Shooting Our Mouths Off

With over forty years and eighteen studio albums behind them, James are undoubtedly one of the UK’s biggest bands. Yet there’s still something surprisingly underrated about them. They’ve always done things their own way and, while that approach hasn’t always brought mainstream success, it has earned them a fiercely loyal following who connect deeply with what they do. Having celebrated their fortieth anniversary in 2023, the band reached another milestone last year when they received the PRS Music Icon Award – a long-overdue recognition for one of the most distinctive and uncompromising careers in British music. Now comes perhaps the most revealing chapter yet: their first authorised documentary. Getting Away With It, directed by Chris Atkins (Live at the Acropolis), promises an unfiltered look at the band’s four-decade journey. Last night saw its festival premiere at SXSW London, and as fans await its wider release, we’re going to attempt the most spoiler-free review possible.

It was difficult to know what to expect from the documentary. Information had been scarce in the lead-up, with no trailer and very little promotion, which only added to the sense of anticipation. True to form for a band that has rarely indulged in nostalgia, the film opens in the present day with footage from a recent show before tracing its way back to the beginning. While there is a broadly chronological structure, the film isn’t bound by it. As the story unfolds, archive footage and interviews from different eras are woven together, creating a richer picture of the band’s journey. There are also some cleverly reconstructed moments from James folklore, including the night Jim, Gavan Whelan and Paul Gilbertson stole Tim’s drink while he was dancing at the students’ union.

One of the documentary’s greatest strengths is its cast of characters. Every member of James brings their own creativity and talent to the band, but just as importantly, they bring personality. Despite their differences, there’s an undeniable chemistry between them, and it’s easy to see why the film is so consistently funny. The humour never feels forced; instead, it emerges naturally from the band’s interactions. There are obvious highlights, such as Jim recalling the time he crashed a buggy into a stage and Saul enthusiastically flicking the V-sign at every opportunity. Equally entertaining are the smaller moments, like Debbie remembering how, in her early days with the band, she suggested polishing up a song, only for Andy to look at her and silently communicate that such an approach simply wasn’t the James way. In complete contrast to the humour, the documentary also captures the moments when things go wrong. The most notable comes during the Acropolis show, when, after countless setlist changes, Saul ends up being the only member of the band with the wrong version. It’s an upsetting moment, but one that highlights the often chaotic reality of life in James and the resilience needed to keep everything moving forward.

But the film isn’t all jokes and mishaps. It also confronts the band’s more difficult periods head-on, including the dysfunction that ultimately led to their split. Some of these sections are genuinely emotional to watch. Footage from the Lollapalooza tour in the 90s is particularly affecting, showing Tim separated from the rest of the band and wearing a neck brace following an injury while the others embraced the excesses of life on the road. Tim and Saul take the lead in reflecting on that turbulent period, and their honesty gives the scenes real weight. For Saul in particular, revisiting those years must have required real vulnerability, given he has now been sober for nearly two decades.

The documentary doesn’t just rely on the current line-up for perspective. It also features contributions from former members Larry and Gavan, alongside former manager Peter Rudge, who guided the band for 35 years. There are appearances too from broadcaster and devoted fan Jo Whiley, as well as Coldplay’s Chris Martin, both offering an outside perspective on the band’s enduring appeal. Beyond the interviews, the film is populated by the familiar faces who have surrounded James throughout their career. Crew members, tour staff and management figures are a constant presence, offering a glimpse into the wider team that keep the show on the road – or at least as much as anyone can with James. It’s eye-opening to see just how many people are involved in making the band function, while the reflections from former members provide valuable insight into life inside the group. Meanwhile, the contributions from Jo Whiley and Chris Martin serve as a reminder of the profound impact James have had, not only on fans but on fellow industry icons as well.

For fans, backstage areas, rehearsal rooms and recording studios have always carried a certain mystique. These days, social media has stripped away much of that mystery, with most artists sharing a near-constant stream of behind-the-scenes content. James, however, have largely remained an exception. That makes the access granted by Getting Away With It all the more fascinating. While life behind the scenes may not be quite as glamorous as fans imagine, it’s a genuine pleasure to be invited into the band’s world. The film captures everything from Mark quietly tinkering on his keyboards during the band’s jam sessions, to Saul casually snacking while onstage technical issues are resolved. Elsewhere, management can be seen anxiously discussing the lack of a setlist as showtime approaches, while Tim sleeps peacefully in his dressing room behind a firmly placed “Do Not Disturb” sign. They’re small moments, but they reveal as much about the band’s character and dynamic as any of the major milestones covered in the film.

In the Q&A following the screening, Chris spoke about discovering James while serving time in prison. Hearing their music on the radio, he would scribble down lyrics and, after his release, seek out the songs they belonged to. This marks his second project with the band, and his affection for their music is evident throughout the documentary. That fandom is perhaps most apparent in the soundtrack, which ventures far beyond the obvious choices. Naturally, classics such as ‘Laid’ and ‘Sit Down’ appear at key moments in the band’s story, but Chris also digs much deeper into the catalogue. Lesser-used tracks including ‘Pressure’s On’, ‘The Lake’ and ‘Space’ are given room to shine, creating a soundtrack that feels curated by a genuine fan rather than assembled from a greatest hits compilation. For long-time followers of the band, it’s a thoughtful touch that adds an extra layer of authenticity to the film.

The most recent live footage comes from the O2 Arena on the Yummy tour in 2024, and it’s both joyous and unexpectedly moving to watch. Earlier in the film, Peter Rudge reflects on managing a band that has rarely followed instructions to the letter. Told to go left, they inevitably go right. Yet that stubborn independence is precisely what has allowed James to endure. Many bands are defined by their setbacks; James have repeatedly turned theirs into reinvention. To see them still creating, still challenging themselves and still performing to thousands of people feels quietly powerful.

In the end, Getting Away With It is less a retrospective than a reminder of the present tense James continue to occupy. It isn’t just about where they’ve been, but where they still are – forty years on, still unpredictable, still collaborative, and still very much alive as a creative force. As closing statements go, it feels less like an ending than another beginning.