Shooting Our Mouths Off

We launched our website just before the band’s North American tour, intending to cover each show along the way. As it’s grown, we thought it’d be great to occasionally spotlight artists connected to James – whether through collaborations, long-term friendships, or shared tours. One of our favourite extended members of the James family is Johnny Marr, and if you’ve caught our latest podcast episode, you’ll know he’s at the heart of the next one. With that in mind, we decided to cover one of the shows from his ongoing European tour. Since his birthday happened to fall on the date of the Berlin show, that one was a must.

Johnny is meticulous about who he tours with. Last year, he hit the road with two of his talented friends – Gaz Coombes in the UK and, of course, James across North America. For the European leg, he handpicked rising Irish band The Clockworks, a four-piece with one album to their name, Exit Strategy. Their set featured four tracks from it – ‘Bills and Pills’, ‘Mayday Mayday’, ‘Enough Is Never Enough’, and ‘Lost in the Moment’. Each song showcased their knack for infectious hooks and gritty, scuzzy guitar lines courtesy of Sean Connelly, which lock perfectly with frontman James McGregor’s rapid-fire delivery.

James doesn’t rely on motion to hold the stage – he stands fairly still yet every glance, every breath feels charged. The crowd can’t look away, and neither can he, staring out in awe at the vast audience before him. When he does wander, it’s to join Sean and bassist Tom Freeman by Damian Greaney’s drum kit, where the band lock in – charged by one another’s energy in a way that echoes James’ onstage connection. A clear highlight of the set, their new single ‘Best Days’ explodes to life with infectious instrumentation, easing briefly into James’ near-whispered vocals before soaring into a chorus that sounds built for radio.

Ireland has produced some remarkable bands in recent years, and The Clockworks stand out as one of the most exciting. With a clear vision and an unmistakable sound, they are carving out their own path in the music scene. Their energy, creativity, and confidence on stage hint at a band capable of much more, and if this is just the beginning, the future looks exceptionally bright for The Clockworks.

It’s been over a decade since Johnny launched his solo career, and in that time he’s built up an impressive back catalogue. He took us right back to the beginning with the opening track, ‘Generate! Generate!’ – a sentimental choice, perhaps, but a smart one that perfectly spotlights his exceptional guitar work. ‘Panic’ followed as the first Smiths song of the night, and it brought a huge grin to Johnny’s face. He knows plenty of fans come to his shows for the Smiths material, and he’s clearly more than happy to oblige – it’s a defining part of his musical legacy, and he still relishes playing those songs.

The synth-driven ‘Armatopia’ kept the momentum high before ‘New Town Velocity’ eased the tempo. Johnny has played with the same band throughout his solo career, and it shows – they’re a remarkably tight live unit. One of his most personal songs, ‘New Town Velocity‘ featured James Doviak on rhythm guitar while Johnny handled the intricate lead lines. In striking contrast, ‘Spirit, Power & Soul‘ followed – a burst of synth and energy that highlighted Johnny’s impressive range as both songwriter and performer. The track also showcased the versatility of his band: Iwan Gronow set down his bass to take up guitar, while Jack Mitchell traded his acoustic kit for an electronic one, each shift adding to the dynamism of the performance.

During Johnny’s UK tour in June, he treated fans to two brand-new songs. On this leg, he’s gone even further, debuting three more – with ‘It’s Time’ being the first to make an appearance in Berlin. Before he even started, the crowd broke into a spirited ‘Happy Birthday’, prompting him to quip that he hoped everyone had brought presents. As a frontman, Johnny has clearly grown – in his vocals, songwriting, and confidence – and his voice sounded stronger than ever, gliding effortlessly through the track and elevated by Iwan and Doviak’s rich harmonies. Driven by urgent yet melodic guitar work, ‘It’s Time’ boasts an infectious chorus that lingers long after it ends, hinting at serious potential as a future single.

After the shimmering chords of ‘Hi Hello’ rang out, Johnny quipped that since it had been so long since his last Berlin appearance, he’d treat the audience to a song long absent from his set – before launching into ‘This Charming Man’. The irony wasn’t lost on the crowd, given that it’s become one of his most frequently performed tracks. Next came what’s arguably his most acclaimed song since ‘Hi Hello’ – ‘Somewhere’, from the Spirit Power compilation. Once an electric number played on his trademark Fender Jaguar, it’s now reimagined acoustically, each layer of sound unfolding until it swells into a stirring finale, echoing the grandeur of his 2023 orchestral performances.

Until recently, it was rare to see Johnny take the stage with an acoustic guitar, and he did once more for an emotive rendition of The Smiths’ classic ‘Please, Please, Please, Let Me Get What I Want’. Following such a beautiful moment was no small task, yet Johnny took a bold risk by diving straight into the second new song of the night. Anchored by a steady pulse and a thick, bass-driven groove, ‘Spin’ proved instantly catchy – arguably even stronger than ‘It’s Time’. As the song neared its close, Johnny signalled for the band to keep the groove alive, leading an extended jam where he layered fuzzed-out guitar textures before the entire group cut out together in perfect sync.

‘Walk Into the Sea’ somehow grows stronger with every live performance. Bathed in moody blue light, Johnny’s silhouette perfectly captured the song’s brooding energy and complimented the venue’s gritty, industrial setting. ‘Bigmouth Strikes Again’ came roaring in next – raucous from the first note and packed with some of his heaviest riffs to date. ‘Easy Money’ followed, as electrifying as ever; even eleven years on, it still provokes a wild reaction. The song has evolved, too – recent performances showcase new guitar flourishes that add bite and urgency. ‘How Soon Is Now’ has received a similar overhaul: fuller, heavier, and brimming with a sharper rock edge.

But The Smiths aren’t the only chapter of Johnny’s career he pays tribute to in his live shows. The main set closed with the Electronic classic ‘Getting Away With It’, featuring a sprawling guitar breakdown that’s beauty shimmered beneath the reflections of a lone disco ball. Though originally sung by New Order’s Bernard Sumner, Johnny’s vocals felt effortlessly at home – warm, confident, and entirely his own. It was a moment that reminded everyone just how complete a performer he is: frontman, vocalist, and guitarist, all in perfect balance.

Over the years, Johnny has sprinkled his live sets with a range of iconic covers – from Depeche Mode’s ‘I Feel You’ to A Certain Ratio’s ‘Shack Up’. Once again, his instincts are spot on: his latest addition is a jubilant take on Iggy Pop’s ‘The Passenger’. Upbeat and irresistibly singalong-ready, it’s a stroke of genius as an encore opener. Johnny used it to the same effect during last year’s North American co-headline tour with James, where Tim joined him on stage for an unforgettable rendition.

‘Stop Me If You Think That You’ve Heard This One Before’ served as the penultimate track of the night, paving the way for a finale that few could ever hope to match. ‘There Is a Light That Never Goes Out’ closed the show, completing a triple whammy of greatness and delivering one of those moments that reminds you why Johnny’s sets feel so special. Universally loved and always dedicated to “everybody in the room and nobody fucking else”, it sparked a communal outpouring of emotion – voices raised, arms aloft, and a shared sense that everyone present had just witnessed something truly extraordinary.

Johnny recently tweeted that his current tour is turning out to be his best yet – and after a night like this, it’s hard to disagree. More than a decade into his solo career, he continues to evolve, weaving together every era of his musical life with confidence and creativity. What shines through most is his joy in performance: the effortless command of a guitar hero, the warmth of a frontman who still loves sharing his craft, and the connection he forges with every crowd. It wasn’t just a celebration of his past, but proof that Johnny’s story is still very much being written – and it’s only getting better.