0:00:27 > 0:00:30Hello. Glad you could join us in the BBC Studios
0:00:30 > 0:00:33here in Belfast for a very special Arts Show.
0:00:33 > 0:00:35We have got visual art over here.
0:00:35 > 0:00:37Very expensive bowls. Do not touch.
0:00:37 > 0:00:39We have got Mr Gavin Ferris, minus his guitar,
0:00:39 > 0:00:42but we also have Ross Thompson, poet extraordinaire,
0:00:42 > 0:00:47and we have Hannah and Jan, who are friends and collaborators.
0:00:47 > 0:00:48More on that in a moment.
0:00:48 > 0:00:52But first up, they are a duo that have been together for only a year.
0:00:52 > 0:00:55Their first album, Untamed And Beloved,
0:00:55 > 0:00:57has been released to critical acclaim.
0:00:57 > 0:00:59Please welcome The Darkling Air.
0:01:28 > 0:01:31# It's all imagination
0:01:31 > 0:01:35# When it's not before your eyes
0:01:37 > 0:01:40# The fairest is the new kid
0:01:40 > 0:01:45# Who observes before decides
0:01:45 > 0:01:48# Still clinging to the values
0:01:48 > 0:01:53# Of a vain and fruitless pride
0:01:53 > 0:01:57# On the inside
0:01:58 > 0:02:05# Watching as he loses his way
0:02:07 > 0:02:13# He can't even hear as I call his name
0:02:16 > 0:02:24# And turn your head around
0:02:25 > 0:02:32# Don't you notice
0:02:34 > 0:02:42# That you are of this?
0:02:42 > 0:02:51# Of this you made yourself
0:03:00 > 0:03:03# You're acting like the weather
0:03:03 > 0:03:07# Like snow on top of spring
0:03:09 > 0:03:12# You promised all your colours
0:03:12 > 0:03:17# And then covered everything
0:03:17 > 0:03:20# Will you recognise your children
0:03:20 > 0:03:25# When you've had a heart to heart
0:03:25 > 0:03:29# With yourself?
0:03:31 > 0:03:37# Watch me if I'm losing my way
0:03:39 > 0:03:47# Violently thunder my memory
0:03:49 > 0:03:56# And turn my head around
0:03:58 > 0:04:04# Make me notice
0:04:06 > 0:04:12# That I am of this
0:04:14 > 0:04:22# Of this I made myself
0:04:23 > 0:04:31# And turn your head round
0:04:32 > 0:04:38# Don't you notice
0:04:40 > 0:04:47# That you are of this?
0:04:48 > 0:04:56# Of this you made yourself. #
0:05:11 > 0:05:13APPLAUSE
0:05:16 > 0:05:19Thank you, guys. I love the sound.
0:05:19 > 0:05:21More from The Darkling Air later.
0:05:21 > 0:05:24Well, ceramics as an art form is as old as antiquity,
0:05:24 > 0:05:28but, as the most recent winner of the Turner Prize proved,
0:05:28 > 0:05:31it's more than just a load of old bowls.
0:05:31 > 0:05:34Claire Newell, welcome. You are a ceramicist.
0:05:34 > 0:05:37I use bowls, maybe not as dear as this,
0:05:37 > 0:05:39for my cornflakes in the morning.
0:05:39 > 0:05:41What makes this art?
0:05:42 > 0:05:45Well, everything's handmade completely by me,
0:05:45 > 0:05:46from start to finish,
0:05:46 > 0:05:47using porcelain.
0:05:47 > 0:05:50It's all hand-decorated and each dot's put on by me,
0:05:50 > 0:05:52so it might be a little bit more precious to you
0:05:52 > 0:05:53than just eating your cornflakes out of it.
0:05:53 > 0:05:56Would you let anybody eat their cornflakes out of it?
0:05:56 > 0:05:57Certainly, if they wanted to!
0:05:57 > 0:05:59But I see them purely as decorative.
0:05:59 > 0:06:02I'm afraid to touch them, because they're expensive, are they?
0:06:02 > 0:06:03- They are.- They are. OK.
