Hot on the heels of their electrifying live album Live at the Acropolis, James are casting their spell across the UK and Europe this summer. The band reignited their live energy last month with an intimate warm-up show in Middlesbrough, followed by a festival appearance in Ayr. With anticipation mounting for their headline slot at Neighbourhood Weekender on Saturday – the closest this run comes to a homecoming – they made a triumphant return to Scotland, taking over Edinburgh’s Corn Exchange. Battling illness but undeterred, James delivered a performance of remarkable scale, heart, and intensity.
With James, you never quite know what to expect – whether they’ll burst onto the stage with something high-energy or ease in with something more reflective. They wasted no time, launching straight into the anthemic ‘She’s a Star’, with Adrian Oxaal’s slide guitar shimmering like a beacon. Without missing a beat, they shifted gears into ‘Way Over Your Head’ – a live favourite since its debut last summer. Unfolding slowly and delicately, it was dripping with emotion as it swelled toward a breathtaking crescendo, before dissolving into a hauntingly beautiful outro. The past few weeks have been deeply emotional for the James community, marked by the heartbreaking loss of John ‘Soapy’ Soutar – a beloved soul who was truly at its heart. As the final notes of the track faded into the night, frontman Tim Booth paused to dedicate the moment to Soapy, his voice filled with sincerity and love. He shared that he, along with several band members and many in the crowd, were wearing yellow in Soapy’s honour. The touching tribute spoke volumes, not only about the band’s enduring bond with their fans, but also about the profound sense of love and unity that defines the James community.
As the shimmering synths of ‘Leviathan’ washed over the venue, a ripple of excitement moved through the crowd. A standout from Living in Extraordinary Times, the track marked Tim’s first trip to the barrier that night, where he leaned into the sea of fans, creating a moment of raw connection as the chorus soared around them. ‘Leviathan’ is a song that highlights both the band’s musical depth and the intricacy of their production – a fact made strikingly clear during its breathtaking pause, where the band momentarily pulled back, allowing Tim to deliver a hushed verse, before the music surged back in like a tidal wave. Adapting vocals to such dramatic shifts is no easy feat – especially while battling food poisoning – but Tim rose to the challenge with grace. His voice didn’t just endure; it soared, growing stronger with every note.
Keeping the energy levels high, ‘Ring the Bells’ came next, driven by exhilarating instrumentation. In a beautiful contrast, the tempo eased into a sublime rendition of ‘Five-O’. When multi-instrumentalist Saul Davies picks up his violin, it’s always a signal that something special is about to unfold – and ‘Five-O’ was no exception. Shifting gears once more, the tribal rhythms of ‘Heads’ followed, bringing a raw energy that stood in striking contrast to the tenderness of ‘Five-O’. Politically charged, ‘Heads’ drives forward with pounding drums that command attention, matched by Tim’s urgent, shouty vocals – a powerful reflection of the disillusionment and chaos of the times. The track also features compelling instrumentation from both Adrian and trumpeter Andy Diagram, who together create a menacing soundscape reminiscent of a ship approaching harbour, blending Adrian’s cello with Andy’s atmospheric electronic effects.
Back in April last year, the band celebrated their first number one album with Yummy, and it was a joy to hear them play two standout tracks from the record in a row – ‘Shadow of a Giant‘ and ‘Better With You‘. Blending soaring melodies with poignant lyrics that capture the weight of both personal and collective struggles, the former has become a deeply introspective anthem, while the latter spotlights the powerful vocal chemistry between Tim and Chloe Alper. Joining forces in an intimate moment, the pair stood facing each other, further heightening their connection by locking hands, before the performance culminated in a euphoric finale, with Chloe’s ethereal vocals carrying the outro while Tim completely lost himself in the music.
‘Say Something’ saw Tim head to the barrier once more, reconnecting with the crowd before returning to the stage to unveil a new version of ‘Stay’, reworked by Chris Martin. The most noticeable change brings the chorus in much earlier, but the song loses none of its emotional pull, its immersive soundscape perfectly complimenting the lyrical depth.
‘Moving On’ was as affecting as ever, drawing tears from many in the crowd. It felt like a near-impossible track to follow – but James thrive on moments like that. They answered with contrast, launching into the pulsing, techno-tinged ‘Honest Joe’. Driven by an unrelenting rhythm, the track saw Tim fully let go, lost in the chaos, dancing wildly and only pausing to deliver distorted vocals through a megaphone – amplified by Saul, who joined in with a second. Intense and unpredictable, the song commanded attention more than participation. Picking up on the crowd’s hesitation, Saul grinned and quipped, “You didn’t all know what to do with that, did you?”
As Saul began strumming his acoustic guitar, the crowd instantly knew what was coming. Tim held out his microphone, letting them take the lead on the first verse of ‘Laid’, before David Baynton-Power came crashing in with its signature fast-paced, spirited drumbeat. Keeping the momentum high, ‘Getting Away With It’ followed – as anthemic as ever. Often seen as the band’s unofficial theme song, it was a fitting choice on a night when Tim had warned of possible “fuck ups” due to being under the weather – though you’d never have known it. He carried the set with ease, and if he hadn’t mentioned it, no one would’ve guessed.
As the penultimate track of the main set, ‘Tomorrow’ proved to be one of the night’s standout moments. From its instantly recognisable intro, the energy was electric – Tim’s voice charged with emotion, while Saul amped up the crowd from the front of the stage. ‘Come Home’ delivered a high-energy finale, driven by pulsing synths that kept the crowd buzzing. As one of their most iconic tracks from the ’90s, it carries the unmistakable sound of that era – serving as a reminder of how boldly the band have evolved their sound over the decades.
Kicking off the encore, ‘Beautiful Beaches’ unfolded in a stunning extended version – dual drummers Dave and Debbie Knox-Hewson laying down a driving rhythm, Andy adding a jubilant trumpet line and Chloe’s almost whispered outro bringing an atmospheric close. Next came ‘Sometimes’ – a track that always soars live, with Debbie swapping her drums for a guitar and stepping forward to join the rest of the band at the front of the stage.
Though they had already taken their bows and thanked the crowd, the overwhelming roar of appreciation brought them back. Gazing out in awe, visibly moved, Tim paused before saying, “You earned this” – and with that, the band launched into one final song. With Mark Hunter’s gentle piano guiding the way ‘Sit Down’ ignited an enormous singalong – providing an unforgettable finale to a show of grand proportions. This particular rendition offered a fresh twist, with Andy layering in soaring trumpet lines and Saul swapping his guitar for the violin – a bold move for a final song, especially one as iconic as ‘Sit Down’. But James have never shied away from taking risks, and this one absolutely paid off.
James continue to affirm their place as one of the UK’s most enduring and cherished live acts. Their Edinburgh performance was a powerful display of resilience and emotional depth, seamlessly fusing raw intimacy with sweeping grandeur. Far from merely revisiting their legacy, James are boldly expanding it – reinventing themselves with every electrifying show.
James are heading into a busy summer, with a string of major UK dates lined up – including two already sold-out shows at Halifax’s beloved Piece Hall and a headline appearance at Cardiff Castle.
You can read our review of the band’s Middlesbrough show here.