1 00:00:05,000 --> 00:00:08,280 This programme contains some strong language. 2 00:00:18,320 --> 00:00:21,760 Welcome to a brand-new series and welcome to my dear old friends. 3 00:00:21,760 --> 00:00:24,520 Let's begin with Squeeze! 4 00:00:31,960 --> 00:00:34,480 # Why don't you scratch me 5 00:00:34,480 --> 00:00:36,000 # If it makes you feel good? 6 00:00:36,000 --> 00:00:38,400 # Go on, attack me 7 00:00:38,400 --> 00:00:40,080 # I promise I won't look 8 00:00:40,080 --> 00:00:43,280 # Let me wipe the sweat from your brow 9 00:00:44,360 --> 00:00:48,040 # It's so easy when you know how 10 00:00:48,040 --> 00:00:52,000 # I want your love and I want it now 11 00:00:55,000 --> 00:00:57,280 # Why don't you kiss me 12 00:00:57,280 --> 00:00:58,720 # Like they do on the screen? 13 00:00:58,720 --> 00:01:01,080 # You know this is me 14 00:01:01,080 --> 00:01:02,640 # You don't know where I've been 15 00:01:02,640 --> 00:01:06,760 # Stand up closer I won't bite at all 16 00:01:06,760 --> 00:01:09,880 # I never think that my love is small 17 00:01:10,920 --> 00:01:15,280 # I want your love cos it's such a ball 18 00:01:17,039 --> 00:01:21,320 # She's like a baby in a cradle I rock her fast to sleep 19 00:01:21,320 --> 00:01:24,840 # Her manners at the table are dirty and they're cheap 20 00:01:24,840 --> 00:01:30,880 # But I want love and not a dinner to eat 21 00:01:47,680 --> 00:01:50,200 # Why don't you hit me? 22 00:01:50,200 --> 00:01:51,880 # Give me a heart attack 23 00:01:51,880 --> 00:01:54,080 # Go on and love me 24 00:01:54,080 --> 00:01:55,720 # And I might love you back 25 00:01:55,720 --> 00:01:59,800 # I know you're much younger than me 26 00:01:59,800 --> 00:02:03,960 # When I pulled you off of the street 27 00:02:03,960 --> 00:02:09,680 # It's cruel love and it's ours to keep 28 00:02:09,680 --> 00:02:13,960 # She's like a baby in a cradle I rock her fast to sleep 29 00:02:13,960 --> 00:02:18,280 # Her manners at the table are dirty and they're cheap 30 00:02:18,280 --> 00:02:23,600 # But I want love and not a dinner to eat 31 00:02:23,600 --> 00:02:28,160 # She's like a baby in a cradle I rock her fast to sleep 32 00:02:28,160 --> 00:02:32,000 # Her manners at the table are dirty and they're cheap 33 00:02:32,000 --> 00:02:37,200 # But I want love and not a dinner to eat 34 00:02:37,200 --> 00:02:41,760 # She's like a baby in a cradle I rock her fast to sleep 35 00:02:41,760 --> 00:02:45,760 # Her manners at the table are dirty and they're cheap 36 00:02:45,760 --> 00:02:52,840 # But I want love and not a dinner to eat 37 00:02:52,840 --> 00:02:54,520 # Oh, oh-oh 38 00:02:54,520 --> 00:02:56,760 # Oh, oh-oh 39 00:02:56,760 --> 00:02:59,040 # Oh, oh-oh 40 00:02:59,040 --> 00:03:00,720 # Oh, oh-oh 41 00:03:00,720 --> 00:03:02,280 # Oh, oh-oh 42 00:03:02,280 --> 00:03:04,480 # Oh, oh-oh 43 00:03:04,480 --> 00:03:07,680 # Oh, oh-oh-oh. # 44 00:03:12,560 --> 00:03:15,240 CHEERING AND APPLAUSE 45 00:03:18,800 --> 00:03:21,680 How lovely to have my dear friends in this room. 46 00:03:21,680 --> 00:03:25,040 Thank you, Squeeze, with Why Don't You, 47 00:03:25,040 --> 00:03:26,760 from their new album, Trixies. 48 00:03:26,760 --> 00:03:29,480 A marvellous array of incredible guests this evening, 49 00:03:29,480 --> 00:03:30,880 because we will be welcoming, 50 00:03:30,880 --> 00:03:35,160 from Sussex and Bergen in Norway, Tomora! 51 00:03:36,720 --> 00:03:39,600 From Minehead, it's Getdown Services. 52 00:03:41,200 --> 00:03:45,440 From New York, the extraordinary Aja Monet. 53 00:03:47,880 --> 00:03:51,880 But now, from Mullingar in Ireland, it's Niall Horan! 54 00:04:13,600 --> 00:04:17,120 # Picking up boxes with our teeth 55 00:04:17,120 --> 00:04:20,079 # Playing games we've never played before 56 00:04:21,640 --> 00:04:25,560 # When I was loud as hell you were so discreet 57 00:04:25,560 --> 00:04:28,680 # So typical of me for sure 58 00:04:30,080 --> 00:04:34,000 # Knives, forks 59 00:04:34,000 --> 00:04:37,680 # And things I've never felt before 60 00:04:37,680 --> 00:04:41,920 # Crashing lights when you first saw me 61 00:04:41,920 --> 00:04:46,159 # Yeah, I met you at a dinner party 62 00:04:46,159 --> 00:04:50,159 # Chandeliers, 2am coffee 63 00:04:50,159 --> 00:04:54,159 # Yeah, I met you at a dinner party 64 00:04:55,280 --> 00:04:58,800 # We were piss drunk, fought just for fun 65 00:04:58,800 --> 00:05:02,160 # About who would be the first to leave 66 00:05:03,400 --> 00:05:07,320 # One kiss on your neck, it was so concrete 67 00:05:07,320 --> 00:05:10,320 # I'm done looking for somebody 68 00:05:11,960 --> 00:05:15,760 # Behind closed doors 69 00:05:15,760 --> 00:05:18,440 # Things I've never felt before 70 00:05:19,640 --> 00:05:23,560 # Crashing lights when you first saw me 71 00:05:23,560 --> 00:05:27,760 # Yeah, I met you at a dinner party 72 00:05:27,760 --> 00:05:32,200 # Chandeliers, 2am coffee 73 00:05:32,200 --> 00:05:36,080 # Yeah, I met you at a dinner party 74 00:05:36,080 --> 00:05:40,080 # Crashing lights when you first saw me 75 00:05:40,080 --> 00:05:44,200 # Yeah, I met you at a dinner party 76 00:05:44,200 --> 00:05:48,360 # Chandeliers, 2am coffee 77 00:05:48,360 --> 00:05:52,320 # Yeah, I met you at a dinner party 78 00:05:52,320 --> 00:05:53,880 # Yeah! 79 00:06:06,680 --> 00:06:09,320 # Oh, oh-oh 80 00:06:09,320 --> 00:06:13,800 # Crashing lights when you first saw me 81 00:06:13,800 --> 00:06:17,720 # Yeah, I met you at a dinner party 82 00:06:17,720 --> 00:06:22,120 # Chandeliers, 2am coffee 83 00:06:22,120 --> 00:06:25,680 # Yeah, I met you at a dinner party. # 84 00:06:29,680 --> 00:06:33,120 CHEERING AND APPLAUSE 85 00:06:36,840 --> 00:06:39,760 The wonderful voice of Niall Horan! 86 00:06:41,360 --> 00:06:44,600 Dinner Party, the title track from his forthcoming album. 87 00:06:44,600 --> 00:06:46,240 I'll be chatting to him later, 88 00:06:46,240 --> 00:06:48,720 but now I'm going to chat to my dear old friends 89 00:06:48,720 --> 00:06:50,080 over here from Squeeze, 90 00:06:50,080 --> 00:06:52,240 Chris Difford and Glenn Tilbrook. 91 00:06:52,240 --> 00:06:54,120 How lovely to see you both. 92 00:06:54,120 --> 00:06:55,360 All right, lovely? 93 00:06:57,120 --> 00:07:00,560 So, it's very... It's lovely to have you here on the show - 94 00:07:00,560 --> 00:07:05,280 and your new album, Trixies, which came out in March, 95 00:07:05,280 --> 00:07:07,560 and it's really almost 50 years, I think, 96 00:07:07,560 --> 00:07:09,760 since it was first conceived. 97 00:07:09,760 --> 00:07:11,840 It was. And I was a small part of that, 98 00:07:11,840 --> 00:07:14,880 but it's an amazing set of songs that you both wrote. 99 00:07:14,880 --> 00:07:17,080 Tell us what it's about. 