APPLAUSE
Welcome to my world,
and welcome back some wonderful French artists from Versailles.
Yes, it's Phoenix!
APPLAUSE
SAMPLED VOICE
# I take a moment to decide to compromise
# You let me know some other time, some other day
# You're not closer to the start than to the limit
# Take a bow, vow to the sky, if you want to wait, great
# Woo, ha! Singing hallelujah
# Pray to your god, cover your lies, god or guru
# Hey, hey, hey!
# Woo, ha! Singing hallelujah
# Run for your life, cover your eyes
# Alpha Zulu
# Tell me why, don't tell me when, don't tell me how
# I must have died at 51 in 1953
# Just accounting to the stars, the only reason I'm allowed
# There's a purple cloud in the consomme, ouais
# Woo, ha! Singing hallelujah
# Pray to your god, cover your lies, god or guru
# Hey, hey, hey!
# Woo, ha! Singing hallelujah
# Run for your life, cover your eyes
# Alpha Zulu Why choose your body over time?
# Why choose your body over time with me?
# Why choose your body over time?
# Why choose your body over time with me?
# Hey, hey, hey... #
SAMPLED VOICE
# I get you're close up to sublime, the alibi
# Mona Lisa immortalised, decapitee
# I wouldn't change, I wouldn't try another second
# Till I rise, a hologram waiting for the tie-break
# Woo, ha! Singing hallelujah
# Pray to your god, cover your lies, god or guru
# Hey, hey, hey!
# Woo, ha! Singing hallelujah
# Run for your life, cover your eyes
# Alpha Zulu
# Why choose your body over time?
# Why choose your body over time with me?
# Why choose your body over time?
# Why choose your body over time with me?
# Hey, hey, hey!
# Oh!
# Hey, hey, hey!
# Hey, hey, hey! #
CHEERING AND APPLAUSE
Phoenix. More from them later.
A room full of amazing guests!
From the beautiful North West, it's Paul Heaton and Jacqui Abbott.
From Dublin, it's Dermot Kennedy.
From Cornwall, Angeline Morrison.
But now, from South London,
amazing, she's written for Beyonce, she's had hits
with all sorts of people, but she's here with her first solo
record - she is Raye!
