On 6th October, the band concluded their North American tour with a final show in Vancouver. The extensive run began last month in Atlanta and saw them travel coast to coast, performing to packed venues across both the East and West coasts. The tour has been particularly special, as each night they performed their critically acclaimed Laid album in its entirety. True to James’ ever-evolving style, no two performances were alike – the track order was frequently reimagined, seamlessly woven together with songs from across their catalogue.
The show began with ‘Dream Thrum‘, its gentle, looping guitar line washing over the crowd like a slow exhale. A quietly bold opener – subtle, melancholic, and deeply introspective. That mood deepened with ‘Way Over Your Head‘. Though not part of the Laid album, its early placement in the set felt intentional, echoing the same emotional stillness and inward pull that defines the record.
The night’s first real shift in energy came with ‘Say Something‘. As its opening chords rang out, a wave of recognition swept through the room, and Tim wasted no time – heading straight to the barrier, leaning into the crowd, locking eyes, and reaching out. ‘Five-O’ followed, carrying that energy into something more intense as Saul’s extended violin intro unfolded. A track that has always soared live, it’s been reaching new heights on this tour, with Saul playing like the world’s about to end. At one point, he snapped a string on his bow – but kept going, undeterred.
Introduced as a song “for anyone thinking of jumping”, ‘Stay’ marked the second offering from the band’s latest album, Yummy. Anchored by a clean guitar riff, the emotionally charged track features a spacious arrangement that allows the vocals to shine, building toward a soaring chorus that hits especially hard in a live setting. ‘Lullaby’ followed – a poignant reflection on the devastating impact of child abuse. As a natural progression from ‘Stay’, it further demonstrated Tim’s ability to confront difficult subjects with sensitivity and depth in his lyrics. Performed solely by Mark, Adrian, Jim, and Tim, the song was both haunting and beautiful, with Mark’s delicate piano solo at the midpoint standing out as a powerful highlight.
‘One of the Three’ has been a standout moment on this tour – a long-time fan favourite that hadn’t been played live since 2016. Reworked in a lower key from its original 1993 version, the performance reflected not only how the band’s sound has evolved, but also their ability to sensitively adapt older material. The new arrangement suits Tim’s voice perfectly – still powerful, but with a deeper emotional resonance that comes from experience. It also features backing vocals from Andy and Chloe, adding warmth and breathing fresh life into the song.
Continuing the theme of the band’s evolution, ‘Shadow of a Giant’ followed – introduced with Chloe seated at the edge of the stage, her graceful harmonies providing a striking contrast to Tim’s rich vocals. Often described by the band as a “journey song,” it gradually builds in intensity, showcasing their collective artistry: Saul’s expressive violin, Adrian’s sweeping cello, and Mark’s delicate piano weaving together to create a cinematic soundscape. As always, the crescendo saw Tim and Chloe dancing freely across the stage, embodying the spirit and emotional release of the song. Up next was ‘Attention’ – another “journey song” that unfolds with quiet subtlety, gently layering intricate melodies and textures until it culminates into something more expansive.
With Dave’s thunderous drumbeat driving the momentum, ‘Sit Down’ surprised with its placement in the set. Though played eight times on this tour (excluding festivals), it usually anchors the latter part of the second set. Closing out the first was ‘Out to Get You’, leaving the audience buzzing during the interval after an electrifying violin and bass duel between Saul and Jim. Crouched on the floor, they fed off each other’s improvisations, creating a thrilling, spontaneous exchange that captivated everyone.
For one final time, ‘Skindiving’ opened the second set, as it has for most of the tour – and for good reason. With Chloe stepping into the spotlight to deliver the vocals solo, the performance perfectly showcased the unique energy and depth she brings to the band’s nine-piece lineup. Tim rejoined the stage for ‘Born of the Frustration’, though immediately stepped off and weaved his way through the crowd – navigating tables with the grace of a high-wire performer – all while delivering his trembling vocal refrain. Back onstage, the band kept the performance alive, with Andy’s trumpet fanfare cutting through the air.
Tim was back onstage for ‘Heads’, which began with pounding drums and several band members clapping in unison, setting a confrontational tone. Addressing America’s current turmoil, the track’s driven by Tim’s raw, almost shouted vocals with Adrian’s deep, unsettling cello adding weight to the intensity, pushed even further by Andy’s distorted trumpet effects. In a total juxtaposition, ‘Heads’ was followed by the sublime ‘PS’. Though it was played several times over the Summer, the track has been elevated by the band’s improvisational flair this tour, in part, thanks to Saul’s stunning violin work. A recent addition – Adrian’s subtle guitar licks – beautifully compliments Tim and Chloe’s harmonies, adding texture as the song steadily builds to its powerful climax.
‘Knuckle Too Far’ got off to a slightly delayed start after Saul momentarily forgot he wasn’t playing on it. Tim, quick to seize the moment, joked that Saul had realised and was about to exit “stage left”, only for Saul to fire back with his trademark wit – insisting he wasn’t going anywhere. Instead, he took a seat on the drum riser and enjoyed the performance from there. Laid is packed with great guitar parts, and this track features one of its scuzziest moments – a brief burst of distorted shredding from Adrian that cuts right through.
The bass-driven ‘Everybody Knows’ led seamlessly into ‘Interrogation’, the only track from La Petite Mort in the set. Live, ‘Interrogation’ thrives on its rich, layered instrumentation and Tim’s impassioned delivery, with his vocals pushed to the brink as they rise to a heart-rending near-cry toward the end. ‘Tomorrow’ continued the emotional thread, featuring a gentle guitar intro and a gradual build that invited the audience into a quietly moving moment of collective hope.
When the tour was announced, ‘Low Low Low’ wasn’t exactly the track fans or the band seemed most excited about. Often regarded as the album’s weakest, many felt ‘The Lake’ would have been a stronger choice. But live, with its jubilant trumpet introduction, ‘Low Low Low’ has taken on a new life – becoming one of the most joyful and energetic moments of the night. It never fails to get the crowd moving, with the band visibly feeding off their energy as they play.
As the band neared the final songs, the crowd was electric – easily matching the energy and enthusiasm of a hometown audience. Their voices rose powerfully during ‘Sometimes’ and ‘Laid’, perfectly capturing the moment. The band, visibly moved and in awe of the response, took their bows and left the stage. With all the Laid tracks performed and the band known for flowing straight through without a break, it was unclear if they’d return for an encore – though the crowd’s roaring demand made it hard to imagine they wouldn’t.
The band returned to the stage beaming, before launching into the anthemic ‘Getting Away With It (All Messed Up)’ – their unofficial theme song, and the perfect closing note to not just a remarkable evening, but a triumphant tour.
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