Johnny Marr + James @ MTelus▪

Johnny Marr and James, two legends from Manchester’s music scene, made MTelus in Montreal feel like a grand celebration of Britpop last night. They delivered a show so full of energy and nostalgia that anyone who’s ever cherished The Smiths or danced to James in a dingy club would’ve been right at home. Both acts shared their histories and their hopes, creating something fresh while honouring the roots that made them who they are today. And no one in that crowd could ignore just how timeless they’ve both become.

Starting the night off, James hit the stage with Tim Booth—dressed somewhere between a pirate and a thrift-store kingpin—leading the charge. His ensemble screamed, “I’ve been places,” and his movements onstage confirmed it. Booth moved like a man possessed, dancing his way into the crowd’s hearts. This wasn’t just a trip down memory lane; it was a full-bodied experience. James took on the MTelus stage with an unapologetic joy, diving into their newest album Yummy with tracks that managed to blend poignant themes with dance-ready beats. When Booth belted out “Life’s a F—n Miracle,” you could see everyone in the crowd leaning in, each note hitting like an anthem for all of life’s absurdities.

The band, an eight-piece powerhouse, was tighter than ever. Jim Glennie on bass didn’t just play; he electrified the room, his bass lines intricate and infectious, propelling songs like “Five-O” in unexpected directions. And the way he traded off with trumpeter Andy Diagram? That’s the sort of chemistry that only comes from decades of making music together. Diagram, by the way, deserves his own round of applause for the brass flourishes he brought to tracks like “Laid” and “Beautiful Beaches.” It’s not every day you hear a trumpet turn a rock song into something transcendent.

And let’s talk about “Getting Away With It (All Messed Up)”—the song that closed out James’ set. Tim Booth was like a pied piper, leading the crowd into a state of frenzied joy, his voice soaring over the band’s fierce instrumentation. For a moment, it felt like the venue itself might start dancing. The whole experience had an almost religious vibe, with fans hanging onto every note and lyric as if they were gospel.

Setlist

1. Way Over Your Head
2. Waltzing Along
3. Life’s a Fucking Miracle
4. Five-O
5. Stay
6. Shadow of a Giant
7. She’s a Star
8. Mobile God
9. Laid
10. Sometimes (Lester Piggott)
11. Beautiful Beaches
12. Sound
13. Getting Away With It (All Messed Up)

Then came Johnny Marr, and with him, the mood shifted. While James brought an electric, almost frenetic energy, Marr brought a different kind of magic—one rooted in reflection and precision. He took the stage with that trademark swagger, and you knew he was about to take you somewhere special. Opening with solo gems like “Armatopia,” Marr proved that he’s not just riding on past glories. His voice, once the quiet sidekick to his guitar, has grown more confident over the years, carrying the songs with an honesty that matched his playing.

Of course, he didn’t shy away from The Smiths’ classics. When he launched into “Panic,” the crowd’s reaction was practically Pavlovian—singing every word, chanting “Hang the DJ!” with a kind of primal joy. Marr’s guitar work was as immaculate as ever, his fingers dancing across the strings with an ease that few can match. He’s still the same guitar hero he was in the ‘80s, but now he’s also the voice. And while he might not have Morrissey’s dramatic baritone, Marr’s delivery has a quiet authenticity that makes the songs his own.

The highlight, though, was “How Soon Is Now?”—a song that’s become almost mythical over the years. As soon as Marr struck those opening chords, the room became a sea of raised arms and closed eyes, everyone lost in the music. There was something incredibly moving about watching him play it, knowing he’s been performing that song for nearly four decades. But somehow, last night, it felt just as raw and powerful as it must have the first time it was played live.

And just when you thought you’d seen it all, Tim Booth reappeared, joining Marr for a cover of Iggy Pop’s “The Passenger.” It was a moment of pure, unadulterated fun, with Booth’s wild dancing and Marr’s intricate guitar work blending perfectly. For a moment, it was like watching two old friends jamming together in a basement, not on a stage in front of thousands. The joy on both their faces was palpable, and the crowd fed off it, turning the performance into a communal celebration.

Marr also took a moment to dedicate “There Is a Light That Never Goes Out” to his late friend and former bandmate Andy Rourke. The emotion in his voice was unmistakable, and the crowd fell into a hushed reverence, singing along with a tenderness that filled the room. It was a fitting tribute, not just to Rourke, but to the legacy of The Smiths. Watching Marr play it, with that signature blend of melancholy and hope, was a reminder of why these songs have endured.

It was a night of nostalgia, yes, but it was also a testament to the enduring power of live music. If you ever get the chance to see these Manchester legends in action, don’t hesitate. Some lights, as Marr reminded us, really do never go out.

Setlist

1. Armatopia
2. Panic (The Smiths song)
3. Generate! Generate!
4. Spirit Power and Soul
5. Hi Hello
6. This Charming Man (The Smiths song)
7. Somewhere
8. Walk Into the Sea
9. Please, Please, Please Let Me Get What I Want (The Smiths song)
10. Bigmouth Strikes Again (The Smiths song)
11. Night and Day
12. Get the Message (Electronic song)
13. How Soon Is Now? (The Smiths song)
14. Easy Money
15. Getting Away With It (Electronic song)

Encore:

16. The Passenger (Iggy Pop cover) (with Tim Booth)
17. There Is a Light That Never Goes Out (The Smiths song)

Review & photos – Steve Gerrard

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