CHEERING AND APPLAUSE
# Mm!
# Card games and heart games
# I said let's play, I should know better
# My boy ain't my boy but I call him that cos it feels better
# Court case last Monday but he bust, child, so I feel better
# Painkillers and codeine, I got stomach cramps under my sweater
# Dark words from his dark mind and there's dark stains under my eyes
# I'm scared when I look at him and I don't know why I'm surprised
# Silk sheets and I'm cryin' in 'em
# And I'm stayin' here when I should go
# I'm scared if I leave now I'll never come back so I sip slow
# Say somethin' nice to me
# I'm noddin' I agree
# You'll get so mad if I disagree
# So he invited me to sit here silently
# Now he can't stand the sight of me
# He used to get excited, but now
# The thrill is gone, the thrill is gone
# The thrill is over now
# I know it's so, I'm all alone when I'm on his shoulder
# The thrill is gone, the thrill is gone, the thrill is gone
# The thrill is gone! The thrill is gone
# The thrill is gone
# He's a little sad, a little moan and a little cry
# Somethin' dies in his eyes when I find out
# The thrill is gone, the thrill is gone
# The good has gone, the thrill is gone
# The thrill is gone
# Oh, I can't sleep in the same bed as you
# Somethin' just doesn't feel right
# When you fall asleep I leave the room as your closin' your eyes
# I shut the door behind me quickly as I get in my car
# But then the second I leave you I wish I was where you are, yes
# Say somethin' nice to me
# Say somethin' that'll soothe me, yeah
# Won't you say somethin', won't you say somethin'
# Won't you...ba, ba, ba, ba, ba, ba
# Yeah!
# The thrill is gone, the thrill is gone
# The thrill is gone, yeah
# The thrill is gone, the thrill is gone, the thrill is over
# I know it's so cos I'm all alone when I'm on his shoulder
# Hey, hey, hey!
# Got to get on the road now
# Got to shake a little dust off
# Got to get up
# Get on the plane now
# Say I'm livin' in the past now
# I know it's early, sad to say,
# But the thrill is...oh, no, no, no, no, no, oh, yeah!
# The thrill is gone, the thrill is gone
# I know it's so cos I'm all alone when I'm on his shoulder
# Brass, give me some brass!
# Oh, yeah!
# Ooh
# Somethin' died, it's in his eyes when I find them
# The thrill is gone
# Yeah. #
CHEERING AND APPLAUSE
Fantastic! Lovely.
The wonderful Raye.
She'll be choosing a bit of archive, and I shall be having a chat
with her in a moment.
But in a moment, I'm going to be having a piano-side chat
with Paul Heaton and Jacqui Abbott.
But before that, let's see them on this very show
with The Beautiful South in 1994.
# That's sweet
# The conversation we had last week
# When you gagged and bound me up to my seat
# You're right, I do, I keep it all in
# Just like that murder in '73
# Just like that robbery in '62
# With all these things that have happened to me
# I kept them all in
# I kept it all in
# Ba-da-ba-da-ba-ba
# I kept it all in
# Ba-da-ba-da-ba-ba
# I kept it all in
# Ba-da-ba-da-ba-ba
# I kept it all in
# Ba-da-ba-da-ba-ba
# I kept it all in
# Ba-da-ba-da-ba-ba
# I kept it all in
# Ba-da-ba-da-ba-ba
# I kept it all in
# Ba-da-ba-da-ba-ba
# I kept it all in
# Ba-da-ba-da-ba-ba
# Ba-ba-ba. #
CHEERING AND APPLAUSE
Welcome to the piano, Paul, Jacqui,
it's very nice to have you.
Do you have any fond memories of 1994, or is it all a blur?
I think, if I remember rightly, I think we were a little bit arsy...
I don't remember that, I can't imagine that.
No, in general, we weren't arsy, but I think we'd been to the bar...
The BBC Club bar, as it was then.
Yeah, and I think the bars shut,
and I think we sort of thought it would be like Top Of The Pops,
play one song and you're off. Yeah.
And the bar shut and we were there still,
and as a band we could get, not nasty, but you know, like...
I don't know, you were always very nice to me.
But now not a millimetre of arsiness.
No, no, no, no. When did you join, Jacqui?
Was that just after you joined?
When you said, "What must you have been feeling like?"
I think mine was probably just fear. Terror, yeah.
Terror at such a big...because this show was such a big deal for me.
And he starts being arsy. Yeah!
Killer combo. Yeah.
SHE LAUGHS Now, it's your fifth album you're
going to be playing something from. Yeah.
And it's entitled N.K-Pop.
Where does the title come from for that?
Well, obviously, you know K-pop,
we all know and love K-pop.
I'd just imagined a sort of subgenre,
you know, like somewhere hidden in North Korea, of N.K-Pop
A very pop culture centre.
Yeah, obviously, but a little more serious than K-pop,
and it just came from there, I just fancied the title for ours.
It does flow off the tongue.
Now, today is National Album Day,
I should point out... Yes. ..which, of course, if people
are watching this show, hopefully, they're music-lovers,
they've got their own albums.
But why do you think an album is an important thing?
Well, it's quite difficult to describe
until you feel it, particularly a vinyl.
I always see it, as a songwriter,
in other people's songwriting,
like an episode, a part of their life
that they have sort of diaried for you, their lyrics,
their tunes, a little bit of their character.
And it's sort of presented to you in this fantastic manner.
And, because of that, obviously, we hope
it never dies as a thing,
we always hoped that it's always going to be like that.
Jacqui, out of interest, have you got a favourite album?
The one I thought when it came to mind, it's an album by
the Cocteau Twins called Blue Bell Knoll.
