This programme contains some strong language
Welcome to the show.
Playing a song from their number one album Futique,
please welcome Biffy Clyro!
APPLAUSE AND CHEERS
# Sneering at a scene from above
# Cos that's the safest distance to judge
# You think you're so special
# Is there something I don't know?
# Cos people that you barely know
# Find you so insufferable
# You're a pump-action fella
# With an addiction to the show
# So, come on
# Give it to me
# I'll play along
# Give it to me
# Hunting season
# So you best watch out
# Hunting season
# They will snuff you out
# Any meaning starts to all die out
# Just a number so they hunt you down
# I'm running out of ways to explain
# That this is gonna happen again
# I tried writing letters
# I auditioned for your show
# They really want to cut you off
# Make sure no other person finds out
# They call it conjecture
# But it quickly becomes fact
# So, come on
# Give it to me
# Hunting season
# So you best watch out
# Hunting season
# They will snuff you out
# Any meaning starts to all die out
# Just a number so they hunt you down. #
APPLAUSE AND CHEERING
Wonderful to have Biffy Clyro back in this room!
Thank you. Biffy Clyro!
Who are my marvellous guests this week?
In this corner, we will be having the sensational voice
of James Morrison!
CHEERING AND APPLAUSE
From Walthamstow, we welcome kwn!
CHEERING AND APPLAUSE
Over here, I shall be chatting to Justin Currie!
CHEERING AND APPLAUSE
From Dundalk, we welcome Just Mustard!
CHEERING AND APPLAUSE
But now, the musical genius from north London,
we welcome Jacob Collier.
CHEERING AND APPLAUSE
SOFTLY: One, two...
# Oooh-ooh-oooh
# I see the whole world in your eyes
# Oooh-ooh-ooh
# I'm gonna watch you rise
# Oooh-ooh-ooh
# Like an angel in the night
# You are bringing me back to life
# And I say
# I don't know where you come from
# I don't know where I've been
# You're finding a way through all my black and white
# And I know that I'm gonna see the light
# Cos it's like heaven
# Heaven
# There's a rainbow hanging over me
# In heaven
# Heaven
# When you are close to me
# Heaven
# So take me up into the light I see
# And shine on me
# On me
# You are so heavenly
# Oooh-ooh-ooh
# Ooh-ooh-ooh
# Saw the old house burning down
# Ooh-ooh-ooh
# It didn't make a sound
# Ooh-ooh-ooh
# If what is lost cannot be found
# Then will everything come around?
# Will you stay? Oooh-ooh-ooh
# Rocking my whole foundation
# All of my walls come down All of my walls come down
# Ahhh
# Out of this whole creation Ahhh
# You're the one's gonna make me feel alive
# Cos it's like heaven You are my heaven
# There's a rainbow hanging over me in heaven
# You are my heaven
# When you are close to me
# Heaven You are my heaven
# So take me up into the light I see
# And shine on me Shine, shine, shine
# Shine on me Shine on me
# Shine on me
# Shine Shine
# Shine on me Shine on me
# Ooh-ooh-ooh
# I can feel your butterflies
# I'm awake and I wanna be
# I can feel your butterflies
# Pour your love all over me
# I can feel your butterflies
# Baby, I won't ever sleep
# Oooh
# Baby, if I'm going blind, you're
# Baby, if I'm going blind
# Only light I'll ever need
# Only light I'll ever need. #
CHEERING AND APPLAUSE
With Heaven (Butterflies) from his new album, The Light For Days,
the extraordinary Jacob Collier!
APPLAUSE AND CHEERING
And lovely choir!
So next, I'm going to be joined at the piano
by Justin Currie of Del Amitri.
But before we meet him, let's go back in time, through the Time Tunnel to 1990,
when Del Amitri performed on Top Of The Pops.
# And nothing ever happens
# Nothing happens at all
# The needle returns to the start of the song
# And we all sing along like before
# And we'll all be lonely tonight
# And lonely tomorrow... #
APPLAUSE AND CHEERING
Happy memories of Del Amitri,
in 1990.
And welcome, Justin Currie.
So lovely to have you here, my dear pal.
Thank you for having me. It's so very nice to see you.
You've a marvellous voice.
Now, we just saw a tiny, little bit of Top Of The Pops in 1990.
Can you remember anything of that Top Of The Pops?
