When he’s not in the studio or joining his famous pals on stage – so far this year, he’s joined Franz Ferdinand, The The, Gorillaz and The Black Keys – Johnny Marr is on the road, and we’re absolutely not complaining. Currently touring Europe in support of his recently released live album, Look Out Live!, the legendary guitarist just played a triumphant show at Amager Bio that made a Wednesday night in Copenhagen feel like a Saturday night in Manchester.
Supporting for the duration of the tour are The Clockworks – a four-piece from Galway who’ve been steadily building their reputation since the release of their 2023 debut album Exit Strategy. While their sound carries shades of Fontaines D.C., they’re far from imitators, standing confidently on their own. Frontman James McGregor commands attention with his sharp delivery and lyrical intensity, firing through tracks like ‘Mayday Mayday’ and ‘The Future Is Not What It Was’ with effortless precision. Often standing still and gazing out at the crowd, his measured presence is the perfect contrast to guitarist Sean Connelly, who never stops moving – his dynamic fretwork at times recalling Johnny’s work with The Cribs.
When it comes to indie bands, members often stay in their own lane – focused on their parts rather than one another – but not The Clockworks. Sean and bassist Tom Freeman frequently joined drummer Damian Greaney, the three facing each other, locked in and feeding off both the music and each other’s energy. With its searing guitars and pounding drums colliding perfectly with raw, incisive lyrics about the chaos of modern life, their latest single ‘Best Days’ soared. Yet it wasn’t the only standout – every track hit its mark, and it surely won’t be long before the band are headlining venues of this size.
Striding confidently onto the stage, Johnny launched straight into the electrifying ‘Generate! Generate!‘, setting the tone for the night. The first Smiths track of the set, ‘Panic‘, came next, keeping the momentum high. The energy only intensified with the synth-driven ‘Armatopia’. Often used as an opener, it drew a massive reaction, underscoring Johnny’s remarkable range – not just as a legendary guitarist, but as a formidable songwriter in his own right.
The tempo eased as the poetic, introspective ‘New Town Velocity’ made a welcome return to the set, soaring with understated beauty. Coming straight after the high-energy ‘Armatopia’, it showcased Johnny’s incredible range – proof that his artistry runs far deeper than just guitar heroics. The calm didn’t last long, though: ‘Spirit, Power & Soul’ hit next, flipping the mood in an instant. The transformation was as much visual as sonic, with drummer Jack Mitchell standing to swap his acoustic kit for electronic drums and James Doviak taking over the synths.
Few artists keep a schedule as relentless as Johnny’s and somehow, he’s found the time to work on his next album. The first new offering of the night was – aptly titled – ‘It’s Time’. Opening with a heavy guitar riff that nods to his Playland era, ‘It’s Time’ showcases his growth and confidence as a vocalist. His voice moves effortlessly through the track, enriched by layered harmonies from Iwan Gronow and Doviak. As the song builds, the instrumentation gradually falls away, leaving only Jack’s steady beat beneath intertwining vocals – a captivating moment that drew the crowd in before the full band returned in a powerful, explosive finish. From new to an old favourite, the melodic ‘Hi Hello’ followed before the energy surged for ‘This Charming Man’. Full of that classic British wit, he introduced it as a track that the band hadn’t played in a long time, played as a treat because it had been so long since they were last in Copenhagen.
Released exclusively on Johnny’s Spirit Power compilation, ‘Somewhere’ became a fan favourite as soon as it was debuted during his Summer 2023 dates. It received an orchestral reimagining at Aviva Studios later that year and thanks to Doviak on keyboards and Johnny on acoustic guitar, its current live version is close to that, its instrumentation gradually building, layer by layer, until it reaches a powerful, euphoric climax. Remaining with the acoustic, the atmosphere shifted as the lights dimmed to a moody blue. Then came the delicate opening chords of ‘Please, Please, Please, Let Me Get What I Want‘ – a standout moment in the set that highlighted Johnny’s often-underrated vocal strength, his voice gliding effortlessly over Doviak’s gentle piano accompaniment.
Bursting with energy and electrifying guitar lines, ‘Spin’ made a striking impact since its live debut in the States last month. Driven by a pulsing bass-line and a stomping beat, each verse builds momentum, flirting with gritty, fuzzed-out guitar textures before erupting into a climactic finale. The closing guitar work – expansive and unmistakably Johnny – is elevated by signature effects that make the track a true standout in his repertoire. The second new offering of the night, ‘Spin’ paving the way for a shift into darker territory with the brooding, atmospheric ‘Walk Into the Sea’ – another track that serves as a standout in Johnny’s back catalogue, and one he’s clearly and rightly proud of, as it’s remained in his live set since its release on Call The Comet in 2018.
The raucous ‘Bigmouth Strikes Again‘ was met with a thunderous reaction, followed by the irresistibly catchy ‘Easy Money’, which seems to have evolved over time, now bolstered by extra guitar flourishes that add even more bite. With the momentum in full swing, ‘How Soon Is Now?‘ came next, its iconic tremolo riff reverberating through the intimate venue. The Smiths classic, too, appears to have been reimagined, its sound fuller and more guitar-driven. ‘Getting Away With It‘ wrapped up the main set with style – a throwback to Johnny’s Electronic days and a reminder of his dual brilliance as frontman and guitarist, culminating in a lengthy, euphoric breakdown that stood out as one of the show’s undeniable high points.
Johnny’s solo catalogue alone is more than enough to fill a set, but he has a fondness for covers, and the band always delights in putting their own distinctive stamp on them. Their latest is a jubilant rendition of Iggy Pop’s ‘The Passenger’, which opened the encore. The song was first performed during last year’s BBC Radio 2 Piano Room Month, before becoming a highlight of their North American tour with James last fall, where it was performed nightly alongside Tim Booth.
With its unmistakable intro, ’Stop Me If You Think That You’ve Heard This One Before’ served as the penultimate track of the night, having started replacing a third new track titled ‘Ophelia’ in that set list place just a few shows ago. Closing the night was ‘There Is a Light That Never Goes Out’, a song that has been a fixture of Johnny’s live sets since the start of his solo career. Celebrated for its ability to inspire a powerful, communal response, it remains the perfect finale – a moment when Marr and his audience unite in joyous celebration of his enduring music.
From start to finish, Johnny delivered a masterclass in musicianship, effortlessly weaving the raw energy of his early Smiths classics with the subtlety and depth of his solo work. The set traversed decades of music, with the new tracks proving that Johnny is as inventive and vital as ever. More than just a concert, it was a celebration of his remarkable career.
You can read our Look Out Live! review here.