And that style of music just sent me in a completely different direction
of what I listened to, a style of music that I liked.
One cassette, that's great. One cassette, yeah. Just my brother
handed it to me, he just got fed up of hearing
whatever was playing through the door of my room.
But he just tapped on the door, and he said, "You should give this band
"a chance, they're really good."
Now, congratulations are in order because
you've recently celebrated a big birthday... Yeah.
..and I believe you celebrate by buying lots of people a drink?
Yeah, I bought other people a drink.
I put money behind...cos I was 60,
I put money behind 60 pubs' counters
so they could go in and have a drink.
All pubs you go in? No, a variety of pubs, really.
Some that were recommended if I didn't know any in the area,
but mainly ones that I went on my bicycle tour playing in pubs
then, or favourite ones in Manchester or Sheffield, you know?
Well, I bet they all went, "Cheers," which is very nice.
Yeah, I had a lovely response.
Now, you play in little pubs cos you enjoy doing that, but you're also
playing huge arenas. You're about to
be a big arena tour quite shortly, I think. Yeah. Is it as enjoyable
playing in a big arena as it is playing in a small...?
It is, actually. I know you get the lovely...it can be. Yeah.
We have ones in the recent last few years where we we've gone
and everybody's just walked on and absolutely loved it,
because the whole place was singing along.
That amount of people just singing back to you is wonderful.
Really touching, yeah. Well, we're looking forward to the song from
your new album which we're going to be hearing in a moment. What's it
called, the one that you are going to be playing?
It's called Too Much for One.
Thank you, Jacqui, Paul, thank you for joining us. Thank you, Jools.
Thank you very much, Jacqui and Paul.
APPLAUSE
This next artist is another amazing person, I have to say.
Very moving, just strong, what she's going to sing.
And now, with Unknown African Boy,
from a wonderful album, The Sorrow Songs,
produced by folk music queen Eliza Carthy,
we welcome Angeline Morrison.
CHEERING AND APPLAUSE
# Mm, mm, mm, mm, mm, mm
# Oh, my brown eyes, they are sad and empty
# Oh, where, oh, where is my little son?
# He's stolen away by English slavers
# With a cudgel blow and a pointed gun
# Mm, mm, mm, mm, mm, mm
# My riven heart, it is wide with sorrow
# Oh, where, oh, where is my darling boy?
# Thrust into a sack with babes and young limbs
# By slavers in the king's employ
# Lully, my dear babe
# Where 'ere you be
# May the arms of the ocean be a cradle for thee
# Mm
# Ripped, oh, so cruel
# From his loving mother
# My darling babe to be bought and sold
# His skin rubbed raw by iron shackles
# He gulps for air in the ship's dank hold
# Mm, mm, mm, mm, mm
# Oh, I'll send my spirit out into the darkness
# Into stars and the wind and the sea I'll go
# My spirit will rise into Earth and water
# That a mother's love he might then know
# Lully, my dear babe
# Where 'ere you be
# May the arms of the ocean be a cradle for thee
# If the sea be your bed
# And the waves be your pillow
# May the sun in the sky keep you from all harm
# The Earth is your mother now, dear baby
# To hold you safe in her soft brown arms
# Lully, my dear babe
# Where 'ere you be
# May the arms of the ocean be a cradle for thee
# Oh, Earth, cradle my son for me
# Lully, lulla
# Oh, Earth, cradle my son for me
# Lully, lulla
# Oh, Earth, cradle my son for me
# Lully, lulla
# Oh, Earth, cradle my son for me. #
APPLAUSE AND CHEERING