Can you remember anything of 1990?
Um, most of 1990.
I remember that performance very well. Um...
That was still at Television Centre, I think, when we... That's right.
And that was when everything changed for us, literally overnight. Yeah.
How did it all change? Because that record surged up the charts.
Well, I mean, in those days, millions and millions of people
watched Top Of The Pops and you would walk
out of your front door the next day and people would literally scream
because they'd seen you on the telly the night before. It's very strange.
That will happen after this show, let me tell you. I'm hoping so.
They'll certainly start screaming at me
but I don't think they've seen the show.
It's mainly in horror these days, Jools.
Yes, it is.
Out of interest, in 1990, did you keep a diary?
No, I wish I had, actually.
But there was probably too much to do to keep a diary.
Because when you're being "successful",
you're very, very busy.
Yes. I'm no longer "very, very busy".
LAUGHTER
Too much time to think! Yeah!
But when did you start to keep a diary?
About 2008, I think.
Er, I was on a month-long solo tour in America
and there was a lot of time to kill.
We were driving during the day, we didn't have a tour bus.
So I just...started tapping away on my laptop about what
I was seeing out the window of the van, and then it became, I just
started doing it all the time and I found it a great way to kill time.
Your diary entries are the basis for your new book,
The Tremolo Diaries: Life On The Road And Other Diseases.
Where does the title come from?
Er, well, I didn't come up with the title.
There was a...a very brilliant radio producer called Phil Smith
who did a radio show about the diaries and moi.
And that was the title of his radio show, so I said, "Can I pinch that?"
And he was very happy for me to pinch it.
And you chronicled all sorts of things, didn't you?
Well, I mean, generally just getting up, because I knew...
I knew these diaries were going to be published,
so I was getting up quite early - unusual for me -
and just looking at my maps and going, "Right, art gallery, museum,
"some, you know, vintage clothes shop,"
and just going out and doing stuff to give me more to write about,
rather than just sitting around in the dressing room all day.
An also, we were third on the bill,
opening for a Canadian band called Barenaked Ladies,
so when you're third on the bill, you sound check late
and you go on late and you don't play for very long.
So I had tonnes of time.
So I just kind of...you know,
would get in a taxi or just wander around and find things to jot down.
Yeah. And also, you had a diagnosis of Parkinson's,
is that right? Yeah.
And did writing the book help with your dealing with the diagnosis?
Um...
I wasn't thinking about that at the time.
I think when I finished the book, I thought,
that's probably taken my mind off things, in a way.
Even though I write quite a lot about Parkinson's in it
because I thought that made it more interesting.
Um... But, yeah, I think it was quite - and I hate this word -
but I think it was therapeutic in a weird way.
That's not why I wrote it. I wrote it because I thought
people might find it interesting to know what it's like
being an old fart on the road with a shaky hand
and being third on the bill, touring America.
And Europe. Yes. What fun. Yes.
Yeah! It's mainly for fun. Not for money, let me tell you.
LAUGHTER
You've always written great songs, I wonder if either the diary
or your diagnosis, has that helped influence your songwriting?
I mean, it's changed my songwriting.
It's more difficult to write songs with Parkinson's
because it's harder to concentrate.
But it's given me more serious things to write about, I guess,
or it's given me a slightly more...
..a different perspective on the future, that's for sure.
So, yes, it's influenced what I'm writing.
What's the next thing for Del Amitri going to be?
Start recording.
I've been a bit distracted doing the kind of book tour thing,
which has been great fun.
Start recording. Just get off our arses and start recording.
Because we've written another couple of records,
we just haven't had time.
Well, I'm really looking forward to hearing them once you...
So am I, let me tell you. Exactly, yeah.
It's so great to have you, Justin,
and thanks very much for joining us. Thanks for having me, Jools.
We'll look forward to Del Amitri's record once it comes out.
Thank you very much. Justin Currie.
CHEERING AND APPLAUSE
Good man. Appreciate it.
My next guest wrote her latest project,
entitled With All Due Respect, in her bedroom studio in East London.
Now, performing for the first time on British television,
please welcome kwn.
