Live Review

James – O2 Academy, Sheffield

• 22nd Apr 2010

Despite their great sounding set going largely unnoticed (owing for some horrific shrieking harmonica) below the sea of excitable banter from this James hungry crowd, support act ‘Twenty Twenty’ should be well pleased with the encouragement shown at the close of each of their songs. It’s clear that those who hear are appreciative of a subtle focused and at times anthemic sound, as well as the effort the lead vocalist puts in to address the crowd, regardless of how redundant it may be. Ultimately, there will be more like me who’ll check out their studio work after this gig.

9:30pm and standing space around the bar is ever diminishing as the room reaches capacity levels along with the level of anticipation of seeing James. The stage is scantily adorned with 3 understated mirror- balls, reflecting (couldn’t resist, sorry!) the tour theme, in something of a cop-out, half-assed fashion. Still, the music is what we came for and fans are in for a real treat looking at last night’s set list from their Edinburgh gig; combined with the buzz around front-mans Tim Booths hallucination-derived new material, this could be something special.

With the room pitch black and filled with a seemingly unaware audience, James take to the stage, accompanied only by an acoustic guitar which at first reluctantly hints at ‘Sit Down’, creating a wave of realisation that slowly but surely builds amidst the blackness. The entire crowd is drawn stage-wards, driven by the gratitude and awe instilled by this gentle introduction to the evening.

As the crowd go it solo now and sing heartily like a faithful and inebriated choir, the moment is every bit as special as the thousands that have surely passed before. It may’ve grown somewhat thin for the band, who fails to fully show and share their enjoyment as they have in the past. Still, like most here, I’m left a little goose-bumpy, so I’ll quit my bitching!

Dancing (albeit from the hip upwards) maniacally, Tim resembles a chair bound inpatient from some mental institute for happily insane, as ‘Ring the Bells’ casts an infectious spell over a clearly kick-started crowd. They’re loving every second of this seemingly new, exciting and undeniably spirit-fuelled rendition. It’s one thing to say that the band have still got it, having not lost their skills just yet, but its really heart-warming to report that, as opposed to just going through the motions and playing by numbers, they’re really injecting all the vitality they can muster into each track.

A tight version of ‘Hymn from a Village’ understandably bewilders most and goes almost thankless and, just to stray off-point for a second, it suddenly strikes me that Tim uncannily resembles Jim Carrey’s ‘Klaus’ from the movie ‘A Series of Unfortunate Events’ (it’s good to share Ant, don’t apologise!).

Tim introduces new stuff from their “magnificent new album” and the band begins to play us ‘It’s Hot’, unsurprisingly a song about heat! It’s received well despite any unfamiliarity and the songs surrounding silence escorts us on and into ‘Dr. Hellier’, another new track which has similar effect to its predecessor.

As the stage set sneakily alters to reveal 3 more mirror-balls (fancy bleeders!) of a more significant size, I can’t help but wonder how many we’ll close with. New track ‘Shine’ unfolds, which proves to be the catchiest and most engaging of tonight’s new material; with its memorable and accessible one word (“holiday”) chant-rich construct, it easily pleases. There are no obvious signs of the crowd suffering from ‘hit deprivation syndrome’ as yet, but it surely won’t be too long, right?

Fear not y’all, for classic track ‘Johnny Yen’ follows and it’s met with escalating fervour as memory cells spark and glisten once more, as only the fondest of memories are resurrected amidst the mournfully forgetful faithful here tonight. Standing aloft, rightly high and proud, Tim succumbs to the song as it undergoes something of a brass-strong ‘Seven’ era re-work which rejuvenates an already excellent track. There’s a not too subtle dig at the entertainment industry of course (being the subject matter of the song) and Amy Winehouse attracts comparison to and is offered as being this decades Johnny Yen, before the song spirals into oblivion with jaw-dropping effect; simply awesome and near on impossible to follow…

‘Sandman (Hup-Springs)’ is a logical choice to follow such a power-punch track of the same era, yet it noticeably leaves a hint of abandonment amidst those less familiar with a song that doesn’t stray too far from its former self. We’re warmed once more by a comical slip-up that kills the moment and the false start of the song leaves the mood still-born. Tim stalls the song to address Steve the lighting man, who misses the fact that a darkness shrouded Tim is now atop the massive centre-stage mirror-ball, sat smugly and presented regally for what surely must be (given the scene) ‘Top of the World’.

