James, Manchester Apollo. 9th May 2023

Tonight is a completing of the circle for me. Although I’ve been listening to James for three of the four decades celebrated in the first of two nights in the Apollo. I came to them as a live band quite late. The first time being with an orchestra in Manchesters Bridgewater Hall. So tonight in the Apollo, once again with an orchestra feels satisfyingly poignant. It’s a rousing start with the warmth of the orchestra instantly making this feel special as the lights rise in time to Tim singing “I’ll change” on ‘Dream Thrum’. I’m not sure I’ve heard this live before and it sets the tone wonderfully. His voice sounds perfect on ‘Dust Motes’ too. It’s more sedate intro allowing us to really appreciate how good he sounds before the song bursts into life. This feels like a celebration of these songs. As each one slowly picks up the pace. The choir come down from the back of the stage as Andy sways resplendent in a white flowing skirt. I suddenly feel restricted by my seat though as they play ‘Seven’. I want to dance and I’m not the only one. Tim’s warmed up too, losing his hat for ‘Just Like Fred Astaire’ and goes for wander in the aisles, much to the delight of those near enough to catch his eye. The bloke behind me seems confused though, asking his girlfriend “who is Fred Astaire anyway?”. I’m tempted to tell turn around and pull his leg, but the stage is just too captivating to look away from. Plus I’ve got a little preoccupied with counting how many are on stage. I think there’s 37, but I might’ve missed one or two. “You’re very quiet” says Tim, snapping me out of my number crunching. We are, it’s a largely respectful crowd. I say largely, there’s always one or two idiots isn’t there, but you can hear a pin drop as we drift through ‘Hello’ with a gorgeous violin solo, it’s cinematic and sublime stuff. We’re getting to the business end of the first of tonight’s two sets and as a clarinet guides us into ‘Say Something’ despite it all being great, this feels like a real high point. The first big singalong starts. It’s what James gigs are all about and it’s utterly marvellous. ‘Getting Away With It (All Messed Up)’ picks up and runs with the emotion, after we’ve had a debate on whether clapping will distract the orchestra. It’s always glorious but even more so with the orchestra who stand up, even the lad with the tuba that’s bigger than he is! The set closes with ‘Nothing But Love’, the stage bathed in a rainbow of light looking like the end of a theatre production. It’s pretty spectacular and it’s only 20:30! The first half started with the sound of the orchestra warming up. The second does the same. It’s a bit Groundhog Day. Intervals at gigs are weird, but it’s all very civilised and it’s quite a treat to think we’ve got more to come. Tim pulls out his party piece of starting from the back of the room. He usually has to fight his way through a throng of limbs, but like I say, civilised, so he gets to walk with ease down the aisle right past us, which is pretty cool. As he reaches the stage he apologises to the balcony that he couldn’t get up there. I’m sure they understand, the Apollo is a bit of a rabbit warren of stairs and corridors. The new song ‘Love Make a Fool’ from the forth coming orchestrated album is up next. We’ve been asked to keep our phones off tonight, but Tim says this is the “Phone moment”, to record, take pictures and hundreds duly oblige. The irony of the lyrics perhaps lost on most. The phones vanish again though for the widescreen cinema of ‘Beautiful Beaches’ showing just how good they are no matter what the era. It’s paired back from the album version and sounds beautiful with just the orchestra and piano. Another of the newer ones ‘Moving On’ continues the reflective mood and is dedicated to those who’ve lost loved ones. It swells majestically and drapes the crowd in a joyous blanket, in what’s a genuinely touching moment. “Thank you!” someone shouts and I think we all feel it. Adapting your catalogue for an orchestra must be a challenge but these songs all sound like originals. “Shall we do something different?” Tim asks as they decide on ‘Someone’s Got It In For Me’. There’s a sense they can still duck and dive live, even with nearly 40 people on stage. It’s pretty impressive and the song is monumental. Like a million Bond themes strapped together. Good ones. Phenomenal. Andy gets his moment in the spotlight for a trumpet solo, for a brief moment indicating we’re about to soar once more. People are starting to get out of their seats for ‘Tomorrow’ as the anticipation in the room builds, the band continuing to toy deftly with us. Is there a more beautiful song than ‘Sometimes’? It’s delivered as a slow lament, but loses none of its power and everyone’s going all in. It’s utterly transfixing. It’s times like these where I swear James are untouchable. The choir spread across the stage and take over. Before inevitably the Apollo is on its feet en masse joining in. We’ve been kept at arms length in our seats, but we’ve now reached fever pitch and even writing this, the hairs are standing up again. We get a bit of slapstick for the encore as Tim orchestrates some ‘Bolero’ before Joe takes back the baton and they slip effortlessly into ‘Sit Down’. Ironically we’re all up now. This isn’t my favourite song, despite it being a massive hit, but it sounds glorious without the band, just the strings, maybe this is how it should always be from now on. ‘All The Colours’ picks ups the pace, it’s a driving behemoth and with us now all standing, the temperature starts to climb. Melting into ‘Many Faces’ with its celebratory refrain of “There’s only one human race”, it would be a spectacular finale, everyone’s smiling, hearts brimming, but Tim fancies more. It’s felt like a powder keg in here all evening and it’s finally lit for ‘Born of Frustration’, everyone in full voice and the band, orchestra and choir all visibly moved by the love pouring onto the stage. James are always incredible live, but this was two and a half hours of pure magic. It’s been 12 years since that gig at The Bridgewater, but James really are truly timeless.