CHEERING AND APPLAUSE
# Shit
# Don't fuck me righteous then surprise us
# Leaving me on... Read, babe
# We had good times and you were saying it's mine, oh
# So stand on it, girl
# Cos I do get jealous
# But I'm not embarrassed
# Ain't gon' love you in private
# Oh, no, no
# So if there's someone else
# Don't keep it to yourself
# Oh, stand on it, girl
# Stand on it, stand on it, stand on it
# Oh, stand on it, girl
# Stand on it, stand on it, stand on it
# Stand on it, girl
# Don't piss me off and lead me on cos
# When I leave you gon' try spin the block
# The way you been talking
# Unless you ain't being honest
# Oh, I'm sure no-one can take my spot cos
# You said, "Come here" I said, "Come where?"
# You booking flights with your chest
# I'm at your crib, leave for ten mins
# And you say, "Miss you, sweetness"
# Best go ahead and tell your bitch that we havin' record sex
# She thought she ate
# But you got ate for eight-eight-eight-eight-eight sets
# Cos I do get jealous
# But I'm not embarrassed
# Ain't gon' love you in private
# Oh, no, no
# So if there's someone else
# Don't keep it to yourself
# Oh, stand on it, girl
# Stand on it, stand on it, stand on it
# Oh, stand on it, girl
# Stand on it, stand on it, stand on it
# Stand on it, girl
# A-da-da-da-da-da-da-di
# A-da-da-da-da-da-da-di. #
CHEERING AND APPLAUSE
Thank you, kwn!
Our next guest has had Brits, he's topped the charts,
and has released his seventh album, Fight Another Day.
Please welcome the fantastic James Morrison.
CHEERING AND APPLAUSE
# I know sometimes you feel like you can't see the sun
# And all the clouds follow you
# Don't be so hard on yourself cos better times will come
# You're strong enough to make it through
# I see the storm behind your eyes
# You've got to let it go
# Cos sometimes it hurts
# We cry till we break
# God only knows what's waiting for us tomorrow
# Oh, oh
# Those hard days will come that we just can't escape
# But if I hold on to you and you hold on to me
# We'll live to fight another day
# You say you wanna run away
# Just leave this all behind
# Hoping it could all just disappear
# You can't run from hurricanes
# No matter how hard you try
# So just stick with me right here
# I see the storm behind your eyes
# You've got to let it go
# Because sometimes it hurts
# We cry till we break
# God only knows what's waiting for us tomorrow
# Tomorrow
# Those hard days will come
# That we just can't escape
# But if I hold on to you and you hold on to me
# We'll live to fight another day-ay
# There's no point in running from a world of trouble
# You gotta face it standing strong
# Cos through the pain is where the joy will follow
# Don't be afraid
# Just carry on
# Oh
# Cos sometimes it hurts
# We cry till we break
# God only knows what's waiting for us tomorrow
# Tomorrow
# Those hard days will come
# That we just can't escape
# But if I hold on to you and you hold on to me
# We'll live to fight another day
# Live to fight another day-ay
# We'll live to fight another day-ay-ay
# Another day
# Live to fight another day. #
CHEERING AND APPLAUSE
What a great songwriter. What an amazing voice.
James Morrison!
CHEERING AND APPLAUSE
Fantastic.
A room full of amazing people tonight.
So now a man that makes absolutely extraordinary music,
a Grammy winner, a songwriter,
and one of the best musical directors - no, not directors -
one of the best musical decorators of our age,
the wonderful Jacob Collier.
How are you, Jools? It's so great to have you here.
APPLAUSE
I'll come onto your musical decorations in a moment,
but I would like to go back to the beginning,
because I think it's interesting the way that you learnt,
because your mum, Suzie Collier, is a fantastic music teacher
and musician and friend, and she told me that when you were a baby,
you loved versions of classical music, but it was specific versions.
You were a tiny baby, it wasn't just,
"I'll hear Beethoven's Fifth Sympathy,"
"I want that one, I don't want that one."
That's what music is all about, it's all very specific,
but can you remember the first music you ever heard?
I think my first memory of being a person
was of sitting on my mother's lap and looking up
and seeing her playing the violin above me, and thinking,
"Oh, I think I'm the violin."
Oh, I see, with the bow? That was the conclusion I drew...
Yeah, exactly, yeah. So that was cool.
This might seem like a strange question,
but what do you think music is for?
That's a deep one. Um...
I think music is one of the highest resolution
kind of emotional languages that we have as people.
I think it has this amazing way
to sort of make really simple things really complicated,
and really complicated things feel really simple.