# The time I caught you texting you went for that long drive
# I headed out immediately to hit my latest dive
# I just needed company, you to be alone
# Your face, it told me everything that wasn't on the phone
# Later you admitted it, came clean about the dirt
# You didn't mean to break my heart, cause that amount of hurt
# Well, what amount you meant to cause eludes me to this day
# And now you're back and all of that's OK
# See, you're too much for one, not enough for two
# You're that cobbler who just doesn't know
# The size of his own shoe
# If ever you came crawling back you'd probably say I do
# You're just too much for one, not enough for two
# Ooh
# Woo, ooh
# Ooh
# Woo, ooh
# Ah, now I'm back here loving you I'll try and do my best
# Hold you here in my arms closely to my chest
# I promise you that I will stay and I won't wriggle free
# And choose to spend a lifetime on someone else's knee
# The way you made your exit like character off soap
# I wasn't sure how you'd react but I went and bought you rope
# There's always Dead End Street sign on every Lovers Lane
# So I knew my joy would last until my interest it would wain
# See, you're too much for one, but not enough for two
# You're that cobbler who just doesn't know
# The size of his own shoe
# If ever you came crawling back you'd probably say "I do"
# You're just too much for one, not enough for two
# Two
# Woo, ooh
# Going back and forth between the yoyos on that string
# You say that you feel confused but I don't hear a thing
# I've reached permanently numb from permanently blue
# You're too much for one, not enough for two
# Woo, ooh
# Two
# Woo, ooh
# You're just too much for one, not enough for two
# You're that cobbler who just doesn't know
# The size of his own shoe
# If ever you came crawling back you'd probably say "I do"
# You're just too much for one, not enough for two. #
CHEERING AND APPLAUSE
Paul Heaton and Jacqui Abbott.
Now, from busking on the streets of Dublin,
having a number-one album, we welcome an artist
who's about to release his second LP, entitled Sonder.
Please welcome Dermot Kennedy.
CHEERING AND APPLAUSE
# Ever since I was a young boy running through grass
# I was a dreamer writing stories at the back of the class
# I sit at this piano, heart in my hands
# Take my love and all my loss and get the darkness to dance
# Knew that you were for me when you started to smile
# Time was slowing down, we could have been there a while
# Told me you were mine, already knew I was yours
# So isn't that worth something?
# I can't promise easy days
# And I can't keep the rain away
# Ain't got a song to sing without your loving
# Isn't that worth something?
# I might show up a little late
# I'll try to learn from my mistakes
# Ain't got a song to sing without your loving
# Yeah, isn't that worth something?
# Isn't that worth something?
# So remind me when you can about the way that we felt
# I'm still the one you call when there's a story to tell
# I'm still the one you call whenever you're hurt
# So isn't that worth something?
# I can't promise easy days
# And I can't keep the rain away
# Ain't got a song to sing without your loving
# Isn't that worth something?
# I might show up a little late
# I'll try to learn from my mistakes
# Ain't got a song to sing without your loving
# Yeah, isn't that worth something?
# I promise that there'll still be days the sun doesn't rise
# Promise that I'll make you laugh whenever you cry
# I honestly just wanna be the one on your mind
# Yeah, isn't that worth something? #
CHEERING AND APPLAUSE
Dermot Kennedy. Beautiful.
Now, we met her at the beginning of the show, she's had all sorts of
triumphs, she's got her first solo
record out, and that is why I've asked her to have a rummage
through the archives and pick something that we could play.
Raye, ladies and gentlemen. Hello. APPLAUSE
So nice to have you on the show. Thank you. Band sounding great.
You had a little rummage through the archives... Yes.
..and what have you found?
Well, I have chosen Joan Armatrading, Love and Affection.
Wow, lovely.
I just think it's the most magnificent song.
I found it when I was just entering BRIT School,
so I was maybe, like, 14, 15,
and it really just moved me, yeah.
Must have been instructional in your songwriting,
but we'll get onto that in a moment. Let's have a look at it, shall we?
