Each Summer, Singular Artists put on Wider Than Pictures – a series of outdoor shows that take place in the picturesque surroundings of Collins Barracks in Dublin. This year saw artists including THE THE, Gossip, and James play at the former military barracks. We were there to catch the latter for their first Dublin show in three years, with support from The Zutons.
One of the finest indie bands to emerge from Liverpool in the mid-2000s, The Zutons boast a remarkable back catalogue that never fails to entertain. With its infectious riff, ‘Zuton Fever’ served as a quintessential opener, immediately capturing the crowd’s attention. If you haven’t kept up with The Zutons recently, it’s easy to overlook their impressive array of anthems, that make them an ideal choice for an outdoor festival setting like Collins Barracks. The stomping ‘Why Won’t You Give Me Your Love’ was a standout, alongside the catchy classic ‘You Will You Won’t’, though as the band weren’t headlining, it was their most commercially successful hit that everybody was waiting for. After all of these years, The Zutons still remain true to their musical vision, and ‘Valerie’ sounded as fresh as ever. They wrapped up the set with a reprise of ‘Zuton Fever’, demonstrating just how fun and vibrant they continue to be as a live band.
Despite the forecast of rain, the skies remained clear, and by the time James took to the stage, the atmosphere was electric. Opting for a low-key opener, the band took us back to 1986 with ‘Johnny Yen’, a track that encapsulates the distinctiveness of their debut album, Stutter. The jubilant ‘Waltzing Along’ followed, maintaining the high energy levels as they introduced the first new track of the evening. A celebration of inclusivity, ‘Life’s a Fucking Miracle’ possesses a funky bass-line from Jim Glennie. One of the band’s most uplifting tracks to date, it’s no surprise that it prompted frontman Tim Booth to venture into the crowd for the first time of the evening, engaging with the lucky fans at the front.
Keeping things fresh, ‘Rogue’ followed. Potentially one of the most challenging tracks from Yummy for Tim to perform live due to its dense lyrics – though he did so with ease – the fast-paced song about ageism impressed from the start and served as the perfect lead-in to ‘Ring the Bells’. Boasting introspective lyrics and a catchy chorus, ‘Ring the Bells’ is a fan favourite that consistently excels live, with the entire band coming together to deliver exhilarating instrumentation. A track that typically appears towards the end of the band’s set due to its extensive crowd participation, ‘Sometimes’ followed, highlighting Adrian Oxaal’s guitar skills as he delivered a standout solo.
This year, James have impressed with captivating visuals alongside their performances, most notably transforming the band into a living tapestry in real-time during ‘Medieval’. A rapturous track that was particularly prominent during the band’s 2011 and 2023 orchestral tours. Characterised by David Baynton-Power’s tribal drumbeat and driving percussion from Debbie Knox-Hewson, the track was enhanced live by the crowd joining in on the refrain of “we are sound”, before the band fell to silence.
One of the most charismatic frontmen on the scene, Tim consistently held the crowd in the palm of his hand. This mutual respect enabled the band to slow the tempo for three songs, resulting in spine tingling renditions of ‘Five-O’, ‘Shadow of a Giant’, and ‘Out to Get You’. While all three tracks showcased Saul Davies’ talents on the violin, ‘Shadow of a Giant’ highlighted Chloe Alper’s ethereal vocals, which have added a new dynamic to James. Her voice shone especially bright during the first verse, where it perfectly intertwined with Tim’s compelling vocals. The latter highlighted Andy Diagram’s ability to elevate songs with his trumpet. Although he’d sadly left the band before the recording of Laid, he seamlessly incorporated his sound into the performance. Toward the end of the song, he and Saul mirrored the raw emotion in the lyrics, playing side by side and feeding off each other’s energy.
Chloe Alper’s ethereal vocals have brought a new dynamic to James, shining especially bright during the first verse of ‘Shadow of a Giant’, where they perfectly intertwined with Tim’s compelling vocals. Led by Mark Hunter’s delicate piano, ‘Stay’ was another song that benefited from her gorgeous harmonies. The hypnotic ‘Sound’ followed, growing more expansive as the track progressed, with its instrumentation delivering a cathartic burst of energy that reverberated across the stage and through the crowd – a surge of energy that Andy took with him as he visited the accessibility area for his solo.
Blending sharp lyrics about the modern world’s obsession with technology with a relentless rhythm, ‘Mobile God’ stands out as one of the most creative tracks on Yummy. Soaring in a live setting, it further amplified the band’s outstanding visuals, which used AI technology to transform those onstage and off into android-like figures, reinforcing the song’s powerful message.
Maintaining high energy through to the end, the synth-driven ‘Come Home’ followed, before Tim took a seat as the anthemic ‘Sit Down’ began, connecting with the crowd, who sang along to every word. The final track of the main set was ‘Beautiful Beaches’. Eliciting a response comparable to one of the band’s biggest hits, ‘Beautiful Beaches’ features an upbeat melody that sharply contrasts with its poignant lyrics, which reflect the devastation of the California wildfires that Tim experienced firsthand while living in Topanga.
Concerned about the early curfew and running out of time, the band opted against an encore, choosing instead to stay onstage to maximize their performance time. In true James fashion, they switched the next track at the last minute to match the electric atmosphere and the crowd’s energy, launching into ‘Getting Away With It (All Messed Up)’. Unfortunately, all good things must come to an end, but at a James show, you can always expect a triumphant finish. A lively performance of ‘Laid’ closed the show, with the band, clearly revelling in the moment, showcasing their enduring enthusiasm even after all these years.
