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REVIEW: James, Live In 2024, Leeds First Direct Arena, June 8 *****

James: “Still refulgent with fresh ideas, still adventurous both musically and artistically after 41 years”. Picture: Paul Dixon

JAMES once gave a live album – recorded in lonesome pre-Sit Down success days at Bath’s Moles Club – the acerbic moniker of One Man Clapping.

Amid much lamenting, touring circuit institution Moles closed last December, declared insolvent, but Johnny Yen from that November 1988 set list lives on. Now jauntily opening James’s Live In 2024 show, the band on the crest of the crest of a second wave after re-forming in 2007 and topping the charts with a studio album for the first time with Yummy, their 18th, in April. Rather more than one man clapping now.

They may be a Manchester band – first championed by fellow Mancunian Morrissey, sporting a James T-shirt in their early, mutually vegetarian days – but Tim Booth is a son of Clifford, Boston Spa, and Leeds is always a homecoming gig for the Yorkshire frontman now resident in Costa Rica, Central America.

He even commented on Leeds needing “cheering up”, without directly mentioning yet more Wembley woe that had befallen his ever-damned Leeds United a fortnight earlier.

Yet if you could choose one band to blow away those blues, while addressing themes of AI technology, the fragile climate and tinderbox American politics on their latest album, all the while cherishing the abiding wonder of love, flowers and butterflies, then James would be that band. Still refulgent with fresh ideas, still adventurous both musically and artistically after 41 years.

Under normal band parlance, you might call them “veterans” or a “heritage act”, but James keep reinventing themselves, reinvigorating their ever-expanding catalogue. Last year, for example, their James Lasted Orchestral Tour rolled into York Barbican with a 22-piece orchestra, Orca 22, and the eight-strong Manchester Inspirational Voices gospel choir.

A year on in Leeds, four of those choir members complemented the nine-piece line-up of James, wherein vocalist Chloe Alper, once part of Riot grrrl punk band Period Pains, and second drummer Debbie Knox-Hewson have settled in so thrillingly.

Studio Fury’s cover design for James’s 18th studio album, the chart-topping Yummy

In the only concession to ageing, Booth apologised that he and trumpet player Andy Diagram, as dandy as ever in black skirt, would not be clambering up the rafters to perform from the gods, as had long been their custom.

Nevertheless, now he’s 64, Booth still revelled in dancing as if in a loose-limbed trance, and still went crowd surfing too, burly lads at the front quick to give him a helping hand to set him on his way. His megaphone made its customary rallying appearance too, in the polemical Mobile God.

Like the band line-up, a James gig is built around a free-flowing fusion of old and new. On the one hand, Booth, Diagram, drummer David Baynton-Power, bassist Jim Glennie, multi-instrumentalist Saul Davies and seasoned keyboardist Mark Hunter and guitarist Adrian Oxaal, together with the surfing and dancing, the anthems and the crowd singalongs.

On the other, Alper’s sublime singing and Knox-Hewson’s percussive exuberance, eight out of the 12 new songs on Yummy being road-tested, and crucially, the ever-changing, ever-prescient images on the three screens that matched each song’s theme, whether with butterfly beauty, futuristic foreboding, warped psychedelics or AI manipulation.

Every last detail had significance: not least the pile of junked TV sets that accompanied Booth’s lambasting of our destructive age “f***ing up the world for the generations still to come” in his intro to Our World.

In advance, the audience had been asked to “kindly refrain from using your phones during the show”, and Booth later warned that if he faced a bank of cameras, it would hinder his performance.

These days, such a request is akin to King Canute seeking to turn back the tide, but for those who desisted, the reward came with his advice, “This is the one to film”, before the extraordinary X-ray/robot/AI graphics for Mobile God, a sandwich-board warning of a future-rock song about the perils of mobile technology.

The poster for James’s Live In 2024 tour

Over a two-hour set of 20 songs, a James gig carries the promise of the familiar – Booth’s innate sense of theatre from student drama days, a steady stream of hits, such as Just Like Fred Astaire, Tomorrow and Come Home, and the audience taking over the singing as all the band gathers in line on the stage apron for the set-closing Sometimes (Lester Piggott) – peppered with the unexpected.

This came in the form of the debut live performance of Butterfly and tour debut of Out To Get You, and in the band’s chemistry that lets them ride on “the moment”. In this case, a free-wheeling coda from Saul Davies, James’s marrow to the Bad Seeds’ Warren Ellis, violin in excelsis in Tomorrow. His dad, equally dapper in cap and buttoned coat in the band guest seats, remarked afterwards that he had never seen Saul extend that solo for so long, as much flare as flair.