0:06:03 > 0:06:06So I'll keep my hands by my side and not do anything.
0:06:06 > 0:06:09But with Emma Hart winning the Turner Prize
0:06:09 > 0:06:12and also, a very big prize, as well, the Max Mara,
0:06:12 > 0:06:16do you think that made ceramicists sit up and cheer
0:06:16 > 0:06:19and say, "At last, you recognise we are a valid art form!"?
0:06:19 > 0:06:21I think so. I think it seems a bit more legitimate
0:06:21 > 0:06:24now that it is, sort of, it's even modern again.
0:06:24 > 0:06:26And it's great to see - hopefully, it continues.
0:06:26 > 0:06:29So, it's contemporary
0:06:29 > 0:06:31and would there have been the feeling up to now
0:06:31 > 0:06:34that maybe you were in the crafts world
0:06:34 > 0:06:36and not in the visual arts world?
0:06:36 > 0:06:38Is there that bit of snobbery going on?
0:06:38 > 0:06:40Certainly, I think so. I think crafts sometimes is not seen
0:06:40 > 0:06:43as something maybe as high-end.
0:06:43 > 0:06:44But high-end? I mean, this is high-end.
0:06:44 > 0:06:48How long would it take you, even, say, the smallest bowl? How long would it take to make?
0:06:48 > 0:06:50The smallest bowl, from start to finish,
0:06:50 > 0:06:52you're talking easily ten hours plus.
0:06:52 > 0:06:56Each little dot is just simply on and off into the pot
0:06:56 > 0:06:58and back on the bowl,
0:06:58 > 0:07:00so there's no quicker way of doing it, unfortunately.
0:07:00 > 0:07:02Why do you do it? What makes you do it?
0:07:02 > 0:07:05I suppose I find it quite therapeutic.
0:07:05 > 0:07:08I've developed a lot of patience in the last few years, as well,
0:07:08 > 0:07:10of developing the range.
0:07:10 > 0:07:11You're also a mum.
0:07:11 > 0:07:14You have a toddler now, what, 18 months old?
0:07:14 > 0:07:16Yes. Sophie. She's 18 months.
0:07:16 > 0:07:18Well, to paraphrase the famous quote
0:07:18 > 0:07:20about the pram in the hallway being the enemy of art,
0:07:20 > 0:07:22where do you stand on that?
0:07:22 > 0:07:24I think that's completely untrue.
0:07:24 > 0:07:25It's just finding the balance
0:07:25 > 0:07:29between your home life and your business life.
0:07:29 > 0:07:30I can do both.
0:07:30 > 0:07:33So you are a champion for both toddlers and ceramics?
0:07:33 > 0:07:35- Certainly, yes.- Thank you so much.
0:07:35 > 0:07:38- Put your hands together, everybody, for Claire Newell.- Thank you.
0:07:38 > 0:07:39APPLAUSE
0:07:41 > 0:07:42Now local author Jan Carson
0:07:42 > 0:07:45and singer-songwriter Hannah McPhillimy
0:07:45 > 0:07:47have been creating fresh takes on each other's work
0:07:47 > 0:07:48for about four years now,
0:07:48 > 0:07:50and they're still friends.
0:07:50 > 0:07:54In a moment, we'll hear Hannah's take on Jan's work, but first,
0:07:54 > 0:07:57please put your hands together for Jan Carson,
0:07:57 > 0:08:00reading from her novel Malcolm Orange Disappears.
0:08:07 > 0:08:10The children revelled in the open sky.
0:08:10 > 0:08:13They flew like fighter pilots and dined like demigods
0:08:13 > 0:08:16on tinned fruit and Hershey bars.
0:08:16 > 0:08:20Recalling the claustrophobic fields and streets of Jefferson, Oklahoma,
0:08:20 > 0:08:23they could only conclude that their parents were selfish creatures,
0:08:23 > 0:08:26denying them the full breadth of their prodigal wings.
0:08:26 > 0:08:28By the time they hit Europe,
0:08:28 > 0:08:32all seven children had lost their instinct to return home.
