James returned to the stage last night in Middlesbrough for their first show since headlining Festival Authentica in Braga last December – and the time away had done nothing to dull their momentum. Still riding high on the success of Yummy, their chart-topping 2024 studio album, the band returned with fresh energy – and an even fresher setlist. This week, they celebrate the release of their new live album, a raw and expansive snapshot of a group still evolving even at the peak of their powers. Middlesbrough, then, wasn’t just a warm-up – it felt like the ignition of something bigger.
One of the great joys of a James show is its unpredictability. With four decades of music behind them, the band have mastered the art of surprise – constantly reshuffling their set lists and defying expectations – and in Middlesbrough, they did exactly that. Opening the show was ‘Busted’ – a sombre track from their Better Than That EP that showcasing rousing trumpet from Andy Diagram. Maintaining the subdued pace, the band slipped seamlessly from a rarity not played since 2019 into a standout from Yummy. Frontman Tim Booth must be slightly psychic – on the album’s UK tour, he’d introduce ‘Way Over Your Head’ as “your new favourite song,” and judging by the crowd’s reaction in Middlesbrough, he wasn’t wrong. An emotive track that explores life’s struggles, its introspective lyrics clearly resonated with the audience. As the song built to its mesmerising finale, the entire band sang in unison, drawing the crowd into the moment. The response was as powerful as that for longtime fan favourites, as if the song had been a staple of the setlist for years.
‘Say Something’ prompted Tim’s first trip to the barrier, where he connected with fans whose lives James have long soundtracked. From there, the band unveiled a new version of ‘Moving On’ – more concise than usual, hitting the chorus sooner – but without sacrificing any of its emotional weight. After the final note, bassist Jim Glennie took a moment to urge the crowd to revisit the song’s heart-wrenching video, created by animator Ainslie Henderson, in which a character made of yellow wool slowly unravels – a striking visual metaphor for grief and letting go.
Though it surfaced at a few festival shows in Spain last year, ‘Leviathan’ was a welcome surprise in the setlist – making its first UK appearance since 2019. As the opening track released from Living in Extraordinary Times, it’s long been a fan favourite, a fact immediately reaffirmed when its shimmering synth intro rang out. Often hailed as the band’s closest brush with a pop love song, it shone brightly, highlighting both the power of Tim’s vocals in the sweeping chorus and his nuance in the song’s more delicate passages. As the band briefly pulled back, he delivered a hushed, intimate verse before they came crashing back in, amplifying the song’s emotional release.
As some of the newer band members stepped offstage, ‘Honest Joe’ transported the crowd back to 1994 with a relentless, techno-tinged journey. Possessed by the rhythm, Tim alternated between distorted megaphone vocals and some of his most unrestrained dance moves, completely in the grip of the music. Multi-instrumentalist Saul Davies joined the chaos, amplifying the intensity with a second megaphone. Following a wild, unhinged track like ‘Honest Joe’ is no easy feat – but James have never shied away from a challenge. They rose to it with ‘Tomorrow‘ – a song that takes flight the moment Saul’s ringing guitar kicks in. Instantly recognisable, it builds with unstoppable momentum, soaring right through to its euphoric close. One of the band’s most enduring anthems, it carries some of their most uplifting lyrics – and the crowd matched its spirit, singing every word with unbridled passion.
Yummy was met with widespread acclaim and stands as a body of work the band can be rightly proud of – so it’s heartening to see James continuing to champion it live. A highlight of the set came in the form of a powerful trio: ‘Shadow of a Giant‘, ‘Stay’, and ‘Better With You‘. Live, ‘Shadow of a Giant’ transcends being just a song – it becomes a powerful showcase of the band’s collective talent. Saul’s elegant violin lines, Adrian Oxaal’s rich cello tones, and Chloe Alper’s ethereal choral vocals blend seamlessly to create a truly immersive moment. In contrast, ‘Stay’ arrives in a reimagined form, courtesy of Coldplay’s Chris Martin. The stripped-back arrangement pares down the instrumentation, injecting a sharper sense of urgency. Like ‘Moving On’, the chorus now lands earlier, giving the track a more immediate emotional impact. Opening with eerie synths that soon give way to a pulsing disco beat, ‘Better With You’ delivered a striking moment of beauty as Tim and Chloe faced each other in song, their connection deepening as they eventually joined hands. Arguably the standout track on Yummy, it built to a euphoric climax – Chloe’s delicate backing vocals floating above the soundscape while Tim danced freely, completely absorbed in the moment.