It's kind of like the natural world in that way.
It's a very special, very universal thing, but it's made out of life.
Music is built out of, like, courage and risk and personality
and physics and mathematics and all these things
that make life work.
So it's kind of like, no wonder that it works so well, you know?
Yeah. And once you go into it...
Endless. ..it's deeper and deeper.
Yeah. You are really, I mean, an incredibly accomplished
arranger, writer, singer, and everything.
But do you feel as though there are still new things you're learning
about music? All the time, yeah.
Like, one thing I've been figuring out recently
is the microtones, you know, notes in between other notes.
I think they're mysterious things.
But I'm interested in getting in the cracks and seeing if there's
any hidden feelings in there somewhere.
Congratulations. This year, you have earned your seventh Grammy.
You're the first-ever British artist to win at least one Grammy
for each of your first five albums.
I mean, that is an amazing achievement...
APPLAUSE
..for you, for music, for Britain!
THEY LAUGH
But where do you keep them all? I mean, that's a lot of Grammies.
Oh, gosh. Have you had a special shelf built?
There's a little Wurlitzer, a little blue Wurlitzer,
a humble Wurlitzer, they're currently atop this Wurlitzer. Yeah.
You want to be careful with that, because if it starts moving,
they're going to... Well, if you were to play it, Jools,
they would probably all topple off immediately.
Because I bang quite hard. Exactly. That's right. Exactly.
And tonight, you're here with your new album, The Light For Days,
which is centred around only a single instrument,
which is the guitar. Where did that idea come from?
So I had just finished these big four albums,
Djesse Volume 1, 2, 3 and 4, and they're all kind of the most
irresponsibly collaborative albums I could possibly imagine making.
There's, like, hundreds of thousands of people on them.
As well as well-known artists, the audience is on them as well.
Yes, I started recording you,
because I love the feeling of audiences singing so much,
so it became this really collaborative thing,
but also this, like, omni-genre thing.
So there's all these different styles and forms of music.
So I wanted some limitations.
I thought that would be helpful for me.
And they usually are helpful.
Sometimes they're annoying, but I thought if I make the limitations,
then they're less annoying.
So I thought, well, I'll have one instrument, just the guitar,
five-string guitar, which is the one I was playing earlier on,
and I gave myself four days to make the whole album,
and whatever I did, that was what I was going to release.
Four days? So I called it The Light For Days
slightly because I made it in four days.
Now, you've worked with the amazing film music composer Hans Zimmer,
and somebody told me that he sends you a cardigan every year
for your birthday, is that right? How did you know that?
Well, I've got my sources that look into these things, my informants.
Oh, I see. I was wondering why he didn't send me one.
Is that one of the cardigans he sent you?
This could well be. He sends me the most lovely cardigans ever.
I try to keep my cardigan game high, you know, strong. Yeah.
And do you send him anything? No.
LAUGHTER
That's a bit of insight.
Now, I did earlier on, I introduced you as one of our
greatest musical decorators, and the reason I said that
is because you once said to me, we were talking on the phone, you said,
"Well, I just like to, if it's a piece of music, I just like to
"kind of decorate it for people a little bit." Uh-huh.
But, I mean, if I, for instance, if I had a couple of simple chords
here at the piano, that I might just come up with,
what I'm going to play is like a rather empty, sparse room.
Right now? A plain colour... Yes.
So come and join me. OK, let's do it.
A plain, rather miserable room that I'm in. OK!
There's no, really...not very much lighting, no carpet,
no paint on the walls yet.
And the way that it looks is like this.
LOW SLOW CHORDS
ADDS BRIGHT JAUNTY MELODY
My room's much better, yeah!
JAUNTY MELODY SLOWS SLIGHTLY
FINAL FLOURISH
APPLAUSE
My room is all ready!
My room! My room looks so much lovelier!
You can come and decorate any of my rooms.
Thank you very much. Come and decorate the lot.
Put a carpet in there.
And I think, also, I think it would be nice
maybe if we engaged everybody, both the people in this room,
because they've all paid 50,000 a ticket to be here tonight,
and all the people at home. That sounds good fun.
So why don't you move into the other seat here?
OK, yeah. Who wants to sing?
Are you up for some singing?
CHEERING
So how should we start about this, do you think?
Well, maybe we start on one note.
Yeah. Does one note sound enough for now?
