming Man’. Johnny’s down-to-earth persona naturally draws people in, and there’s an unmistakable cheekiness to his onstage presence that adds to his charm – this was particularly evident when he introduced the next track, playfully warning the audience that it wasn’t rubbish and urging them to stay put. The track in question was ‘Somewhere’, during which he picked up an acoustic guitar, allowing his smooth vocals to take centre stage.
The lights dimmed to a deep blue as the brooding ‘Walk Into The Sea’ filled the air – an atmospheric track that sent goosebumps racing through everyone in the room – before Johnny was back on his acoustic guitar for the emotive Smiths classic, ‘Please Please Please Let Me Get What I Want’. In a refreshing change from previous nights on the tour, Johnny launched into ‘The Headmaster Ritual’ – a welcome addition to the set that saw Iwan Gronow’s crisp bass line provide a solid foundation for Johnny’s sharp guitar riffs, perfectly capturing the track’s rebellious spirit.
The catchy ‘Night and Day’ followed, setting the stage for Jack Mitchell’s steady beat that teased the arrival of ‘Get The Message’ – a jubilant track from Johnny’s time with Electronic. Often described by Johnny as one of the songs he’s most proud of, ‘How Soon Is Now’ packed one hell of a punch, before he launched into what’s probably his most well known solo song, ‘Easy Money’. The set came to an end with ‘Getting Away With It’, with Johnny’s lengthy guitar solo elevating the experience to a transcendent level that left the audience spellbound.
Kicking off the encore, Johnny delivered a captivating cover of ‘The Passenger’ by Iggy Pop, joined onstage by Tim. As Johnny effortlessly played the opening riff, the James frontman burst onto the stage with an incredible amount of energy, which was especially impressive for someone who had just completed a full set only a couple of hours earlier. A cover that surely deserves to be recorded one day, featured Tim taking on the verses while they harmonised on the choruses. Both musicians beamed with joy throughout, before sharing a heartfelt hug at the end. Last but not least was ‘There Is a Light That Never Goes Out’ – a Smiths classic that has been a staple in Johnny’s set since he launched his solo career. Iconic, the track served as the perfect finale, and it was especially emotional to witness him thanking the crowd for their unwavering support as the music played out.
After nearly 40 years since they last toured together, it was thrilling to see James and Johnny Marr share the stage, captivating audiences with their distinctive artistry. Despite their remarkably different styles and approaches, their collaboration created the perfect synergy, offering a unique blend of musical experiences. It will be a real shame if their tour doesn’t reach the UK at some point in the future.
