It’s been a whirlwind couple of years for James – from touring with an orchestra to securing their first number one album, they’ve barely stopped, and we’re certainly not complaining. Towards the end of last year, they announced Summer dates for 2025, alongside details of their forthcoming release – a film and album of their Live at the Acropolis performance, which was recorded at the historic Odeon of Herodes Atticus in Athens in July 2023. It wasn’t just the historic setting that made the performance extraordinary – the band were joined by a 22-piece orchestra conducted by Joe Duddell, along with an eight-piece choir.
Live at the Acropolis opens with ‘Magic Bus’, a standout track from the band’s sixteenth studio album All the Colours of You. Reimagined with strings in place of its signature synth beats, this stripped-back rendition served as a poignant and atmospheric opener. The lyrics – “All aboard, magic bus. Take a ride, become one of us” – offering a fitting invitation into the world of a James concert, where the boundary between audience and band dissolves in a shared, almost magical unity. A string-heavy rendition of ‘We’re Going to Miss You‘ follows, gradually building until it culminates in a haunting moment where every person on stage joins in, singing the outro of the chorus acapella. The tempo then eases into the piano-led ‘Dust Motes’ – a rare gem in James’ live repertoire. The sparse arrangement highlights the raw emotion and strength of Tim’s vocals, made all the more powerful as the orchestra swells in to elevate its haunting beauty. The unhurried pace continues with ‘The Lake’, a seldom-performed B-side that delivers a breathtaking moment on stage, perfectly capturing the magic and brilliance of Joe’s orchestral arrangements.
Next comes a radically reimagined version of ‘Beautiful Beaches’. Stripped to its bare essence, it stands in stark contrast to the upbeat, driving energy of the album cut. In the absence of its pounding beats, Tim and Chloe Alper’s vocals take centre stage, glowing with clarity and emotion. Mark Hunter’s delicate keyboard work weaves a subtle, hopeful thread throughout, perfectly echoing the song’s theme of fresh starts and new beginnings. Before launching into ‘The Shining’, Tim pauses to ask whether a crowd member just shouted “fuck you” or “love you” – or perhaps both. “This is Greece, I guess,” he quips, capturing the easygoing rapport and deep connection James shares with their fans around the world.
A revitalised rendition of ‘Say Something’ sees the band take a stripped-back approach to the verses, allowing space and intimacy, before uniting in full force on the soaring choruses. Next up is the often-overlooked ‘Space’, revitalised by the stunning addition of the choir, whose harmonies add depth and warmth to the Pleased to Meet You track. Tim’s vocals rise gracefully above the arrangement, blending beautifully with the choral backdrop. As the song builds, choir member Wayne Ellington steps into the spotlight, his soulful lead bringing the performance to a stirring close.
It’s a welcome surprise to see ‘Ten Below’ included, especially as one of the seven tracks that didn’t make it onto the band’s orchestral album Be Opened by the Wonderful. While its original version might seem an unlikely candidate for this setting, the full-bodied orchestration breathes new life into the song – layered, dynamic, and unexpectedly fitting, it flourishes with every instrument thrown into the mix.
‘Moving On’ is always an emotional highlight in any James set, but here, even stripped of its usual uplifting melody, it resonates more deeply than ever. This pared-down version distills the song’s raw emotion, with the strings intensifying the sense of fragility and tension. Multi instrumentalist Saul Davies adds an extra layer of poignancy through his expressive, charismatic violin work, making the moment all the more affecting.
Mark’s keyboard wizardry gives ‘Nothing But Love‘ a futuristic, atmospheric introduction before the choir’s voices gently enter. A major single from Girl at the End of the World, it’s always been a standout moment in James’ live shows – often prompting the crowd to sing along and sway together in unison. With the added richness of the orchestra, it feels even more expansive, elevating that sense of togetherness and reinforcing the communal spirit shared by everyone on stage. Though strong enough to have ended the set entirely, the track’s momentum carries straight into ‘Born of Frustration‘, which closes the first half in a whirlwind of chiming guitars and electrifying energy – elevated by Andy Diagram’s majestic trumpet lines that propel the song to thrilling new heights.
The second half kicks off with ‘Sit Down’, James’ most recognisable track. True to form, the band takes a bold approach – ‘Sit Down‘ is a song they’ve never been afraid to reshape, and this rendition echoes the powerful orchestral version arranged by Joe for their 2017 Manchester emergency fund benefit concert. It begins in hushed fashion, with only minimal strings laying the foundation, before gradually unfolding into something far grander as the chorus swells. The build is subtle but effective, lending the song a fresh emotional depth that makes its timeless lyrics land with even more impact.