Unpredictable too was the encore, by now up against the clock to meet the regulation 10.30pm cut-off point of no return. Born Of Frustration had to be jettisoned, but mystical Yummy fan favourite Way Over Our Head swayed yummily, Beautiful Beaches was irresistibly melodious yet melancholic, an eco-warning fashioned in the devastating heat of climate change, and just when Sit Down was hitting its stride, a medical emergency brought everything to a stand.

Emergency over, Sit Down stood up to its usual singalong finale, orchestrated as ever by a wonder-struck Booth, but would extra time be permitted? Oh yes, it would, and it felt like a last-minute winning goal as Laid rushed into saucy commotion.

The best laid schemes for summer satisfaction should include heading to the East Coast on July 26 for James’s fourth outdoor outing at Scarborough Open Air Theatre, following similar seaside jaunts in 2025, 2018 and 2021, with room to sit  down or stand up (box office: ticketmaster.co.uk/event/35006049E46E32D3). No doubt the set list will be different again.

Set list, Leeds First Direct Arena, June 8

Johnny Yen; Waltzing Along; Our World; Rogue; Life’s A F***ing Miracle; Just Like Fred Astaire; Ring The Bells; Better With You; Butterfly (live debut); Getting Away With It (All Messed Up); Shadow Of A Giant; Out To Get You (tour debut); Mobile God; Tomorrow; Come Home; Sometimes (Lester Piggott).

Encore: Way Over Our Head; Beautiful Beaches; Sit Down; Laid.

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REVIEW: Steve Crowther’s verdict on The 24, Sir Jack Lyons Concert Hall, University of York, November 22

Conductor Sarah Latto

THE core of this wonderfully programmed concert was the sensuous, perhaps even erotic text of the Song Of Solomon.

The poem celebrates love in an invitational courtship: two lovers singing to each other, desiring each other. They are in harmony in a God-free narrative that celebrates humanity.

This was particularly striking in Raffaella Aleotti’s setting of Ergo flos campi where the two lovers take the form of two unequal choirs. The energetic antiphonal exchanges were beautifully delivered by the singers.

The24’s concert opened with Flemish composer Clemens non Papa’s setting of the same text. This was a refined, controlled performance where the weaving of the seven-part setting was delightful. The balance was impeccably judged.

I was going to mention the striking high versus low setting of the ‘lily between thorns’, but as it was highlighted in the programme notes I’ve decided not to bother. I really enjoyed the ebb and flow of Hildegard of Bingen’s Flos Campi. The musical experience was undoubtedly spiritual.

James MacMillan’s setting of Robert Burns’ The Gallant Weaver was a secular musical match made in heaven. The work is brimming with the distinctive influence of Scottish folk music – the rich ornamental inflections or decoration was delightfully executed, as well as Gaelic Psalmody.

The overall effect was generally peaceful; the voicing was inspired with triple soprano divisions and gentle hanging dissonances that were exquisite. The only issue I had was the exposed bass and tenor setting of the words ‘the gallant weaver’, which jarred. Sir James, I suspect, not the choir.

The 24: “Radiating warmth and joy”

I personally find Morrissey a charmless, narcissistic individual, but there is no doubting his ability as a songwriter and performer. I really like The Smiths’ There Is A Light That Never Goes Out (written by him and guitarist Johnny Marr), and I found this arrangement by Sarah Latto and the performance itself quite sublime. It was so touching, tender and respectful.

There is much to admire in John Barber’s Song Of Songs (commissioned by The Sixteen); the intricate weaving of the musical lines, lovely ornamentation and music that rhythmically danced. But I failed to engage with the work. Not even the funky ostinato of Love Is As Strong As Death or the splendid singing in By Night could revitalise that movement’s blandness.

Unlike Judith Weir’s Vertue; a very fine performance of a very fine work. Weir’s music always shines brightly, and this was no exception. Alex Kyle made a guest appearance to conduct Schütz’ Ego Dormio; the direction was assured and the performance highly rewarding.

Kerry Andrew’s CoMa Blues was a welcome change of musical gear. The composer has forged her own clearly distinctive voice, and this short theatrical performance was spot-on.

One of the concert highlights was Victoria’s Trahe Me Post Te. It is such a delight to immerse oneself into this velvety chocolatey sound world of absolute luxury. Especially when the performance, under the inspirational direction of conductor Sarah Latto, is as polished as this.

