REVIEW: JAMES AT CARDIFF MILLENNIUM CENTRE, WALES, (23/10/11)
In the week of the Stone Roses reunion announcement, it seems appropriate to see another legendary Manchester band back again to remind us of the pleasures and perils of getting back together. Almost exactly a decade since their “Farewell” tour in 2001, James could be used as an example of why it’s best to resist the temptation to get back together. Since their reunion in 2007, their studio albums have failed to set the world alight, a they could perhaps be portrayed as a band on the wane.
But then, on the basis of tonight, there’s plenty of life in the old dog yet. A band who were never averse to innovation and experimentation, James have to be complimented for their ambition in arranging a tour with the Orchestra of the Swan & The Manchester Consort Choir. Tonight’s first gig of the tour shows the result – a a sound so full and powerful that it virtually rips the head off the audience, and an intensity that reminds the audience of just how good this lot really are.
The immense potential offered by the orchestra’s range makes for a James show unlike any other. Almost apologetically, frontman Tim Booth observes that it’s not a night for requests, and that instead it’s a chance for the band to play more obscure material – but frankly, given the obsessive nature of James fans, no-one’s bothered. Who wants to hear Sit Down for the millionth time anyway? Instead, the loyal audience are rewarded with truly beautiful arrangements of old and new. Early songs such as Hymn From A Village and Fire So Close are given a depth which their original studio versions lacked – and newer material like English Beefcake (appropriately) has muscle and weight behind it which makes it irresistible.
Always ones to work an audience effectively, the band play with the vigour of men half their age. Booth’s walkabout in the stalls during Just Like Fred Astaire gets people on their feet, and an epic singalong version of Sometimes proves utterly joyous. By the time they get to an encore (again, eschewing obvious choices and opting for 2001’s gorgeous Alaskan Pipeline and 1988’s spiky Medieval), there’s no doubt about it – James still sound as good as ever.
Words and photo: Ed Bridges