‘Love Make A Fool’ was crafted specifically for the band’s orchestral tour, so it’s no surprise to hear it truly soar in this setting. With punchy staccato claps from the orchestra and choir, the track takes on a gospel-like energy, coming to life in a way that’s impossible to replicate in the studio. It would be fascinating to see how the band would adapt it in one of their regular sets, and how it might compare without the orchestral backdrop. Things then shift from new to old with a raucous rendition of ‘Medieval‘ from Strip-mine. Opening with a menacing synth line, the track quickly asserts itself through its thunderous percussion – a reminder of the dynamic energy brought by the addition of Debbie Knox-Hewson alongside David Baynton-Power, together forming the band’s formidable rhythmic core.
When recording a live album, the crowd plays a crucial role, and here, they couldn’t be more respectful. During the opening bars of ‘Someone’s Got It In For Me‘, you could hear a pin drop. The Millionaires track allows Tim’s voice to fill the colosseum with raw emotion during the verses, before stepping back to let Joshua Gordon from the choir take the lead on the explosively intense chorus. The mutual respect between the band, choir, and orchestra is palpable – they are truly united, with the band more than willing to step aside and allow every individual on stage to shine. That spirit of restraint and shared focus continues with ‘Alaskan Pipeline‘ – one of the most quietly affecting moments of the night. Stripped back and delicately arranged, the Pleased to Meet You ballad leans into its subtle power, letting space and silence do much of the work. The orchestral arrangement doesn’t overwhelm – it lingers, unsettling in the gentlest way, drawing the listener into a space of emotional openness. It’s not dramatic, but it stays with you, stirring something quietly profound beneath the surface.
Live at the Acropolis isn’t just a collection of James songs performed with an orchestra; it’s a complete reinvention of the tracks. The band has harnessed the power of the orchestra and choir to reshape the music entirely. Take ‘She’s a Star’, for example, where Chloe joins forces with the orchestra to take control of the chorus, offering a fresh interpretation while also easing the strain on Tim’s voice. The result is something wholly unique and strikingly different. Mesmerising and emotionally charged, ‘Hello’ is reimagined as a duet between Tim and Chloe, with the strings providing a lush backdrop to their intimate, hushed vocals. Piano-led, the arrangement sounds exquisite, serving as a perfect reminder of the unique contribution Chloe brings to the nine-piece ensemble. Driven by a relentless beat and a punchy bassline from Jim Glennie, the set takes a sharp left turn with ‘Riders‘ – a track introduced as one from the band’s early ’80s catalogue. Discordant from the outset, it feels as though every instrument is vying for attention, creating a chaotic yet deliberate wall of sound that somehow clicks. The brass section, in particular, cuts through the noise with flair, adding a sharp, vibrant edge to the controlled chaos.
Bands usually don’t stray too far from their biggest hits, but James aren’t like most bands. ‘Laid’ begins slowly, gradually building in intensity before exploding into the fast-paced anthem we all know and love. The band then erupt into the synth-laced ‘All the Colours of You’, a track that reflects on the pandemic and Trump’s first term in office. With emotionally charged vocals from Tim, it serves as a powerful reminder of the band’s unwavering passion for sonic experimentation. In a move only James could pull off, the exhilarating track seamlessly transitions into a segment of the unifying ‘Many Faces‘, blending the two songs in a way that feels both unexpected and perfectly natural.
The addition of the orchestra amplifies the emotions of ‘Tomorrow’, with the strings gradually building in intensity, reaching a powerful peak in the chorus. This orchestral transformation sets the stage for the penultimate track, ‘Sometimes’ – one of the band’s most beloved crowd-pleasers, always guaranteed to forge a deep connection between the band and their fans. From the very beginning, it’s electrifying to hear strings and Mark’s keys replace the blistering guitars we’re accustomed to on the Laid version, offering a fresh, dynamic twist on the classic track. Finishing with a slow song isn’t typical in live performances, but James are far from conventional. After two sets filled with emotion, beauty, and energy, the introspective beauty of ‘Top of the World‘ feels like the perfect choice to close the set, providing a reflective and fitting conclusion.
Not every band could pull off such an ambitious show, but James are never shy of a challenge – and it’s part of the reason for their long-lasting success. A once-in-a-lifetime performance, the band, choir, and orchestra merge as one throughout, and it’s a blessing that this incredible experience has been captured for all to hear.
Filmed on 16 cameras in 4k and mixed in Dolby Atmos, Live at the Acropolis is available to order on a multitude of formats from the band’s website – including double CD, blu-ray, and marble coloured triple vinyl.