MILD AGREEMENT
So what note should we give them?
What do you think about this one? That's an F, yes?
How about that? I think we're going to get some help here.
AUDIENCE SINGS NOTE
You sound great.
You sound really good. That's for openers.
That's for starters. That's it.
It did sound beautiful, do give yourselves a round of applause,
but let's go further.
So we've got that note, we've done that one room so beautifully,
we're going to go to the other rooms in my musical psyche.
Oh, gosh. So sort of like a call and response kind of thing?
Yes. Are you ready?
AUDIENCE AGREES
# La-la-la-la
AUDIENCE REPEATS
HIGHER: # La-la-la-la
AUDIENCE REPEATS
LOWER: # Oh-ho
AUDIENCE REPEATS
DESCENDING: # La-la-la-la
AUDIENCE REPEATS
APPLAUSE
Thank you so much. The wonderful Jacob Collier!
CHEERING AND APPLAUSE
And thank you to our sensational audience!
And the lovely choir!
We Were Just Here is the title of their third album.
They've been on tour with The Cure, Depeche Mode, and Fontaines DC.
Please welcome Just Mustard.
CHEERING AND APPLAUSE
# If you want, take it
# Say it won't ache there
VOCALISING
# Gave you my bracelet
# Say you won't break it
# Let the light
# Close my eyes
# For a time
# Maybe sometime
# Always
# Maybe sometime
# Yeah, said you're my favourite
# Yeah, you're my favourite
# Say you won't miss this
VOCALISING
# Yeah, tell me you're endless
# Yeah, say this is deathless
# Tell me you're endless
# Let the light
# Close my eyes
# For a time
# And we watch
# As the floor
# Fell away
# Maybe sometime
# Always
# Maybe sometime
# Always
# Maybe sometime
# Maybe always
# Maybe sometime. #
CHEERING AND APPLAUSE
# I've been holding something
# Something kinda heavy
# So let go now
# Let it go now
# You're getting older
# The world's a little smaller
# Just let go now
# Let it go
# Well, every time I feel a weight upon me
# You hold a line to pull me back to life
# And all my life you've been holding on beside me
# But I know
# It's time to let it go
CHOIR VOCALISING
# I'm gonna give you the moon
# Hold your hand like a big balloon
# Don't let go now
# Don't let it go now
# Light as a feather
# I'm really someone
# Don't let me go now
# I'm never gon' let you go
# And every time I build a wall around me
# You hold a line to pull me back to life
# And all this time
# You never stopped thinking of me
# But I know
# It's time to let it go now
# Let it go, let it go
CHOIR VOCALISING
# And in my mind
# You throw your arms around me
# I find a way
# To bring you back to life
# And all this time
# I didn't let you love me
# But I know
# Now I know
# It's time to let you go. #
CHEERING AND APPLAUSE
With Something Heavy, from his new album, The Light For Days -
thank you to the remarkable choir -
Jacob Collier!
CHEERING AND APPLAUSE
Thank you to all my guests,
and let's finish with the wonderful Biffy Clyro!
CHEERING AND APPLAUSE
# I'm out of reach
# You're out of bed
# We can't avoid it
# It'll bite in the end
# Yesterday is over
# So let's not pretend
# We can start over, have things to defend
# I'm gonna leave here
# I'll explain in a note
# How I betrayed you and covered it up
# I'll fall on my knees
# I'll fall on my sword
# No-one will ever love you like I did before
# Goodbye, my love
# It was too much but never enough
# Goodbye, my lover
# Why did we even bother?
# A faraway station
# A stranger in a coat
# You're my salvation
# Waiting in the cold
# An audible screech
# A visible groan
# I tried my best to build us a home
# I'm done repeating
# But then again, no
# The more that I do it
# It becomes habitual
# It falls on deaf ears
# Hope falls to the floor
# No-one knows anything
# I know that for sure
# Goodbye, my love
# It was too much but never enough
# Goodbye, my lover
# Why did we even bother?
# Goodbye forever
# But it hurts
# Goodbye to everyone
# I'll miss you all
# I've blessed you all
# Goodbye, my love
# It was too much but never enough
# Goodbye, my lover
# Why did we even bother?
# Goodbye forever
# But it hurts
# Goodbye to everyone. #
CHEERING AND APPLAUSE
# Maybe sometime
# Maybe always
# Maybe sometime. #