100 00:07:17,080 --> 00:07:20,920 It's about a fictitious nightclub, a dodgy place to go. 101 00:07:20,920 --> 00:07:24,000 Sort of places that we wouldn't have been able to get into 102 00:07:24,000 --> 00:07:25,760 at the age that we wrote this. 103 00:07:25,760 --> 00:07:28,280 But of course we could now. Yes, you could probably run one. 104 00:07:28,280 --> 00:07:30,040 Probably run one, yeah. 105 00:07:30,040 --> 00:07:33,480 And what sort of people inhabit this club? 106 00:07:33,480 --> 00:07:36,440 The sort of people that I think we hadn't met at that time. 107 00:07:36,440 --> 00:07:39,000 I mean, I remember you and I were playing in pubs 108 00:07:39,000 --> 00:07:40,840 and we'd meet some nice people there, 109 00:07:40,840 --> 00:07:42,920 but I think it was a mixture... 110 00:07:42,920 --> 00:07:44,840 I think the thing that Trixies portrays 111 00:07:44,840 --> 00:07:47,000 is a mixture of different classes 112 00:07:47,000 --> 00:07:49,040 and different types of people mixing together. 113 00:07:49,040 --> 00:07:51,720 I think that had an element of danger to it. 114 00:07:51,720 --> 00:07:53,840 Is it based on some of the characters 115 00:07:53,840 --> 00:07:55,360 that we actually would have seen 116 00:07:55,360 --> 00:07:57,120 in our younger days in south east London, 117 00:07:57,120 --> 00:07:59,560 on the fringes of the nefarious world? 118 00:07:59,560 --> 00:08:01,880 Yeah, we used to play in the pub called The Bell. 119 00:08:01,880 --> 00:08:03,080 Do you remember that? Yes. 120 00:08:03,080 --> 00:08:05,360 And there were some dodgy monkeys there, wasn't there? 121 00:08:05,360 --> 00:08:08,120 Let's face it. You're still friends with them, of course. 122 00:08:08,120 --> 00:08:11,000 Speak for yourself. 123 00:08:08,120 --> 00:08:11,000 THEY CHUCKLE 124 00:08:11,000 --> 00:08:13,400 I mean, I loved hearing all these songs because, 125 00:08:13,400 --> 00:08:16,960 I mean, between you, you have a catalogue of extraordinary songs. 126 00:08:16,960 --> 00:08:18,800 Everybody's covered your songs, 127 00:08:18,800 --> 00:08:21,480 and they range from songs that are, to put it simply, 128 00:08:21,480 --> 00:08:24,000 are like ones that Burt Bacharach might have written 129 00:08:24,000 --> 00:08:25,920 or ones that might have been written 130 00:08:25,920 --> 00:08:27,960 for sort of a rock and roll band. Yeah. 131 00:08:27,960 --> 00:08:30,480 What keeps you inspired now? 132 00:08:30,480 --> 00:08:33,960 Well, the fact that we've got such a great catalogue of songs 133 00:08:33,960 --> 00:08:36,840 when we go on tour, which we're doing later in this year 134 00:08:36,840 --> 00:08:38,559 with Billy Bragg. 135 00:08:38,559 --> 00:08:41,880 You know, the fact is, we've got all these great songs. 136 00:08:41,880 --> 00:08:44,120 We've got to preserve them, make use of them, 137 00:08:44,120 --> 00:08:47,440 love them and, with a great band, take them out on tour. 138 00:08:47,440 --> 00:08:51,600 So, you know, with Trixies, we're playing live and it sounds amazing. 139 00:08:51,600 --> 00:08:53,480 We've just done a European tour. 140 00:08:53,480 --> 00:08:56,840 We played the whole thing, from beginning to end 141 00:08:56,840 --> 00:08:59,560 and it was just amazing, you know? People loved it. 142 00:08:59,560 --> 00:09:02,880 Now, we grew up together and learnt our sort of... Trade. 143 00:09:02,880 --> 00:09:04,400 ..and learned our trade together 144 00:09:04,400 --> 00:09:06,760 by going in the back of a van and doing all that stuff, 145 00:09:06,760 --> 00:09:09,160 and it was, at the time, called new wave and punk music. 146 00:09:09,160 --> 00:09:11,560 We were one of the first groups to go to America and do that. 147 00:09:11,560 --> 00:09:14,400 And it was a very strange time and it was very turbulent time. 148 00:09:14,400 --> 00:09:17,440 Do you look back on those days with fondness now? 149 00:09:17,440 --> 00:09:19,200 I think, you know, 150 00:09:19,200 --> 00:09:21,240 one of the things about Trixies that struck me 151 00:09:21,240 --> 00:09:23,280 is that we would never have got away 152 00:09:23,280 --> 00:09:26,480 with releasing anything like that in 1977 or '78. 153 00:09:26,480 --> 00:09:29,160 It was just too diverse a bunch of songs. 154 00:09:29,160 --> 00:09:31,320 Too many chords? Too many chords! 155 00:09:31,320 --> 00:09:33,160 Something I've always been guilty of - 156 00:09:33,160 --> 00:09:37,280 but, you know, I think that in a way, when we broke through, 157 00:09:37,280 --> 00:09:40,920 we had to sort of simplify what we did, and learn to grow out of that. 158 00:09:40,920 --> 00:09:43,920 So it was a great time. It was a very exciting time. 159 00:09:43,920 --> 00:09:47,840 And it was also a time when you could identify with the other bands 160 00:09:47,840 --> 00:09:50,120 around you to a certain extent. 161 00:09:50,120 --> 00:09:52,440 I mean, some of the songs are just so fantastic, 162 00:09:52,440 --> 00:09:55,520 and it also includes the original demos, 163 00:09:55,520 --> 00:09:58,560 which were done in a tiny sort of shoe box studio in Islington, 164 00:09:58,560 --> 00:09:59,960 which I think are great. 165 00:09:59,960 --> 00:10:01,880 You know, it's the whole... You're on some of them! 166 00:10:01,880 --> 00:10:05,240 Exactly. Me with very long hair, and skinny. 167 00:10:05,240 --> 00:10:08,600 Yeah. But we haven't played together this century. 168 00:10:08,600 --> 00:10:10,560 People have tried to, you know, have said, 169 00:10:10,560 --> 00:10:13,520 "Oh, Jools, are you going to be back with Squeeze at some point?" 170 00:10:13,520 --> 00:10:16,560 and just because of circumstances, really, 171 00:10:16,560 --> 00:10:19,240 it's never it's never worked out. There was even offers in America. 172 00:10:19,240 --> 00:10:21,400 There was a TV show that tried to get us together, 173 00:10:21,400 --> 00:10:23,160 but, one thing or another, it hasn't worked out. Yeah. 174 00:10:23,160 --> 00:10:26,880 But I propose that we actually do play 175 00:10:26,880 --> 00:10:29,680 to show the love tonight for the first time ever, for years. 176 00:10:29,680 --> 00:10:31,440 Would you like to do that? I think we should. 177 00:10:31,440 --> 00:10:33,720 That's a great idea. Would that be OK with you? 178 00:10:33,720 --> 00:10:35,680 CHEERING AND APPLAUSE 179 00:10:33,720 --> 00:10:35,680 Great. I'd love it too. 180 00:10:35,680 --> 00:10:37,320 It would make me very happy. 181 00:10:37,320 --> 00:10:41,080 Because we made great music together and I'm very proud to be part of it. 182 00:10:41,080 --> 00:10:43,480 Oh, thank you very much. So it's great to have you here. 183 00:10:43,480 --> 00:10:45,120 Thank you very much for joining us - 184 00:10:45,120 --> 00:10:47,280 and we'll be hearing more from Trixies in a moment. 