The programme concluded with Philip Glass’s Quand Les Hommes Vivront d’Amour. This attractive work is a hymn to universal love and the responsibility that goes with it, a somewhat timely message needed right here and right now.

It had all the hallmarks of Glass’s radical, and it is indeed radical, style: effective, almost hypnotically driven motor rhythms, repetitive patterns, breathing dynamic phrasing. The performance radiated warmth and joy, a great way to sign off, to say goodnight.

Review by Steve Crowther

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From Bowie to Nick Cave, Costello’s teddy to Morrissey’s chin, Simon Cooper captures rock icons in caricature at Pocklington show

Chin up, Morrissey: The Smiths, as portrayed by Simon Cooper

EAST Yorkshire illustrator Simon Cooper has worked for NME, Time Out, the Radio Times and Punch magazines.

Now, he has launched an exhibition of original art, illustrations and prints at Pocklington Arts Centre (PAC) that will run in the Studio until January 6.

On show are many of his commissions for NME (New Musical Express, as was), inspired by Simon’s lifelong love of music. 

“Music has always been an important part of my life,” he says.” For as long as I can remember I’ve immersed myself in records, live shows and the music press. When I got my degree in illustration and started to work for Sounds and NME, it was my dream gig.”

Knuckling down: Elvis Costello teaches teddy a lesson, by Simon Cooper

He ended up working for the two rock music weeklies for almost 20 years, producing hundreds of illustrations during that time. 

“The first two pictures were of Malcolm McLaren and the Beastie Boys and the last two were of Super Furry Animals and Manic Street Preachers,” he says. 

Simon, who lives in Everingham, near Pocklington, had graduated from Duncan of Jordanstone College of Art, in Dundee, before moving to London to pursue his career as an illustrator.

“My four years at art college, surrounded by like-minded creative types, were particularly inspiring and motivating,” he says. 

Beastie Boys: Simon Cooper’s first illustration for New Musical Express

He worked almost exclusively for magazines before going on to illustrate many children’s books for Pan Macmillan, Penguin and Oxford University Press, among others.

Simon names Chuck Jones, Ronald Searle, Rene Magritte, Henri Matisse and Marc Chagall among his artistic inspirations, alongside his penchant for comic books. “I’ve always had a love of comics and cartoons and consequently my style usually errs in that direction,” he says.  

His latest piece, The Owl And The Pussycat, is his favourite new work among the collection in PAC’s Studio. “It’s got music, romance and a dreamlike quality,” reasons Simon, who now focuses on independent projects, creating artwork and illustrations for sale at galleries, art shows and through his online shop at etsy.com/uk/shop/Cooperillo. 

Illustrator and caricaturist Simon Cooper

Here CharlesHutchPress puts quick questions to Simon Cooper for sketch-quick answers.

Why did you first choose musicians for your subject matter as opposed to film stars, comedians, politicians?

“Because music was my first love and it will be my last. Music of the future and music of the past. [Editor: Spot the reference to John Miles’s grandiose 1976 top three hit Music]. 

How did you settle on your distinctive style of illustrations? Trial and error? Gradually? 

“A bit of both. My style develops all the time. I’m inspired and influenced by new things every day.” 

Has your style changed over the years?

“My style, the way I work and the way I see things, has changed a lot over the years. These days most of my work has a digital element but when I started, I only used pencil, ink and paint.”

Cave art: Simon Cooper’s illustration of Bad Seeds frontman Nick Cave

What do you like most about black-and-white caricatures?

“I’m so old that when I first started working for the music press they were only printing in black and white! I had to develop a style that looked bold in newsprint. I still enjoy doing the occasional black-and-white image – like my recent Nick Cave picture – although most of my work now is in full colour.” 

What do you like most about colour caricatures?

“Working in colour allows me to use more textures and take a more painterly approach.” 

What source material do you work from? Moving imagery? Photographs?

“It would be nice to have the musicians come and sit for me but I have to make do with looking at their photos while listening to their music!”

Rubberband girl: Kate Bush, at a stretch, by Simon Cooper

What have musicians said about your depictions of them? Have you had face-to-face encounters with any of them?!

“Sadly no face-to-face encounters, unless you count seeing them in a live performance, though I have had positive feedback from musicians via magazine editors and one or two phone calls and emails from the artists themselves.” 

Your tone is generally light-hearted and humorous? Why?

“It’s perhaps what separated my work from everyone else’s at art college. I’ve always preferred to include humour or visual puns in my work rather than any lofty narrative.” 

How did you first land commissions with NME and Sounds?