# I am not in love
# But I'm open to persuasion
# East or west
# Where's the best for romancing?
# With a friend I can smile
# But with a lover I could hold my head back
# I could really laugh, really laugh
# Thank you
# You took me dancing
# 'Cross the floor
# Cheek to cheek
# But with a lover I could really move, really move
# I could really dance, really dance
# Really dance, really dance
# I could really move, really move, really move, really move
# Now, if I can feel the sun
# In my eyes and the rain on my face
# Why can't I feel
# Love
# I could really love, really love
# Really love, really love, really love
# Oh, give me love
# Love, love, love, love, love, love, love, love
# Now, I got all
# The friends that I want
# Give me love, ooh, ooh
# I may need more
# But I should just stick to those that I have got
# With friends I still feel so insecure
# Little darling, I believe, I believe you could help me a lot
# Just lead my hand and take me where you will
# No conversation, no way goodnight
# Just give me love
# Oh, give me love
# Make love with affection
# Send me a love song but this time with a little dedication
# Sing it, sing it
# That's what I like
# Once more with feeling
# Give me love, give me love
# Give me love
# Love
# Make love with affection
# Sing me another love song, but this time with a little dedication
# Sing it, sing it
# With affection
# With a little dedication
# Ooh, ooh
# You know that's what I like
# Give me love
# Ooh, ooh
# Once more with a feeling
# Give me love, give me love
# Give me love
# Love. #
CHEERING AND APPLAUSE
The supremely talented Joan Armatrading, picked by Raye.
Now, we said she had a big effect on you when you were at BRIT School,
what sort of effect did she have?
I think it was her lyricism. I don't know.
I'm a lyricist before I'd say I'm anything else, you know.
I'm just really connected with the way she told her story,
but also when she sings, it sounds like she's swooning and crying,
and that emotion and that emotiveness,
I just was captured by. Yeah. Yeah.
She's an amazing artist, she really is. She really is.
Now, I mentioned earlier you've successfully collaborated
with lots of different artists on their records and things like that.
What gives you the ability to do that, do you think?
I love being a songwriter. I grew up in church,
so freestyling was, like,
all the time, and kind of just singing from your heart
and from your soul, you know?
Not forcing it but just authentic, you know,
emotions and words. And I guess that's what I'm like.
Also, I love humans,
I love talking, so I love to get in
with people and, "Tell me your story, talk to me.
"All right, OK, let's put this into words."
And I love to be as real and honest as possible,
I don't like smoke and mirrors.
Let's really communicate how you're feeling. Live and direct. Yeah!
I loved playing The Thrill is Gone with you, which is from your album.
What's the title of the album going to be? Well, it's
called My 21st Century Blues and it's out now for pre-order.
It's great. 21st Century Blues is such a great idea.
Now, it's been quite a long journey to releasing your own music... Yeah.
..cos you've done all these things with other people.
How's it come to this now? Do you know what, it's been a ridiculous
journey, you know, and it's been tough.
I definitely feel like, as a musician,
kind of, obviously, I've made a lot of dance records,
and a lot of songs, you know, that I've been known for.
I've really fought for my artistry, I've really worked hard,
and now I'm an independent artist,
and I'm so happy, I'm in control of everything.
Now, you asked your fans to come up with
a collective name for themselves. LAUGHS: Oh, yeah.
It's quite good. What sort of thing did they come up with?
They came up with lots of different ones.
My mind's gone blank right now...
Cos you're Raye they have the Rayediators.
LAUGHS: We've got the Rayediators!
The Raye-vers. The Raye-vers was kind of good, actually, yeah. Yeah.
You know, my new sound maybe steers
a little bit away from that electronic sound,
so I was worried about that. I still haven't committed to one yet.
I feel like it's a big deal, you know?
Well, they're watching, they're on tenterhooks. They are, they're like,
"What's it going to be?"
I don't know. A Rayelette? I don't know, anyway.
No, I have to at the time myself.
Cos you do write these amazing songs, a lot of them for
these incredible people. Who were the kind of the songwriters you
liked? Who did you feel, Oh, I wish I could be like that?
I mean, Dolly Parton is one of the
best. Even, like, country writers - Shania Twain.
I'm really in awe of
that country style, it's just very down-to-earth, and very real.
Simplicity's very difficult, isn't it? Yes. That's really hard.