185 00:10:47,280 --> 00:10:48,960 Now I'm going to go over this way. 186 00:10:48,960 --> 00:10:51,720 Thank you very much, Chris Difford and Glenn Tilbrook! 187 00:10:51,720 --> 00:10:53,960 APPLAUSE 188 00:10:57,280 --> 00:11:02,040 Next, an extraordinary Grammy nominated surrealist blues poet 189 00:11:02,040 --> 00:11:04,800 who began writing at the age of eight, 190 00:11:04,800 --> 00:11:08,760 with a song she describes as the portal of possibility. 191 00:11:08,760 --> 00:11:11,240 Please welcome Aja Monet. 192 00:11:38,720 --> 00:11:41,640 # Said we're going to the elsewhere 193 00:11:43,320 --> 00:11:45,720 # Yeah 194 00:11:45,720 --> 00:11:48,120 # Yeah, yeah 195 00:11:49,600 --> 00:11:51,720 # Said we're going to the elsewhere 196 00:11:51,720 --> 00:11:56,640 # We be somebodyness 197 00:11:56,640 --> 00:12:00,000 # When the street lights in your veins go on 198 00:12:00,000 --> 00:12:04,280 # And summer walking up and down the sidewalk of your grin 199 00:12:04,280 --> 00:12:07,760 # Diamonds twinkling on the street 200 00:12:07,760 --> 00:12:12,280 # The thirst of our cool 201 00:12:13,400 --> 00:12:16,400 # On the shorelines of a smile 202 00:12:17,720 --> 00:12:21,400 # Washing up against moon, shuttle-lit eyes 203 00:12:21,400 --> 00:12:23,240 # Freeing impulses 204 00:12:23,240 --> 00:12:25,360 # Whereas folk, we lore 205 00:12:27,200 --> 00:12:32,920 # Laughter - laughter in the face of death, huh 206 00:12:32,920 --> 00:12:39,720 # The carnival of flowers sprouting from closed fists, earth-skinned 207 00:12:39,720 --> 00:12:44,400 # The perfume of stones kissing cuss words 208 00:12:44,400 --> 00:12:48,560 # The rhythm, echo and reverb, riffing 209 00:12:50,440 --> 00:12:53,720 # Wear the garments of Jupiter genius 210 00:12:53,720 --> 00:12:57,280 # Sparkling of spaceships 211 00:12:57,280 --> 00:13:03,200 # Scattered in desire, dressed in vibration 212 00:13:03,200 --> 00:13:06,040 # Cooking on a stove skillet 213 00:13:06,040 --> 00:13:08,280 # Afro-curl-satellite, levitating 214 00:13:08,280 --> 00:13:12,280 # Comb the skies heavenwards 215 00:13:12,280 --> 00:13:15,200 # Embrace the marvellous, embrace the marvellous daydreams 216 00:13:15,200 --> 00:13:18,080 # Born in the forest of our refuge 217 00:13:18,080 --> 00:13:21,680 # We, we, we were born to be sun ray 218 00:13:21,680 --> 00:13:24,800 # We were born to be sun ray 219 00:13:24,800 --> 00:13:29,080 # Radiant, radiant, falling upon the horizon newly each day 220 00:13:29,080 --> 00:13:33,080 # Shining waywardness, let's go 221 00:13:33,080 --> 00:13:35,240 SHE VOCALISES 222 00:13:35,240 --> 00:13:38,120 # Let's go to the elsewhere 223 00:13:38,120 --> 00:13:40,800 # Set loose 224 00:13:40,800 --> 00:13:42,920 # Where as we escape the strangeness 225 00:13:42,920 --> 00:13:46,120 # Whispers of flesh as mirror 226 00:13:46,120 --> 00:13:49,840 # Treasuring the mystery of ourselves, where the spirits dwell 227 00:13:49,840 --> 00:13:52,640 # From not so distant constellations 228 00:13:54,000 --> 00:13:56,200 # Let's go 229 00:13:56,200 --> 00:14:00,560 # Let's go to the elsewhere 230 00:14:03,800 --> 00:14:06,160 # We're going to the elsewhere 231 00:14:06,160 --> 00:14:08,800 # Set loose when we get there 232 00:14:08,800 --> 00:14:11,560 # Said we're going to the elsewhere 233 00:14:11,560 --> 00:14:14,520 # Set loose when we get there 234 00:14:14,520 --> 00:14:17,080 # Said we're going to the elsewhere 235 00:14:17,080 --> 00:14:20,320 # Set loose when we get there 236 00:14:20,320 --> 00:14:22,760 # Said we're going to the elsewhere 237 00:14:22,760 --> 00:14:25,840 # Set loose when we get there 238 00:14:25,840 --> 00:14:27,600 # Said we go into the air 239 00:14:27,600 --> 00:14:34,720 # We need not climb on the shoulders of our elders to look at their toes 240 00:14:35,880 --> 00:14:39,160 # There's love in the elsewhere 241 00:14:40,760 --> 00:14:45,440 # There's, there's, there's liberation in the elsewhere 242 00:14:45,440 --> 00:14:50,600 # Talk, talk, talk about the blood 243 00:14:50,600 --> 00:14:55,320 # Talk, talk about the blood 244 00:14:55,320 --> 00:14:57,560 # There's revolution 245 00:14:57,560 --> 00:15:01,120 # There's revolution in the elsewhere 246 00:15:02,160 --> 00:15:06,640 # Peace of mind in the elsewhere 247 00:15:06,640 --> 00:15:10,240 # Neither here nor there, neither here nor there. 248 00:15:10,240 --> 00:15:12,000 # The end 249 00:15:12,000 --> 00:15:14,480 # The end of the world 250 00:15:14,480 --> 00:15:17,840 # The end of the world as we know it 251 00:15:17,840 --> 00:15:19,720 # Let's go 252 00:15:19,720 --> 00:15:22,360 # Let's go to the elsewhere. # 253 00:15:38,400 --> 00:15:41,080 CHEERING AND APPLAUSE 254 00:15:45,320 --> 00:15:48,760 With Elsewhere from her new album, The Color of Rain, 255 00:15:48,760 --> 00:15:51,320 thank you, Aja Monet. 256 00:15:56,240 --> 00:15:58,520 Now let's move over to this corner, 257 00:15:58,520 --> 00:16:01,560 because Tom Rowlands of the Chemical Brothers 258 00:16:01,560 --> 00:16:03,920 and Norwegian artist Aurora 259 00:16:03,920 --> 00:16:06,320 have formed a remarkable duo. 260 00:16:06,320 --> 00:16:08,520 So please welcome Tamora. 261 00:16:19,560 --> 00:16:24,600 # I don't think I understand 262 00:16:24,600 --> 00:16:27,800 # This feeling 263 00:16:28,960 --> 00:16:35,800 # Unclenching thirst 264 00:16:35,800 --> 00:16:40,000 # I came here first 265 00:16:40,000 --> 00:16:50,440 # I'll drink it all 266 00:16:56,480 --> 00:17:00,400 # I wanted to touch what I couldn't 267 00:17:00,400 --> 00:17:04,480 # I wanted to feel what I shouldn't feel 268 00:17:04,480 --> 00:17:09,880 # I wanted to taste the whole world from my palm 269 00:17:09,880 --> 00:17:13,240 # Oh, I drink the light 270 00:17:13,240 --> 00:17:17,280 # Oh, I drink the light 271 00:17:17,280 --> 00:17:25,119 # I drink the light 272 00:17:25,119 --> 00:17:28,640 # Wanted to feel, wanted to feel... 273 00:17:33,560 --> 00:17:37,680 # Wanted to feel, wanted to feel... 274 00:17:41,360 --> 00:17:44,760 # I wanted to feel, wanted to feel something 275 00:17:44,760 --> 00:17:48,520 # I wanted to feel, wanted to feel something 276 00:17:55,720 --> 00:17:59,640 # As I count the lights on the runway 277 00:17:59,640 --> 00:18:03,400 # I'm chasing the speed of an airplane 278 00:18:03,400 --> 00:18:08,600 # I just want to feel the whole sun in my mouth 279 00:18:08,600 --> 00:18:11,640 # Oh, I drink the light 280 00:18:12,760 --> 00:18:16,000 # Oh, I drink the light 281 00:18:17,040 --> 00:18:20,760 SHE VOCALISES 282 00:18:49,160 --> 00:18:53,440 # Feel, I wanted to feel 283 00:18:53,440 --> 00:18:55,320 # I wanted to feel 284 00:18:55,320 --> 00:19:04,120 # I wanted to feel, I wanted to feel 285 00:19:17,000 --> 00:19:20,920 # With the weight of the world over my brain 286 00:19:20,920 --> 00:19:24,560 # I'm reaching the height of a flood wave 287 00:19:24,560 --> 00:19:29,240 # I want to be one with the fabric of life 288 00:19:30,400 --> 00:19:33,200 # Oh, I drink the light 289 00:19:33,200 --> 00:19:37,000 # Oh, I drink the light 290 00:19:37,000 --> 00:19:40,600 # I drink the light 291 00:19:40,600 --> 00:19:43,840 # I drink the light 292 00:19:45,080 --> 00:19:47,440 # I drink the light 293 00:19:48,920 --> 00:19:52,200 # I drink the light. # 294 00:20:15,720 --> 00:20:21,040 SHE VOCALISES 295 00:20:47,280 --> 00:20:50,160 CHEERING AND APPLAUSE 296 00:20:58,040 --> 00:21:00,720 I Drink The Light, from their album, Come Closer. 