Shooting Our Mouths Off

For the Welsh leg of the tour, the band returned to Cardiff’s Utilita Arena – the smallest venue on this run, with a capacity of 7,500. Their previous show in the city, a stunning night at Cardiff Castle, set a high bar, meaning that expectations were understandably high.

The VIP soundcheck opened with ‘Hallelujah Anyhow’, a track the band have been actively refining in recent rehearsals, experimenting with both full-band and acoustic arrangements. The stripped-back version – featuring Saul on kick drum – feels particularly well-suited to the song, giving it a more intimate, grounded energy. The other selections included the groove-heavy ‘Yeah Yeah Yeah’, which has evolved impressively since its debut at the Bristol warm-up show, and ‘Better With You’. Driven by haunting synth textures and a pulsing disco beat, the latter stands out as one of the strongest tracks from Yummy, and it would be no surprise to see it make its way into the main set before the tour wraps up. During the Q&A, the band were asked about the origin of the daisy motif, which they attributed to their former manager, Martine McDonagh. Jim joked that they’ve since trademarked the daisy entirely, with Saul quipping that a stairlift sponsorship surely can’t be far behind.

The band’s one true love song, ‘Just Like Fred Astaire’, saw Tim leave the stage and weave his way into the crowd, delivering the heartfelt lyrics up close while the rest of the band held everything together onstage with quiet assurance. He remained among the audience for ‘Say Something’, keeping the intimacy intact before returning for ‘PS’ – a true centrepiece that has, thankfully, become a consistent highlight in sets since its nightly appearances on the Laid tour. What stood out wasn’t only the delicate percussion and the beautiful interplay between violin and trumpet, but the way Adrian’s wailing guitar lines intertwined with the vocal textures from Chloe and Tim in the closing passages. The result felt almost transcendent – less like a performance and more like a collective release, bordering on a religious experience.

Often praised for their setlist construction, James once again proved themselves masters of pacing, following the intensity and beauty of the previous track with one of their most upbeat offerings, ‘Curse Curse‘. The shift in mood was immediate and exhilarating, with Tim once again out in the crowd and up on the barrier, driving the connection with the audience from the front line. A firm crowd favourite with a punchy, urgent edge, the La Petite Mort track has only grown in impact live, particularly with the addition of Chloe’s vocals. Her presence becoming especially powerful when the tempo briefly pulls back, before the song surges once more into a triumphant, high-energy finish.

‘Greenpeace’ and ‘Zero’ sat perfectly side by side as two of the band’s “journey” songs, each reflecting their more exploratory side. Both showcased their experimental edge, though ‘Zero’ – making its tour debut – took things further into slower, more contemplative territory. It unfolded patiently as an electronic-tinged drift, with lyrics that lingered on themes of time passing and the ways we measure a life, giving the set a moment of quiet reflection amid the intensity

‘She’s a Star’ saw Tim remain onstage for what may have been the first time on this tour, engaging more freely with his bandmates as they leaned into the song’s signature energy and infectious spirit. While it’s best known for Adrian’s sliding guitar intro, the track also gives space for Andy’s trumpet lines to shine – particularly in the chorus, where he spun mid-performance, free arm raised as he played, his jacket catching the eye with its stark “War Is Just About Business” statement across the back. The poignant, introspective ‘Way Over Your Head’ followed, carrying a heavy emotional weight that was amplified by Tim and Chloe singing hand in hand at centre stage. Their connection felt effortless and deeply genuine, and as the song built, they moved together down the stairs and onto the walkway, extending that intimacy into the crowd and heightening the sense of closeness that defined the moment.

The penultimate track of the main set, ‘Sit Down’, arrived in its drum-led incarnation, its danceable pulse and buoyant melody sitting in striking contrast to its inclusive lyrics and communal refrain. From the very first line it felt undeniably anthemic – already one of the defining songs of the 90s, yet one that has enjoyed a renewed surge in resonance since the pandemic era. The response was overwhelming; had Tim not drawn things to a close, the crowd would likely have carried the chorus long into the night. There was still one more huge moment of collective release to come, though, as the band brought the main set to a close with ‘Sometimes’, ending on a final, soaring singalong that left the atmosphere charged and unbroken.

James have always thrived on risk, and in the last couple of shows they’ve opened the encore with the sprawling new piece ‘Nantucket’. In Cardiff, the multi-layered track arguably reached its peak, with every element falling perfectly into place. Driven by Mark’s intricate electronic textures and Jim’s infectious bass-line, the track unfolds in distinct sections – each feeling like it could stand alone as its own composition – while Adrian adds cello, Saul moves seamlessly between violin and guitar, and both Dave and Debbie rise from their kits to play with single drums, heightening the sense of shared momentum and theatricality. Not all risks land in life, but in an arena setting ‘Nantucket’ absolutely does, filling the space with ambition and cohesion in equal measure. It was followed by the anthemic ‘Getting Away With It’, during which Tim and Debbie shared a playful dance along the walkway, visibly revelling in the joy of their first arena tour in two years. The night then drew to a close with the short, sweet, acoustic-led ‘Laid’, its warmth carrying that same celebratory energy right through to the final note.