“I left Dundee College of Art and headed to London with my portfolio under my arm. I knocked on doors and asked for appointments with art editors of my favourite magazines. I’m probably making it sound easier than it was, but I think my timing was right and the humorous element worked to my advantage.”  

Space odyssey: Simon Cooper’s David Bowie

What have been the career highlights of your other illustrative work?

“I’ve won a couple of awards for children’s book covers for Pan Macmillan. 

“I’ve been lucky enough to get a lot of commissions over the years from high-profile magazines such as Punch, Radio Times, Time Out. 

“I’ve worked for the British Film Institute’s magazine Sight And Sound for the past ten years. That’s been an absolute pleasure as film is another of my passions.”  

How have Chuck Jones, Ronald Searle, Rene Magritte, Henri Matisse and Marc Chagall inspired you? Humour? Playfulness? Artistic style?

“Chuck Jones and Ronald Searle’s humour, Magritte’s playfulness and Chagall and Matisse’s artistic style.” 

Do you have a favourite among your music portraits? If so, which one and why?

“Tom Waits, because I’m a huge fan. Years ago, I was commissioned by Sounds magazine to produce a picture of him. I happened to have tickets to see him that night at Hammersmith Odeon. I went to the gig, which was magnificent. I went straight home, feeling very inspired, finished the picture and delivered it to Sounds the very next morning.” 

Tom Waits: Simon Cooper’s favourite among his music portraits

What are you working on at present?

“I’m just finishing a Led Zeppelin picture. Another of my all-time favourites.”

How would you sum up your Pocklington show?

“Plenty of aesthetically pleasing images, a hint of quirky humour and a slice of rock’n’roll nostalgia for music fans.” 

This feature runs to 1,034 words. Can a picture say more than 1,000 words?

“Yes, give or take a few hundred words.”

Simon Cooper: Art, Illustration & Prints, Pocklington Arts Centre, until January 6 2022. Admission is free during opening hours only. For more information, visit pocklingtonartscentre.co.uk or call the box office on 01759 301547.

Simon Cooper’s poster for his Pocklington Arts Centre exhibition
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Morrissey, Leeds and a dog chain combine in arena gig and album release

The album artwork for Morrissey’s March 20 album, I Am Not A Dog On A Chain

MORRISSEY will preview his new album, I Am Not A Dog On A Chain, at Leeds First Direct Arena on March 6.

This will be the northern marrow to his one southern gig, The SSE Arena, Wembley, London on March 14.

Released on March 20 on BMG, the album will be preceded by the single Bobby, Don’t You Think They Know?, featuring guest vocals by Seventies’ Motown legend Thelma Houston.

“One of the biggest joys for me in this business is getting the opportunity to collaborate with other top artists,” says Thelma, now 73. “I love the challenge to see if what I do can work with what they’re doing.

“Sometimes it works, and sometimes it doesn’t. I think the blend of what Morrissey is singing and what I’m singing really works on ‘Bobby’. And it was a lot of fun working with Morrissey in the studio too!”

Produced by Joe Chicarelli, whose credits include Beck, The Strokes and The Killers, I Am Not A Dog On A Chain was recorded at Studio La Fabrique in Saint-Rémy-de-Provence, France, and Sunset Sound in Hollywood, California.

“I’ve now produced four studio albums for Morrissey,” says Chicarelli. “This is his boldest and most adventurous album yet. He has pushed the boundaries yet again, both musically and lyrically. And once again proving that as a songwriter and singer, he is in his own category. In truth, no one can be Morrissey but… Morrissey.”

I Am Not A Dog On A Chain follows last May’s California Son, a covers album that featured Ed Droste, of Grizzly Bear, Billie Joe Armstrong, of Green Day, LP (aka Laura Pergolizzi), Broken Social Scene’s Ariel Engle, Petra Haden and Young The Giant’s Sameer Gadhia.

Morrissey’s last album of original compositions was Low In High School in 2017. The new one has a track listing of Jim Jim Falls; Love Is On Its Way Out; Bobby, Don’t You Think They Know?; I Am Not A Dog On A Chain; What Kind Of People Live In These Houses?; Knockabout World; Darling, I Hug A Pillow; Once I Saw The River Clean; The Truth About Ruth; The Secret Of Music and My Hurling Days Are Done.

I Am Not A Dog On A Chain arrives against the backdrop of The Smiths’ former frontman, 60, sparking controversy with his latter-day political views.

Tickets for his Morrissey Live In Concert 2020 gig in Leeds are on sale at gigsandtours.com, ticketmaster.co.uk and axscom/uk.