297 00:21:00,720 --> 00:21:02,320 Thanks, Tomora! 298 00:21:06,400 --> 00:21:09,080 What a ravishing and mystical sound that was. 299 00:21:09,080 --> 00:21:12,000 And now I am delighted to have at the piano 300 00:21:12,000 --> 00:21:14,840 my dear friend, Niall Horan! Great to have you here. 301 00:21:14,840 --> 00:21:16,360 Really good to see you. 302 00:21:14,840 --> 00:21:16,360 APPLAUSE 303 00:21:19,040 --> 00:21:21,080 Well, thanks so much for coming on the show. 304 00:21:21,080 --> 00:21:22,600 Absolutely. Great to have you here. 305 00:21:22,600 --> 00:21:24,000 Thanks for having me. Marvellous album. 306 00:21:24,000 --> 00:21:25,520 You're about to go on tour and everything. Mm-hm. 307 00:21:25,520 --> 00:21:28,240 Since One Direction, you've had two number-one albums - 308 00:21:28,240 --> 00:21:29,880 but let's go back to the beginning moment. 309 00:21:29,880 --> 00:21:31,680 Where does music start for you? 310 00:21:31,680 --> 00:21:34,440 What's the first music that you thought, "Hey, this is for me." 311 00:21:34,440 --> 00:21:36,600 Um... What got you excited? 312 00:21:36,600 --> 00:21:40,160 I remember, like, a lot of vinyl at home when I was a kid. 313 00:21:40,160 --> 00:21:45,280 My parents are mainly '70s American rock music fans, 314 00:21:45,280 --> 00:21:47,600 so I grew up a lot on like Laurel Canyon stuff, 315 00:21:47,600 --> 00:21:49,320 like, the Eagles, Fleetwood Mac, 316 00:21:49,320 --> 00:21:51,560 Crosby, Stills, all that kind of stuff. 317 00:21:51,560 --> 00:21:55,120 So, I remember going to an Eagles concert when I was four... 318 00:21:55,120 --> 00:21:59,000 Wow. ..at the RDS in Dublin and just looking at the stage 319 00:21:59,000 --> 00:22:02,880 and just not really knowing who they were, or what it was I was at, 320 00:22:02,880 --> 00:22:04,840 but I remember thinking, "That's what I want to do. 321 00:22:04,840 --> 00:22:06,240 "That's... That's the kind of thing," 322 00:22:06,240 --> 00:22:09,440 and, to this day, I'm still a lifelong Eagles fan. 323 00:22:09,440 --> 00:22:10,960 Yeah. Love them very much. How great. 324 00:22:10,960 --> 00:22:13,320 What a great, interesting start to the whole thing. 325 00:22:13,320 --> 00:22:16,000 And when you did start your solo career, 326 00:22:16,000 --> 00:22:20,480 did you have an idea of what you wanted to do, or did it evolve? 327 00:22:20,480 --> 00:22:22,840 I think it is a constant evolution, 328 00:22:22,840 --> 00:22:26,560 but it all starts from rock, really, I think. 329 00:22:26,560 --> 00:22:29,120 You know, the fact I picked up the guitar at a young age. 330 00:22:29,120 --> 00:22:30,880 It's always helpful when you go to write a song, 331 00:22:30,880 --> 00:22:35,360 and I think that kind of guitar pop-rock sound 332 00:22:35,360 --> 00:22:38,760 is something that I knew exactly where I was going to go with it, 333 00:22:38,760 --> 00:22:40,800 what the initial stuff was going to sound like - 334 00:22:40,800 --> 00:22:43,880 but then I also had this like love for singer-songwriter, 335 00:22:43,880 --> 00:22:45,880 I grew up on Damien Rice 336 00:22:45,880 --> 00:22:47,520 and a lot of Irish folk music 337 00:22:47,520 --> 00:22:50,280 that kind of got me into the singer-songwriter 338 00:22:50,280 --> 00:22:51,440 side of things too. 339 00:22:51,440 --> 00:22:55,800 So I think both of them played into what I do now, yeah. 340 00:22:55,800 --> 00:22:57,840 And earlier tonight, you played Dinner Party. 341 00:22:57,840 --> 00:23:00,640 Yeah. What was the inspiration for that song? Great song. 342 00:23:00,640 --> 00:23:04,560 Well, the inspiration is it's actually about the first night 343 00:23:04,560 --> 00:23:08,280 that I met my now-girlfriend, years ago, and, um... 344 00:23:08,280 --> 00:23:10,920 Yeah, it tells the story of what happened that night, 345 00:23:10,920 --> 00:23:14,040 but after I'd written the song, it kind of... 346 00:23:14,040 --> 00:23:16,400 ..it told me what the rest of the record was going to be about, 347 00:23:16,400 --> 00:23:20,400 and the dinner party not just being that one night, 348 00:23:20,400 --> 00:23:24,920 it being, you know, the nucleus for the rest of our time together, 349 00:23:24,920 --> 00:23:27,560 and it allowed me to write songs 350 00:23:27,560 --> 00:23:30,200 from all the different angles of a relationship, 351 00:23:30,200 --> 00:23:32,680 whether it be the good and the bad times, 352 00:23:32,680 --> 00:23:35,840 and I think after... I had written a lot of songs up to that point, 353 00:23:35,840 --> 00:23:37,480 but once I'd written that song, I thought, 354 00:23:37,480 --> 00:23:38,840 "Right, I'm out the gate here. 355 00:23:38,840 --> 00:23:40,960 "I know exactly what I need to say, what I need to do." 356 00:23:40,960 --> 00:23:43,400 And thinking of a dinner party, who would some of your... 357 00:23:43,400 --> 00:23:45,720 If you were throwing a dinner party, say, next week, 358 00:23:45,720 --> 00:23:47,200 obviously you'd be... You. 359 00:23:47,200 --> 00:23:48,880 Thank you very much. Correct. 360 00:23:48,880 --> 00:23:50,360 Um, who else would you, 361 00:23:50,360 --> 00:23:53,080 who else would you be having at your dream dinner party? 362 00:23:53,080 --> 00:23:54,800 That's a good question. Um... 363 00:23:56,240 --> 00:23:59,720 I've spent a little bit of time around the actor Joe Pesci. 364 00:23:59,720 --> 00:24:01,080 Yes. Very good. 365 00:24:01,080 --> 00:24:03,800 And he's, um...he's a big golf fan, like meself. 366 00:24:03,800 --> 00:24:05,880 We play at the same club in Los Angeles, 367 00:24:05,880 --> 00:24:08,120 and I see him around, waving his hands 368 00:24:08,120 --> 00:24:10,680 and being very Joe Pesci-like, obviously, 369 00:24:10,680 --> 00:24:12,960 and he can spin a yarn, he can, 370 00:24:12,960 --> 00:24:15,000 and I think he'd be a good guest. 371 00:24:15,000 --> 00:24:18,560 I'd like to see, um... Fleetwood Mac in the same room. 372 00:24:18,560 --> 00:24:21,600 That'd be fun. All of them? All of them, be a good laugh. 