Sorry, one of my favourites of all time, Nina Simone. Yeah.
She is just unmatched.
And also her boldness and her bravery
to speak about things, you know?
To be honest, that's what saved me from my record deal.
I have a quote on my wall and it says, Nina Simone - a picture of
her, and it says underneath,
"It's an artist's duty to reflect the times,"
and I literally burst out crying
and went on Twitter and was, like, "Let me go."
And she is one of my biggest inspirations,
and I'm just in awe of everything that she done.
She's...yeah, I couldn't...I'm obsessed.
I'm with you on that one. Yeah. I think she's great.
Often, you'll hear a song and you'll think, Well, I never really liked
that song, but now she's singing it, I really like it. Well, it's not
the song, it's her. She illuminates it, she makes it come to life.
Unmatched. And her artistry... Oh...
..and her resilience, and her lyrics. Oh, lovely. We're agreed.
We're agreed on a lot of things. SHE LAUGHS
It's fantastic to have you here. Thank you so much, Raye,
it's great to have you here.
CHEERING AND APPLAUSE
Thank you, Raye.
Now, an extraordinary French band
who recorded their seventh album
in the Musee des Arts Decoratifs in Paris.
We welcome back to the show, returning triumphantly,
Phoenix! CHEERING AND APPLAUSE
# Could you, could you come tonight?
# Instead of going under
# Could you, could you come tonight?
# Would you think it'd be her last December?
# Could it be the way she combs her hair?
# It must have been the day you lost to care
# What if I was the answer to your prayer?
# Yeah, you need a little candour, need a little candour
# What if we last till it's dawn like you promised me?
# Who let the boys spill their entree?
# Dinner is served, can't you see we're not opposites?
# Are you still up thinking of me?
# I take all the blame
# Is it hard to understand?
# When it's all the same
# I've played all the games
# And lost almost everything
# Now I talk to myself and it's quite surprising
# Roll with me
# Let's roll
# Could you, could you come tonight?
# I'm counting from the thunder
# Could you, could you come tonight?
# I got a feeling that you know the number
# Could it be the things you come ahead?
# Your feet are hurting less with moccasins
# I never heard another comment since
# You need a little splendour, need a little splendour
# What if we last till it's dawn like you promised me?
# Who let the boys spill their entree?
# Dinner is served, can't you see we're not opposites?
# # Are you still up thinking of me?
# I take all the blame
# Is it hard to understand?
# When it's all the same
# I've played all the games
# And lost almost everything
# Now I talk to myself and it's quite surprising
# Roll with me
# Let's roll with me
# I talk to myself and it's quite surprising
# In the middle of the night
# Roll
# I talk to myself and it's quite surprising
# In the middle of a fight
# Roll
# Can't you see the sign up on the wall?
# In the middle of the night
# Roll
# Can't you see the sign up on the wall?
# In the middle of a fight
# I talk to myself and it's quite surprising
# Roll with me
# Let's roll with me
# Oh, how I wish I could be someone like you
# Be someone else, someone else, someone like you
# Oh, how I wish I could be someone like you
# Be someone else, someone else, someone like you. #
CHEERING AND APPLAUSE
Phoenix - wonderful.
Now, if you're a music fan,
which is perhaps why you're watching this show,
perhaps I can remind you to tune into BBC Four
on Tuesday at nine o'clock
for the 2022 Mercury Prize.
But before I thank all my guests,
I just actually think I have to ask them this, Phoenix,
cos they do use the museum, you recorded your album,
it is National Album Day,
and, Thomas, you recorded your album in the Museum des Arts
in Paris. Why did you go there?
Well, it's in the Louvre,
so when you...build a studio
in the Louvre, you cannot say no.
You didn't sort of nick a picture or something?
No, we were really surprised. You know, Chris and I, when we were 17,
we'd walk in the garden of the Tuileries, and we'd say,
"One day we'll live there..."
Was it underneath the big pyramid?
Yeah, we had the view on the pyramid...
The vibrations would be good under that.