WRONG! However, the sheer emotion and sentiment of ‘Out to get You’ engages all, and we’re each enthralled in soulful singing before the song closes to rapturous applause, which then in harsh contrast fades to silence. A largely motionless crowd remain attentive throughout the next track, an average filler track called ‘Wanna Go Home’.

Three quarters of the crowd are now grooving to ‘I Know What I’m Here For; its vitality making just a distant memory of the lull we may’ve just found ourselves in, but still there’s a certain insatiable sense of wanting from this crowd that’ll accept nothing less than a classic, so hurrah for “Easter resurrection songs” then…

‘God Only Knows’ shakes loose and rolls out, bringing with it a whole new chaotic drum n bass feel which is, in part, startling and yes, a hundred percent pleasurable. The mind boggles just how smug the collective James must be, yet what’s more frightening (I personally feel) is to think that with tunes like this under their belt, they’d release below par singles like ‘Run Aground’. Enough speculation Ant, onward!

Next single ‘Crazy’ follows. Sniping at the current pirate-riddled download marketplace (I suppose), Tim concedes “this is the next single… which none of you’re going to buy, are you?”, but politics aside, the song pleases. Despite its heavy dependency on an easy, efficient but overworked chorus line, it effortlessly charms the crowd. Not as well as ‘Tomorrow’ though, which for me is the undisputed success of the night, and with its heart fully intact, it propels the vibe into the stratosphere. The crowd are lapping it up and do all they can to outdo Tim. I’m left semi stunned with wonder as it closes, although the massive amounts of stage-bound affection helps snap me back once more. Wow, I’m at a James gig again!

‘Sound’ kicks in and instantly brushes ‘Tomorrow’ under the sonic rug (nice song title in itself?!), and as the momentum builds, I can’t help but suspect that this is going to be special. The mid-point breakdown is prolonged so as to allow the band to fall back in time with one another after an amazing cacophonic blitz. Accompanied by a supportive’ audience who (sometimes drunkenly, sometimes just plain old redundantly) emulate Tim’s dog whistle “ooh” vocals; it escalates once again into its final throes. Sure it could be said that the sing-a-long kills the song, but I really don’t feel that ‘Sound’ live would be the same without it, and it’s great to hear Tim’s still silken pussycat voice too.

ENCORE: James come back to loud whistling & chanting which drowns out what Tim has to say about clothing (?), along with most of the start of the next song. I say that but owing for a little programming glitch, the song ends abruptly anyway, as Tim explains that the song had already been played! Try again, why not, what could go wrong? The same could wrong again I guess! As with so many James gigs, such calamity is neither feared nor far away and its ace to see their true character shine from a skin that’s surely thicker than most after so many years on the circuit.

Now, I’m sure I’m not alone in thinking this, but following up with ‘Getting Away with It’ seems a little staged or contrived and leads me to wonder about the previous ‘errors’. Either way it’s a whimsical distraction that only serves up a tired sounding track which only subdues the night’s progression somehow. It’s classic time again, surely?

‘Sometimes’ re-launches the party and whether James are busted for merely going through the motions, it matters not, for the James massive is back and glued to the spot as they keenly (but with diminished impact) play vocal tennis with Tim . The band openly shares their delight as they soak up the affection of what could easily be mistaken for a homecoming show (but that’s the stuff Christmas is made of, right?).

Closing track ‘Laid’ sends the room into overdrive and the night closes as perfectly as we could’ve expected. The lyrics “When are you coming home” somehow fittingly ties in with my comment about homecomings and December, but hey, I shan’t dwell upon that in case I give the game up!

The night has been one of great success, a truly KICKASS NIGHT!!! After spending the afternoon interviewing James’ original guitarist Jim Glennie, I’d say that this has indeed been a most excellent day for both James and little ol’ me!