373 00:24:21,600 --> 00:24:23,560 Don Henley. Yes. 374 00:24:23,560 --> 00:24:26,920 Uh... Don Henley, Joe Pesci, and... 375 00:24:28,080 --> 00:24:29,960 ..Bill Murray. 376 00:24:29,960 --> 00:24:32,120 Nice mix. Yeah. Nice, weird mix. Yes. 377 00:24:32,120 --> 00:24:34,000 Yeah. I think that's a very... And you. Oh, thanks very much. 378 00:24:34,000 --> 00:24:36,200 Yeah. No, I'd enjoy that very much. Yeah. 379 00:24:36,200 --> 00:24:37,960 Now, you are a global megastar, 380 00:24:37,960 --> 00:24:39,680 but when you've got time off, what do you do? 381 00:24:39,680 --> 00:24:42,960 What's your sort of little downtime sort of quiet thing that you do 382 00:24:42,960 --> 00:24:44,360 that no-one knows about? 383 00:24:44,360 --> 00:24:46,680 If it was up to me, I wouldn't leave the house. 384 00:24:46,680 --> 00:24:50,760 No, I like being at home, got into a bit of cooking, 385 00:24:50,760 --> 00:24:52,600 mowing the lawn, a bit of gardening these days. 386 00:24:52,600 --> 00:24:54,040 I'm only - I'm only 33...! 387 00:24:55,920 --> 00:24:57,880 I'm a big, big golfer. 388 00:24:57,880 --> 00:24:59,720 I spend a lot of time playing golf 389 00:24:59,720 --> 00:25:01,960 and I have my own golf management company 390 00:25:01,960 --> 00:25:03,840 and we manage some players 391 00:25:03,840 --> 00:25:05,560 and that's a bit of a side hustle for me - 392 00:25:05,560 --> 00:25:07,600 but, yeah, I like to get, I like the freedom of golf, 393 00:25:07,600 --> 00:25:09,280 sticking the phone in the bag, 394 00:25:09,280 --> 00:25:11,960 not worrying about, you know, whatever happens, 395 00:25:11,960 --> 00:25:13,520 whatever's going on in life 396 00:25:13,520 --> 00:25:16,040 and just getting out there and concentrating on that one thing. 397 00:25:16,040 --> 00:25:17,920 Yeah, golf is my kind of...my thing. 398 00:25:17,920 --> 00:25:20,280 And I always like golf courses. They look so lovely, don't they? 399 00:25:20,280 --> 00:25:21,880 Yeah. It's a dream landscape. The undulation. 400 00:25:21,880 --> 00:25:24,400 It's been great. I'm looking forward, I'm counting the moments 401 00:25:24,400 --> 00:25:25,960 till our big dinner together. Absolutely. 402 00:25:25,960 --> 00:25:27,200 And it's been great having you on the show, 403 00:25:27,200 --> 00:25:28,240 and the songs are fantastic. 404 00:25:28,240 --> 00:25:29,560 What are you going to play for us in a moment? 405 00:25:29,560 --> 00:25:32,000 I'm going to play the song that comes with the album in June, 406 00:25:32,000 --> 00:25:33,680 Tastes So Good. I can't wait to play it. 407 00:25:33,680 --> 00:25:35,760 First time ever. Thank you so much. Cheers, Jools. 408 00:25:35,760 --> 00:25:37,680 It's great to have you. Thank you. Really great to have you. 409 00:25:37,680 --> 00:25:39,600 APPLAUSE 410 00:25:37,680 --> 00:25:39,600 Thank you, Niall Horan! 411 00:25:39,600 --> 00:25:40,800 What a nice fellow. 412 00:25:42,720 --> 00:25:45,600 And now I go to this bit of the room here 413 00:25:45,600 --> 00:25:48,880 where there's a duo who met in school in Minehead, Somerset, 414 00:25:48,880 --> 00:25:52,960 performing a song inspired by faulty heating. 415 00:25:52,960 --> 00:25:55,320 Please welcome Getdown Services. 416 00:25:55,320 --> 00:25:57,480 CHEERING 417 00:25:57,480 --> 00:26:00,440 # Whoo-whoo-whoo-whoo-whoo-whoo! 418 00:26:00,440 --> 00:26:02,520 My name's Josh. Everyone say yes! 419 00:26:02,520 --> 00:26:04,160 CROWD CHEERS 420 00:26:04,160 --> 00:26:05,600 Everyone, say yes! CROWD: Yes! 421 00:26:05,600 --> 00:26:07,560 My name's Ben. Scream! 422 00:26:07,560 --> 00:26:09,520 Come on! 423 00:26:07,560 --> 00:26:09,520 WHOOPING 424 00:26:09,520 --> 00:26:14,280 Thank you. We're Getdown Services. Balcony, scream! 425 00:26:14,280 --> 00:26:16,360 CHEERING 426 00:26:20,040 --> 00:26:21,240 Thanks for watching. 427 00:26:24,120 --> 00:26:27,400 # I bang my head on the radiator 428 00:26:27,400 --> 00:26:31,040 # I hang my socks on the radiator 429 00:26:31,040 --> 00:26:34,800 # I bang my head on the radiator 430 00:26:34,800 --> 00:26:37,400 # I bang my head 431 00:26:38,680 --> 00:26:42,200 # I bang my head on the radiator 432 00:26:42,200 --> 00:26:45,840 # I hang my socks on the radiator 433 00:26:45,840 --> 00:26:49,480 # I bang my head on the radiator 434 00:26:49,480 --> 00:26:52,400 # I bang my head 435 00:26:54,480 --> 00:26:56,600 # Stuff's coming out 436 00:26:56,600 --> 00:26:58,200 # Oh, yeah 437 00:26:58,200 --> 00:27:00,160 # Let's actually go 438 00:27:00,160 --> 00:27:01,520 # Oh, yeah 439 00:27:01,520 --> 00:27:03,840 # The weight scales in my belly 440 00:27:03,840 --> 00:27:05,280 # Oh, yeah 441 00:27:05,280 --> 00:27:07,640 # I trust them 442 00:27:07,640 --> 00:27:09,280 # Oh, yeah 443 00:27:09,280 --> 00:27:10,880 # And I eat raw flour 444 00:27:10,880 --> 00:27:12,960 # I call this shit a cake 445 00:27:12,960 --> 00:27:15,200 # Oh, yeah 446 00:27:15,200 --> 00:27:17,040 # Oh, yeah 447 00:27:17,040 --> 00:27:20,400 # My body fizzes and my armpits trickle 448 00:27:20,400 --> 00:27:22,320 # Oh, yeah... 449 00:27:22,320 --> 00:27:23,520 Here we go. 450 00:27:23,520 --> 00:27:26,720 # I bang my head on the radiator 451 00:27:26,720 --> 00:27:30,120 # I hang my socks on the radiator 452 00:27:30,120 --> 00:27:33,440 # I bang my head on the radiator 453 00:27:33,440 --> 00:27:37,080 # I bang my head 454 00:27:37,080 --> 00:27:40,520 # We're gonna stroke the doggy 455 00:27:40,520 --> 00:27:41,920 # Oh, yeah 456 00:27:41,920 --> 00:27:43,920 # And then we're gonna hit the doggy... 457 00:27:43,920 --> 00:27:45,280 Not really. That'd be illegal. 458 00:28:01,520 --> 00:28:03,000 I got three words for you. 459 00:28:05,080 --> 00:28:06,600 The Dyson Airblade. 460 00:28:07,920 --> 00:28:09,760 # It was once just a man 461 00:28:09,760 --> 00:28:12,160 # Looking at his hands, thinking... 462 00:28:12,160 --> 00:28:15,480 "I'm gonna make these so fucking dry you won't believe it!" 463 00:28:15,480 --> 00:28:17,600 # It's a lifelong fiddling 464 00:28:17,600 --> 00:28:19,360 # Oh, yeah. 465 00:28:19,360 --> 00:28:21,240 # The thumb twiddling 466 00:28:21,240 --> 00:28:22,640 # Oh, yeah 467 00:28:22,640 --> 00:28:24,960 # Forty-hundred minor tweaks 468 00:28:24,960 --> 00:28:28,640 # Oh, yeah # And a big fat gas leak 469 00:28:28,640 --> 00:28:30,320 # Fucking oh, yeah 470 00:28:30,320 --> 00:28:32,360 # The smell doesn't stop 471 00:28:32,360 --> 00:28:33,880 # I feel sick 472 00:28:33,880 --> 00:28:35,960 # Just stop sniffing it 473 00:28:35,960 --> 00:28:37,680 # I feel sick 474 00:28:37,680 --> 00:28:39,800 # Five to six days a week 475 00:28:39,800 --> 00:28:41,760 # Everything's fucking shit 476 00:28:41,760 --> 00:28:43,560 # The rest I feel fucking shit 477 00:28:43,560 --> 00:28:45,200 # Everything's fucking shit 478 00:28:45,200 --> 00:28:47,480 # Head on the radiator 479 00:28:47,480 --> 00:28:50,920 # Feel shit # Bang my head on the radiator 480 00:28:50,920 --> 00:28:55,240 # I feel sick # Bang my head on the radiator 481 00:28:55,240 --> 00:28:58,240 # I feel sick # Bang my head on the radiator... 