LAUGHS: Yeah.
And what pictures were you surrounded by?
The last thing we would see before entering the studio
was Napoleon's throne. Wow!
So that's a little pressure.
If that's missing, we'll know where to look. Yes.
Congratulations on a marvellous record. Thank you.
And what a great idea of recording your record
in an inspirational place like the national galleries.
I'd suggest it to anyone.
Go to wherever you can, the Museum Moderne Kunst - whatever you like.
Great. Thank you so much for joining us, and thank you to all
to all my guests. We now finish with Raye!
CHEERING AND APPLAUSE
# Hmm, yes
# Sleazin' and teasin'
# I'm sittin' on him
# All of my diamonds are drippin' on him
# I met him at the bar, it was 12 or somethin'
# I ordered two more wines cos tonight I want him
# A little context if you care to listen
# I found myself in a shit position
# The man that I love sat me down last night
# And he told me that it's over, dumb decision
# And I don't wanna feel how my heart is rippin'
# In fact I don't wanna feel so I stick to sippin'
# And I'm out on the town with a simple mission
# In my little black dress and this shit is...
# Just a heartbroke bitch, high heels, six-inch
# In the back of the nightclub, sippin' champagne
# I don't trust any of these bitches I'm with
# In the back of a taxi, sniffin' cocaine
# Drunk calls, drunk texts, drunk tears, drunk sex
# I was lookin' for a man who was on the same page
# Now it's back to the intro, back to the bar
# To the Bentley, to the hotel, to my old ways, cos
# I don't wanna feel how I did last night
# Doctor, Doctor
# Anythin', please
# Doctor, Doctor
# Have mercy on me and take this pain away
# Just cure my symptoms, Doctor, I don't wanna feel
# Toke this joint, how I'm blowin' this steam
# Back to my ways like 2019
# Not 24 hours since my ex did
# I got a new man on me, he's about to get on
# Last night really was the cherry on the cake
# Been some dark days lately and I'm findin' it cripplin'
# Excuse my state
# I'm as high as your hopes that you'll make it on my bed
# Get me hot and sizzlin'
# If I take a step back to see the glass half-full
# At least it's the Prada two-piece that I'm trippin' in
# Yeah, and I'm already actin' like a dick
# Know what I mean? So you might as well...
# Just a heartbroke bitch, high heels, six-inch
# In the back of the nightclub, sippin' champagne
# I don't trust any of these bitches I'm with
# In the back of a taxi, sniffin' coke
# Drunk calls, drunk texts, drunk tears, drunk...
# I was lookin' for a man who was on the same page
# Now it's back to that intro, back to the bar
# To the Bentley, to the hotel
# To my old ways, cos
# I don't wanna feel how I did last night
# No, I don't wanna feel how I did last night
# Oh, Doctor, Doctor
# Anythin', please
# Doctor, Doctor
# Have mercy on me, and take this pain away
# Just cure my symptoms, Doctor, I don't wanna feel
# Cos I don't wanna feel like I felt last night
# I don't wanna feel like I felt last night
# Be at peace with the things you can't change
# Oh, no, no, last night
# You're askin' me my symptoms, Doctor, I don't wanna feel, yeah
# No, no, no, no
# How I did last night
# I don't wanna feel, no, how I did last night, no
# Anythin', please, Doctor
# Have mercy on me
# Ask me my symptoms
# I don't wanna feel
like I did last night
# I don't wanna feel how I did last night
# How I did, how I did, how I did last night
# Mm, mm... #
Drums - hey!
Hey!
# Lipstick smudged like modern art
# I don't know where the...I am or who's drivin' the...car
# Speedin' down the highway, sippin'
# I'm mixin' pills with the liquor cos...these...
# I left everyone I love on red
# I'm spillin' secrets to the stranger in my bed, no?
# I remember nothin' so there's nothin' to regret
# Other than this 4/4 kick drum poundin' in my head
# Hmm. #
CHEERING AND APPLAUSE