Fifteen-year-old James Smith from Upminster greeted the Britain’s Got Talent stage with an unassuming grin and a disarming dose of everyday charm. He sounded like someone you might meet in a local shop: modest, a little shy, and fiercely ordinary in the best way. He told the judges he’d celebrated his birthday just two days earlier with a quiet night in and a slice of cake with his nan — an image that made him instantly likable. When asked about small comforts, he laughed about getting a few free soaps from his market-trader dad and admitted his favorite meal was plain, satisfying pie and mash. Those simple details painted him as a grounded kid with no airs, and that relatability lowered the audience’s expectations in the most delicious way: everyone was braced for a nice, perhaps forgettable, teenage performance.
James’ choice of song, however, suggested he had something more in mind. He picked “Feeling Good,” the classic anthem associated with Nina Simone’s smoky, gospel-inflected original and the sleek, modern reimagining by Michael Bublé. It’s a piece that demands not just vocal range but presence — a song that can be done with understated grace or brash bravado, but that rewards singers who understand its emotional arc. For a boy who’d just told the panel about cake with his nan and market soaps, it was an audacious move. The judges exchanged looks; you could almost feel their nervous anticipation. Could this unpretentious teenager pull off such a demanding, iconic number?
The moment the first notes left James’ mouth, the small talk and the humble backstory evaporated. His voice arrived smooth and confident, with a depth that felt older than his years. There was a controlled power in his lower register and a bright, ringing clarity when he pushed higher — a balanced mix that made the song’s crescendos feel earned rather than forced. He didn’t try to imitate the original stylings; instead, he interpreted the song with a fresh sense of ownership. The phrasing was measured, every breath calculated to maximize impact, and he used dynamics cleverly, coming in soft to draw listeners close and then opening up into big, soulful lines that filled the theatre.
It wasn’t just technical ability that made the performance land. There was charisma, too — an ease onstage that belied his age. James didn’t overact; he didn’t need to. He communicated the song’s rebirth-and-renewal message with a steady gaze and a smile that suggested quiet confidence. Those little stage moments — a tilt of the head, a held note that lingered just a beat longer — added texture and made the performance feel lived-in. You could imagine him delivering the same song in a smoky club or on a big festival stage; he had the sort of presence that translates across different settings.
As he moved through the verses and into the soaring choruses, the audience reaction built from polite attention to outright enthusiasm. By the first big refrain, people were on their feet — not because the show demanded applause, but because the performance compelled it. Friends and family in the crowd who had come to support a local boy watched with wide eyes, and strangers found themselves clapping along, carried by the momentum James had created. The energy in the room felt electric, the kind that comes when a performer takes a familiar song and makes you hear it anew.
The judges’ reactions reflected that shift. David Walliams, known for his keen eye for marketable talent, described James as a “pop star in the making,” a label that suggested James had the package to succeed beyond a single audition. Alesha Dixon homed in on his stagecraft, praising the teenager’s “incredible charisma” and his rare ability to “hold an audience in your hand like that.” Even Simon Cowell, who often approaches bold song choices with caution, admitted he’d been nervous when James announced “Feeling Good.” Yet by the end, Simon was effusive, praising James for giving the classic a “completely new twist” and naming it one of his favorite auditions of the season. That kind of praise from the panel — especially Simon — is meaningful; it signals not just approval but real potential.
When the final note faded, the applause was immediate and sustained. The standing ovation felt like more than appreciation for a single performance; it was recognition of a young artist who had bridged humble roots and polished skill in one fell swoop. James left the stage with a smile that mixed disbelief and pride, clutching the validation he’d long hoped for.
Beyond the moment itself, what makes James’ audition resonate is the way it upends assumptions. He reminds viewers that extraordinary talent often sits behind everyday faces, that a boy who eats pie and mash and gets free soap from his dad can also possess a voice big enough to fill arenas. His blend of warmth, technique, and stage savvy suggested a clear trajectory: this was more than a surprise performance. It was the opening scene of a story that could easily lead to recording booths, late-night TV spots, and crowds singing back at him. For now, James had earned four resounding “yeses” and a place to grow — and for everyone watching, he left the simple, powerful impression of a young artist ready to be taken seriously.