482 00:28:58,240 --> 00:29:01,520 What is going on?! Come on! 483 00:29:01,520 --> 00:29:04,400 CHEERING 484 00:29:06,640 --> 00:29:07,680 Come on! 485 00:29:27,920 --> 00:29:29,880 Put that in your face. 486 00:29:29,880 --> 00:29:31,840 # Bang my head on the radiator 487 00:29:31,840 --> 00:29:35,000 # I bang my head on the radiator 488 00:29:36,080 --> 00:29:39,400 # I bang my head on the radiator 489 00:29:39,400 --> 00:29:42,160 # I bang my head on the radiator 490 00:29:43,400 --> 00:29:46,080 # I'm like a government burial chamber 491 00:29:46,080 --> 00:29:47,720 # Oh, yeah 492 00:29:47,720 --> 00:29:51,480 # I failed the task # Oh, yeah 493 00:29:51,480 --> 00:29:54,640 # Can someone punch me in the face? # Oh, yeah. # 494 00:29:54,640 --> 00:29:56,800 Thank you very much, Jools Holland. Thanks for watching. 495 00:29:56,800 --> 00:29:58,360 Thanks for watching. Yes! 496 00:29:58,360 --> 00:30:00,920 APPLAUSE 497 00:30:18,480 --> 00:30:21,600 # There she lay on the hospital floor 498 00:30:21,600 --> 00:30:24,800 # Blood on her face and spikes in her mind 499 00:30:24,800 --> 00:30:27,520 # Everyone knew she could take no more 500 00:30:27,520 --> 00:30:30,840 # As she ran screaming with death by her side 501 00:30:30,840 --> 00:30:32,400 # The window was broken 502 00:30:32,400 --> 00:30:33,960 # Smoke trickled in 503 00:30:33,960 --> 00:30:37,320 # Along with the spiders and smells 504 00:30:37,320 --> 00:30:40,040 # How did I know where the end might begin 505 00:30:40,040 --> 00:30:43,400 # When the story was so hard to tell? 506 00:30:43,400 --> 00:30:47,040 # The story was so hard to tell 507 00:30:48,440 --> 00:30:51,240 # You can't mend a mind 508 00:30:51,240 --> 00:30:54,080 # But you can mend a face 509 00:30:54,080 --> 00:30:56,680 # I'm lost in the line 510 00:30:57,920 --> 00:31:00,680 # To visit the place 511 00:31:00,680 --> 00:31:04,040 # The place we call Mars 512 00:31:04,040 --> 00:31:07,080 # The place we call Mars 513 00:31:07,080 --> 00:31:11,160 The place we call Mars 514 00:31:13,240 --> 00:31:14,960 # With her hands in her hair 515 00:31:14,960 --> 00:31:16,840 # She swept it and ran 516 00:31:16,840 --> 00:31:19,960 # Into the blankets a fumes 517 00:31:19,960 --> 00:31:22,760 # What could I do except give my love 518 00:31:22,760 --> 00:31:26,080 # To the man who entered my room? 519 00:31:26,080 --> 00:31:27,600 # There was no answer 520 00:31:27,600 --> 00:31:29,120 # My mind was amazed 521 00:31:29,120 --> 00:31:32,480 # At how the King sat and cried 522 00:31:32,480 --> 00:31:35,720 # Upon the cloud was a head with no face 523 00:31:35,720 --> 00:31:38,800 # At least the good men died 524 00:31:38,800 --> 00:31:43,600 # At least the good men died 525 00:31:43,600 --> 00:31:46,640 # You can't mend a mind 526 00:31:46,640 --> 00:31:49,600 # But you can mend a face 527 00:31:49,600 --> 00:31:52,600 # I'm lost in the line 528 00:31:52,600 --> 00:31:55,960 # To visit the place 529 00:31:55,960 --> 00:31:59,160 # The place we call Mars 530 00:31:59,160 --> 00:32:02,160 # The place we call Mars 531 00:32:02,160 --> 00:32:05,040 # The place we call Mars 532 00:32:22,360 --> 00:32:26,000 # At last we rest in the shelters of tin 533 00:32:26,000 --> 00:32:29,400 # Down by the shopping parade 534 00:32:29,400 --> 00:32:32,320 # How do we know where the end might begin 535 00:32:32,320 --> 00:32:35,600 # As the night turn into the day? 536 00:32:35,600 --> 00:32:38,480 # It seems so long since the last men fell 537 00:32:38,480 --> 00:32:42,000 # For the sake of being alive 538 00:32:42,000 --> 00:32:44,840 # The hospital stands and it's just as well 539 00:32:44,840 --> 00:32:48,320 # As the wound is still in my mind 540 00:32:48,320 --> 00:32:52,680 # The wound is still in my mind 541 00:32:52,680 --> 00:32:55,760 # You can't mend a mind 542 00:32:55,760 --> 00:32:59,000 # But you can mend a face 543 00:32:59,000 --> 00:33:02,400 # I'm lost in the line 544 00:33:02,400 --> 00:33:05,400 # To visit the place 545 00:33:05,400 --> 00:33:08,480 # The place we call Mars 546 00:33:08,480 --> 00:33:11,680 # The place we call Mars 547 00:33:11,680 --> 00:33:14,720 # The place we call Mars 548 00:33:14,720 --> 00:33:17,800 # The place we call Mars 549 00:33:17,800 --> 00:33:21,200 # The place we call Mars 550 00:33:21,200 --> 00:33:24,440 # The place we call Mars 551 00:33:24,440 --> 00:33:29,280 # The place we call Mars 552 00:33:29,280 --> 00:33:37,320 # Ten, nine, eight, seven, six, five, four, three, two, one. # 553 00:33:41,320 --> 00:33:44,640 CHEERING AND APPLAUSE 554 00:33:47,440 --> 00:33:49,360 Thank you, Squeeze - 555 00:33:49,360 --> 00:33:51,920 who you can see on tour somewhere near you soon. 556 00:33:51,920 --> 00:33:54,240 Wonderful to have Squeeze back in the studio! 557 00:33:58,760 --> 00:34:01,960 Now, I'm going to chat to Tom Rowlands and Aurora, 558 00:34:01,960 --> 00:34:03,960 who together are Tomora. 559 00:34:03,960 --> 00:34:06,240 Welcome to you both. Very good to see you. 560 00:34:06,240 --> 00:34:08,000 APPLAUSE 561 00:34:09,960 --> 00:34:12,400 First of all, it's fantastic seeing you earlier on. 562 00:34:12,400 --> 00:34:14,719 Your voice sounded amazing, and the vibrations - 563 00:34:14,719 --> 00:34:17,239 but how did this project come about? How did you meet? 564 00:34:17,239 --> 00:34:19,920 Well, we were making music together in the studio, 565 00:34:19,920 --> 00:34:22,280 which is something we love to do, isn't it? 566 00:34:22,280 --> 00:34:23,600 Very much so. 567 00:34:23,600 --> 00:34:26,960 And, um, the feeling was so strong with these songs we'd written 568 00:34:26,960 --> 00:34:29,280 that we thought this deserved a band, 569 00:34:29,280 --> 00:34:31,840 this deserved, like, a project of its own, 570 00:34:31,840 --> 00:34:34,199 as opposed to just a featuring kind of thing. 571 00:34:34,199 --> 00:34:35,800 Its own name. 572 00:34:35,800 --> 00:34:38,560 So, it's been like, it's been ten years since we met, 573 00:34:38,560 --> 00:34:41,400 and I guess two years since we began making this world. 574 00:34:41,400 --> 00:34:43,600 And did Tom approach you? 575 00:34:43,600 --> 00:34:46,239 Yes, he came out... 576 00:34:46,239 --> 00:34:48,920 Yes. And he said, "Please, come home." No. 577 00:34:48,920 --> 00:34:50,000 Yes. It was kind of like that. 578 00:34:50,000 --> 00:34:53,080 And then I was like, "Yes, of course! I want to make more." 579 00:34:53,080 --> 00:34:55,920 And it's just been, yeah, absolutely wonderful. 