Living in Extraordinary Times is a politically charged album, and with the current climate in America, it felt both inevitable and almost cathartic to see the band bring ‘Heads’ back into the set. It began with the band clapping in unison, soon overtaken by pounding drums that built an unmistakable tension. Tim’s vocals, sometimes rising to a shout, perfectly conveyed the track’s urgent message – capturing the disillusionment and chaos of the times. James have a long history of experimenting and evolving their sound, and their versatility was on full display as they seamlessly transitioned from ‘Heads’ to ‘She’s a Star‘. The familiar slide guitar from Adrian kicked things off, setting the tone for what felt like a truly communal moment. Ever the showman, Tim moved the barrier aside and wandered through the crowd, unassisted, dancing with and singing to fans throughout the entire track, crafting an intimate experience. Keeping the hits coming, Tim returned to the stage for a triumphant rendition of ‘Sit Down’, giving Andy, Chloe, and percussionist Debbie Knox-Hewson a chance to step away from their instruments and fully engage with the crowd – whether it was through singing, dancing, or shaking a tambourine. As the song slowed before its final crescendo, the three of them perched on the monitors, joining Tim in looking out at the crowd in awe – and of course, the crowd kept the chorus alive long after the track had ended. With energy surging between the band and crowd, ‘Getting Away With It (All Messed Up)‘ arrived at just the right moment.
The only song in the set from All the Colours of You, ‘Beautiful Beaches‘ offered a poignant blend of profound themes and an upbeat melody. Focused on new beginnings, it was inspired by a friend of Tim’s who lost their home in the California wildfires. Though they didn’t perform the extended version featuring the iconic drum battle between Debbie and David Baynton-Power, the track still highlighted the band’s mastery of dual drummers – their dynamic rhythms adding an energetic layer to the song, creating a vibrant, textured sound that elevated the live performance. James may be far from a traditional greatest hits band, but to no complaint from the crowd, the set was generously laced with fan favourites – especially as the show reached its climax. True to form, the band tailored the setlist to the room’s energy, and it was clear they’d struck the perfect balance. Landing with electrifying impact, the synth-driven ‘Come Home’ ended the main set.
The encore began with ‘Sound’ – a track celebrated for its brilliance in a live setting. Sometimes it runs just five minutes; other times, it stretches to fill the entire encore. But no matter the length, it always delivers a one-of-a-kind experience. While Andy is often known to appear on the balcony for his signature trumpet solo, this time he kept things more grounded, climbing onto the barrier and weaving his way along the front row. James are far from a polished band – but that’s exactly where their charm lies. They embrace risk, whether it’s reworking arrangements or digging deep into their back catalogue to resurrect songs from any era of their career. Sometimes it lands, sometimes it doesn’t. Their self-described anthem, ‘Getting Away With It (All Messed Up)’, feels especially apt as ‘Attention’ was abandoned shortly after the first chorus. But rather than let it derail the moment, they shrugged it off with good humour, keeping the energy alive and perhaps saving it for another night. For the final track, the stage lights turned a striking red, mirroring the iconic Laid album artwork. Tim sang the opening verse of the title track accompanied by Saul’s gentle acoustic strumming, before pointing to Dave, who launched into that unmistakable drumbeat. What followed was a riotous celebration – the perfect finale to James’ first show of 2025, sending the crowd out into the night on a euphoric high.
Middlesbrough witnessed a band not content to rest on nostalgia, but one still pushing forward – joyfully unpredictable, emotionally resonant, and unmistakably James. If this show was any indication, 2025 promises to be another remarkable chapter in their ever-unfolding story.
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.