Seattle

For their Seattle stop, the band returned to the iconic Showbox – the same venue where they first performed in 2010, back when it was known as the Showbox at the Market. Back in 2019, they performed at its sister venue, Showbox SoDo.

Established in 1939, the Showbox has been a cornerstone of Seattle’s music scene for decades, showcasing everything from Jazz Age legends to grunge pioneers. Over the years, its stage has seen performances by music greats like Muddy Waters, the Ramones, and Pearl Jam.

The VIP soundcheck in Seattle started a little later than usual due to the venue’s sound restrictions. Interestingly, these soundcheck’s have become some of the most experimental moments on this leg of the tour. Following ‘Waltzing Along’, the band launched into ‘The Lake’ and ‘All Good Boys’ – two fan favourites that have yet to appear in the main set. Notably, the few times ‘All Good Boys’ has surfaced during sound-checks on this tour mark its only North American performances, despite its status as one of the band’s most cherished B-sides.

The band opened with ‘Zero’, setting the tone before transitioning into ‘Dream Thrum’ and ‘Way Over Your Head’ – two gentle, emotionally resonant tracks released decades apart. ‘Say Something’ accompanied Tim’s first trip to the barrier, where the crowd’s energy clearly fuelled him. He carried that momentum back to the stage, where the band launched into a vibrant performance of ‘Ring the Bells’.

The first set featured five tracks from Laid, including the bass-driven ‘Everybody Knows’ and a standout rendition of ‘PS’. The latter has truly flourished on this tour, thanks to the band’s rich improvisation – from Saul’s expressive violin to Adrian’s subtle guitar licks that perfectly compliment Tim and Chloe’s harmonies as the song builds to its powerful climax.

You might expect a nine-piece band to descend into chaos, with competing sounds and overlapping parts – but James are the opposite. They thrive on cohesion, seamlessly bouncing off one another and blending their talents with precision. ‘Tomorrow‘ was a perfect showcase, gradually building in intensity before erupting in a thunderous climax led by Dave and Debbie’s pounding drums. It was followed by ‘Born of Frustration’, which saw Tim make another trip into the crowd, bringing set one to a close.

There have been few shows on this tour where ‘Skindiving’ hasn’t opened the second set – and every time Chloe steps up to deliver the vocals solo, it’s clear why. Her performance is consistently captivating. Tim then returned to the stage for a much shorter rendition of ‘Sound’ than usual. A track that can stretch anywhere from five to ten minutes, ‘Sound’ typically leans heavily on the band’s improvisation and is usually saved for later in the set. That said, Andy still seized the moment, venturing into the crowd to deliver his soaring trumpet solo right from the heart of it.

The second set featured eight tracks from Laid. Two standouts – polar opposites in tone – highlighted the band’s remarkable range, even back in the ’90s. The already intimate ‘Lullaby’ has taken on new depth and emotional weight this tour, performed in a stripped-back arrangement by Adrian, Mark, Tim, and Jim, with Mark’s delicate piano work adding a haunting beauty. In contrast, ‘Low Low Low’ bursts in like a celebration, driven by Andy’s jubilant trumpet line. Often overlooked and considered the weakest track on Laid, it’s been revitalised on this tour – earning a rapturous reception each night.

The main set closed with ‘Laid’, the crowd taking the lead by singing the first few verses unaccompanied, before Dave launched into the unmistakable drum intro and Tim kicked the song into full gear. After taking their bows, the band returned for the encore with ‘Out to Get You‘ – its slower tempo and emotional weight gently grounding the crowd after a truly electric night.