580 00:34:55,920 --> 00:34:57,920 And am I right in saying, did you see Aurora's...? 581 00:34:57,920 --> 00:34:59,240 I saw her at Glastonbury. Glastonbury. 582 00:34:59,240 --> 00:35:01,800 Yeah, I was actually... It was a year I didn't go to Glastonbury. 583 00:35:01,800 --> 00:35:03,760 I was sitting on the sofa 584 00:35:03,760 --> 00:35:05,800 and there she was singing 585 00:35:05,800 --> 00:35:08,400 and she pulled me off the sofa and was like, 586 00:35:08,400 --> 00:35:10,760 "Come on, there's something happening." 587 00:35:10,760 --> 00:35:12,200 Yeah, there's a lot of this in our relationship. 588 00:35:12,200 --> 00:35:13,280 There's something happening here. 589 00:35:13,280 --> 00:35:16,160 How did you decide on the name? 590 00:35:17,840 --> 00:35:20,560 Well... Well, we, um... 591 00:35:20,560 --> 00:35:22,640 One name we really wanted to have was taken. 592 00:35:23,760 --> 00:35:25,720 We couldn't be called The Thing. 593 00:35:25,720 --> 00:35:28,840 And then... You wanted to be called The Thing? Yes. For, like, a minute. 594 00:35:28,840 --> 00:35:31,040 But it's over now. Yeah. That's so yesterday. 595 00:35:31,040 --> 00:35:34,400 And then for a while, I wanted us to be Raat, because I love rats. 596 00:35:34,400 --> 00:35:36,120 Raat with double-A - Raat. 597 00:35:36,120 --> 00:35:37,920 You know, but thank God, Tom was like... 598 00:35:37,920 --> 00:35:39,720 Then you've got the Boomtown Rats, you know? 599 00:35:39,720 --> 00:35:41,560 Yeah. True. People could get confused. 600 00:35:41,560 --> 00:35:45,200 We do do that. And then Tomora. It's just a good smash... 601 00:35:45,200 --> 00:35:47,800 Mix of your two names. I believe, am I right in thinking 602 00:35:47,800 --> 00:35:51,400 that it also means "friendly companion on Earth." 603 00:35:51,400 --> 00:35:54,160 Oh, in Japanese. In Japanese. Yes. You're right. 604 00:35:54,160 --> 00:35:56,640 They have some good words for things that we don't have words for. 605 00:35:56,640 --> 00:35:58,120 Isn't that wonderful? Yeah. 606 00:35:58,120 --> 00:36:01,080 And how would you describe your working relationship with Tom? 607 00:36:01,080 --> 00:36:02,560 Who does what? 608 00:36:04,120 --> 00:36:05,800 We share a lot, don't we? Everything... 609 00:36:05,800 --> 00:36:07,680 All the production and the playing. 610 00:36:07,680 --> 00:36:09,960 Obviously, I don't sing quite as much. 611 00:36:09,960 --> 00:36:11,160 But you do sing a bit. 612 00:36:11,160 --> 00:36:12,560 Little bit, yes. 613 00:36:12,560 --> 00:36:14,720 Aurora tries to get me to sing more. 614 00:36:14,720 --> 00:36:17,520 And I'm like, "It's all right, I think you have this." 615 00:36:17,520 --> 00:36:20,240 And dance more. But you have it in you, Tom. Yes, I do. 616 00:36:20,240 --> 00:36:21,920 And where do you record? 617 00:36:21,920 --> 00:36:24,080 Well, between our two studios. 618 00:36:24,080 --> 00:36:27,480 So, Aurora has an amazing studio above a fjord. 619 00:36:27,480 --> 00:36:30,200 And you open, you play music with the windows open 620 00:36:30,200 --> 00:36:31,680 and it drifts across, you know, 621 00:36:31,680 --> 00:36:34,040 across the most beautiful place you've ever seen. 622 00:36:34,040 --> 00:36:36,960 Mm. And I have a little cave in Sussex 623 00:36:36,960 --> 00:36:38,920 where we get together. Yes. 624 00:36:38,920 --> 00:36:42,280 Nice. And is it right that, after you finished recording, 625 00:36:42,280 --> 00:36:44,080 your parents gave you a present? 626 00:36:44,080 --> 00:36:47,320 Oh, it was a very moving handover, wasn't it? Yeah. 627 00:36:47,320 --> 00:36:50,000 My parents did give you a present. 628 00:36:50,000 --> 00:36:53,160 A very important thing to our country - a cheese cutter? 629 00:36:53,160 --> 00:36:54,680 Cheese cutter, yes. Yeah. 630 00:36:54,680 --> 00:36:57,400 Antler horn. Made from horn. 631 00:36:57,400 --> 00:36:59,960 But for brown cheese only. Yeah. For brown cheese. 632 00:36:59,960 --> 00:37:02,600 Why, what happens if you try and cut yellow or soft cheese? 633 00:37:02,600 --> 00:37:04,120 Oh, you just die. 634 00:37:04,120 --> 00:37:06,080 Yes. 635 00:37:04,120 --> 00:37:06,080 LAUGHTER 636 00:37:06,080 --> 00:37:07,440 Immediately. Yes. It's very sad. 637 00:37:07,440 --> 00:37:09,760 Finally, Niall earlier was saying about, 638 00:37:09,760 --> 00:37:12,520 you know, the things he liked to do when he was relaxing. 639 00:37:12,520 --> 00:37:15,240 And, you know, just simple things often brings the most happiness. 640 00:37:15,240 --> 00:37:16,600 How about you both? 641 00:37:16,600 --> 00:37:21,160 What things you would you do to relax and enjoy yourself? 642 00:37:21,160 --> 00:37:22,840 I like to ride my bicycle. 643 00:37:22,840 --> 00:37:25,120 Very boring, but that's what I like to do. 644 00:37:25,120 --> 00:37:28,960 Where did you ride it? I mean... Out in the woods, on the Downs. 645 00:37:28,960 --> 00:37:32,160 Yeah. It's nice. I like riding, but I like riding a bicycle in the city, 646 00:37:32,160 --> 00:37:36,000 because I'm a nosy parker, so I like looking at gardens. 647 00:37:37,280 --> 00:37:39,120 And how about you? 648 00:37:39,120 --> 00:37:40,600 Aurora, what's your thing? 649 00:37:40,600 --> 00:37:42,160 What would you do to relax if you are... 650 00:37:42,160 --> 00:37:45,560 Well, I like having really...really... 651 00:37:45,560 --> 00:37:49,760 What the heck is it called when you play? 652 00:37:49,760 --> 00:37:52,720 Just really low, you know, on piano. 653 00:37:52,720 --> 00:37:54,600 And I do like it. Very... 654 00:37:54,600 --> 00:37:58,440 Pianissimo? Yeah. Pianissimo. Very softly to myself. 655 00:37:58,440 --> 00:38:00,400 Oh. That really calms me down. 656 00:38:00,400 --> 00:38:02,840 Because in piano, my favourite sound 657 00:38:02,840 --> 00:38:04,520 is often in between the... 658 00:38:04,520 --> 00:38:07,560 ..in between when you hit the notes, the lingering of the notes. 659 00:38:07,560 --> 00:38:10,880 So that is very relaxing to me. 660 00:38:10,880 --> 00:38:13,640 And of course... 661 00:38:10,880 --> 00:38:13,640 SHE SIGHS 662 00:38:13,640 --> 00:38:17,080 ..reading books and pleasuring myself. Yeah. 663 00:38:17,080 --> 00:38:19,960 LAUGHTER 664 00:38:19,960 --> 00:38:22,600 I was going to say, if you were just to show us 665 00:38:22,600 --> 00:38:23,960 when you enjoy yourself, 666 00:38:23,960 --> 00:38:26,480 how you play the piano pianissimo. 667 00:38:30,280 --> 00:38:31,960 That's just... Well, just... Yeah. 668 00:38:31,960 --> 00:38:34,680 There's a soft pedal. OK, so I'm really, I'm really terrified. 669 00:38:34,680 --> 00:38:36,960 But that's OK. You just do it very soft. Terrified of the sound. 670 00:38:36,960 --> 00:38:39,560 But I play piano, but I hate it. 671 00:38:39,560 --> 00:38:42,360 Pianissimo, because a piano can be pianissimo. 672 00:38:42,360 --> 00:38:44,160 PLAYS SOFTLY 673 00:38:45,800 --> 00:38:47,080 Oh, yes. 674 00:38:48,840 --> 00:38:50,360 Maybe this is what I do to relax. 675 00:38:55,600 --> 00:38:58,400 Enchanting. 676 00:38:55,600 --> 00:38:58,400 APPLAUSE 677 00:38:58,400 --> 00:39:00,880 That's how I would play. Congratulations. 678 00:39:00,880 --> 00:39:02,720 What a lovely, a lovely sound. 679 00:39:02,720 --> 00:39:07,120 In the meantime, thank you so much for joining us, Tomora. 680 00:39:07,120 --> 00:39:09,920 CHEERING AND APPLAUSE 681 00:39:11,960 --> 00:39:16,880 And now let's welcome back in this corner, the wonderful Niall Horan. 682 00:39:16,880 --> 00:39:19,680 CHEERING 683 00:39:38,120 --> 00:39:41,120 # I freeze 684 00:39:41,120 --> 00:39:44,720 # When you're not swimming in my bloodstream 685 00:39:46,320 --> 00:39:50,360 # Not in my pocket with my car keys 686 00:39:51,720 --> 00:39:55,320 # Got me exactly where you want me 687 00:39:56,440 --> 00:39:59,120 # Exactly where you want me 688 00:40:00,400 --> 00:40:03,160 # Can't take another breath without you 689 00:40:03,160 --> 00:40:05,640 # Can't walk down the street 690 00:40:05,640 --> 00:40:08,360 # No, I don't know what you're made of 691 00:40:08,360 --> 00:40:11,080 # It tastes so good to me 692 00:40:11,080 --> 00:40:13,680 # When my head's not wrapped around you 693 00:40:13,680 --> 00:40:16,440 # No, I can't fall asleep 694 00:40:16,440 --> 00:40:19,120 # No, I don't know what you're made of 695 00:40:19,120 --> 00:40:21,120 # But it tastes so good to me 696 00:40:26,040 --> 00:40:27,640 # Pathetically 697 00:40:29,000 --> 00:40:32,920 # I look in places that you'll never be 698 00:40:34,240 --> 00:40:38,240 # Perfectly torturing me physically 699 00:40:38,240 --> 00:40:39,760 # Symphony 700 00:40:39,760 --> 00:40:42,400 # Her voice is up in my mind 701 00:40:42,400 --> 00:40:45,800 # Saying just draw the line 702 00:40:45,800 --> 00:40:48,360 # Every night 703 00:40:48,360 --> 00:40:51,040 # Can't take another breath without you 704 00:40:51,040 --> 00:40:53,480 # Can't walk down the street 705 00:40:53,480 --> 00:40:56,280 # No, I don't know what you're made of 706 00:40:56,280 --> 00:40:59,040 # But it tastes so good to me 707 00:40:59,040 --> 00:41:01,720 # When my head's not wrapped around you 708 00:41:01,720 --> 00:41:04,200 # No, I can't fall asleep. 709 00:41:04,200 --> 00:41:06,960 # No, I don't know what you're made of 710 00:41:06,960 --> 00:41:09,080 # But it tastes so good to me 711 00:41:12,520 --> 00:41:14,400 # Yeah, it tastes so good to me 712 00:41:19,640 --> 00:41:23,160 # Controlling my body 713 00:41:23,160 --> 00:41:25,800 # Starving my brain 714 00:41:25,800 --> 00:41:30,680 # I know I'm the one who has to fade 715 00:41:30,680 --> 00:41:33,240 # I want you to leave 716 00:41:33,240 --> 00:41:38,200 # But I want you to stay 717 00:41:41,720 --> 00:41:44,320 # Can't take another breath without you 718 00:41:44,320 --> 00:41:46,880 # Can't walk down the street 719 00:41:46,880 --> 00:41:49,720 # No, I don't know what you're made of 720 00:41:49,720 --> 00:41:52,400 # But it tastes so good to me 721 00:41:52,400 --> 00:41:55,000 # When my head's not wrapped around you 722 00:41:55,000 --> 00:41:57,640 # No, I can't fall asleep 723 00:41:57,640 --> 00:42:00,040 # No, I don't want you're made of 724 00:42:00,040 --> 00:42:02,320 # But it tastes so good for me 725 00:42:05,880 --> 00:42:07,680 # Yeah, it tastes so good to me 726 00:42:11,440 --> 00:42:13,120 # Yeah, it tastes so good to me 727 00:42:16,440 --> 00:42:18,360 # Yeah, it tastes so good to me. # 728 00:42:24,680 --> 00:42:28,360 CHEERING AND APPLAUSE 729 00:42:30,320 --> 00:42:32,320 Yes, thank you, Niall Horan! 730 00:42:35,040 --> 00:42:37,600 And thank you to all of my guests this week. 731 00:42:37,600 --> 00:42:39,720 So, we're going to finish, as I said earlier, 732 00:42:39,720 --> 00:42:40,960 for the first time ever, 733 00:42:40,960 --> 00:42:43,280 not since the... I started with Squeeze 734 00:42:43,280 --> 00:42:47,120 that Chris Difford and Glenn Tilbrook wrote Take Me I'm Yours. 735 00:42:47,120 --> 00:42:49,600 That was our first hit single in 1978. 736 00:42:49,600 --> 00:42:51,800 We haven't played together as one 737 00:42:51,800 --> 00:42:54,400 since probably the 1980s or something, 738 00:42:54,400 --> 00:42:55,920 but I'd like to play, 739 00:42:55,920 --> 00:42:58,880 for the first time ever on British television this century, certainly, 740 00:42:58,880 --> 00:43:01,120 to have us reunited here in this room. 741 00:43:01,120 --> 00:43:03,080 Please welcome, Squeeze! 742 00:43:03,080 --> 00:43:05,320 CHEERING AND APPLAUSE 743 00:43:22,720 --> 00:43:26,440 # I've come across the desert to greet you with a smile 744 00:43:26,440 --> 00:43:30,520 # My camel looks so tired It's hardly worth my while 745 00:43:30,520 --> 00:43:34,600 # To tell you of my travels across the Golden East 746 00:43:34,600 --> 00:43:37,240 # I see your preparations 747 00:43:37,240 --> 00:43:40,200 # Invite me first to feast 748 00:43:42,480 --> 00:43:45,760 # Take me, I'm yours 749 00:43:45,760 --> 00:43:49,960 # Because dreams are made of this 750 00:43:49,960 --> 00:43:57,920 # Forever there'll be a heaven in your kiss 751 00:44:02,360 --> 00:44:05,440 # Amusing belly dancers distract me from my wine 752 00:44:05,440 --> 00:44:09,400 # Across Tibetan mountains are memories of mine 753 00:44:09,400 --> 00:44:13,240 # I've stood some ghostly moments with natives in the hills 754 00:44:13,240 --> 00:44:15,840 # Recorded here on paper 755 00:44:15,840 --> 00:44:19,280 # My chills and thrills and spills 756 00:44:21,520 --> 00:44:24,800 # Take me, I'm yours 757 00:44:24,800 --> 00:44:27,960 # Because dreams are made of this 758 00:44:29,000 --> 00:44:36,160 # Forever there'll be a heaven in your kiss 759 00:45:08,120 --> 00:45:09,840 # It's really been some welcome 760 00:45:09,840 --> 00:45:11,760 # You never seem to change 761 00:45:11,760 --> 00:45:13,480 # A grape to tempt your leisure 762 00:45:13,480 --> 00:45:15,600 # Romantic gestures change 763 00:45:15,600 --> 00:45:17,880 # My eagle flies tomorrow 764 00:45:17,880 --> 00:45:19,840 # It's a game I treasure dear 765 00:45:19,840 --> 00:45:22,320 # To seek the helpless future 766 00:45:22,320 --> 00:45:25,320 # My love, at last, I'm here 767 00:45:27,800 --> 00:45:31,080 # Take me, I'm yours 768 00:45:31,080 --> 00:45:34,040 # Because dreams are made of this 769 00:45:35,280 --> 00:45:43,000 # Forever there'll be a heaven in your kiss. # 770 00:46:08,840 --> 00:46:11,880 CHEERING AND APPLAUSE 771 00:46:26,760 --> 00:46:29,640 MUSIC: I Drink The Light by Tomora