0:08:32 > 0:08:36The ships docked in Belfast on January 26th 1942,
0:08:36 > 0:08:39and while the regular troops trooped through the city,
0:08:39 > 0:08:42exploring the public houses and dance halls,
0:08:42 > 0:08:44the children made darting exploratory flights
0:08:44 > 0:08:47through the Glens of Antrim and the Newry Hills,
0:08:47 > 0:08:50thrilled by the jungling foliage and the lush greens.
0:08:50 > 0:08:53Accustomed to the flat Oklahoma plains,
0:08:53 > 0:08:58everything seemed damp, pocket-sized and saturated in colour.
0:08:58 > 0:09:00"Such a small island", the children mused.
0:09:00 > 0:09:02No bigger than a single state,
0:09:02 > 0:09:05yet this tiny teaspoonful of a tiny continent
0:09:05 > 0:09:09served to whet their appetites for further adventures.
0:09:09 > 0:09:13In the early days, Europe felt like a homecoming for the children.
0:09:13 > 0:09:16The streets ran thick with mythical beings.
0:09:16 > 0:09:19Monsters, angels, immortal creatures.
0:09:19 > 0:09:20For one short instance,
0:09:20 > 0:09:24the flying children felt almost acceptable.
0:09:24 > 0:09:27Huddling for the night in barns and rural barracks,
0:09:27 > 0:09:30they began to speak healing words over each other.
0:09:30 > 0:09:34"Lucky" and "blessed" and "terribly, terribly fortunate",
0:09:34 > 0:09:38the squat syllables rocking them into deep, satisfying sleep.
0:09:40 > 0:09:42# Hey, kid
0:09:42 > 0:09:46# I knew before most did
0:09:46 > 0:09:49# How the Lord giveth
0:09:49 > 0:09:53# Prefers taking outright
0:09:53 > 0:09:56# So don't dress it up nice
0:09:56 > 0:10:00# No, don't waste your good time
0:10:00 > 0:10:03# Making things pretty,
0:10:03 > 0:10:06# For a man without sight
0:10:06 > 0:10:11# I've done all right
0:10:11 > 0:10:19# Just hold me when the sinking comes
0:10:22 > 0:10:25# I wasn't born like this
0:10:25 > 0:10:28# Gargantuan, repulsive
0:10:28 > 0:10:31# I had my waist pinched
0:10:31 > 0:10:34# By many fingers and thumbs
0:10:35 > 0:10:42# Just put on the weight of someone not made for love
0:10:42 > 0:10:48# And other than the absence of all human touch
0:10:48 > 0:10:52# Don't think I missed out on much
0:10:52 > 0:11:00# And maybe they'll hold me when the sinking comes
0:11:04 > 0:11:09# Ooh
0:11:11 > 0:11:15# Ooh, oh
0:11:17 > 0:11:23# Ooh, ah...
0:11:23 > 0:11:26# Don't let your precious child
0:11:26 > 0:11:29# Out in those blue skies wild
0:11:29 > 0:11:35# They'll only take off, fly to never return
0:11:35 > 0:11:42# So strip off their fledgling, strange and beautiful wings
0:11:42 > 0:11:44# It's for their own safety
0:11:44 > 0:11:48# And soon they have to learn
0:11:48 > 0:11:50# They're not right for this world
0:11:52 > 0:11:57# But we'll hold them when the sinking comes
0:11:57 > 0:12:00# In times gone by we used to fly
0:12:00 > 0:12:04# But it's such a heavy world
0:12:04 > 0:12:07# In times gone by, we used to fly
0:12:07 > 0:12:10# But it's such a heavy world
0:12:10 > 0:12:13# In times gone by, we used to fly
0:12:13 > 0:12:17# But it's such a heavy world
0:12:17 > 0:12:20# In times gone by, we used to fly
0:12:20 > 0:12:23# But it's such a heavy world
0:12:23 > 0:12:27# In times gone by, we used to fly
0:12:27 > 0:12:30# But it's such a heavy world
0:12:30 > 0:12:33# In times gone by, we used to fly
0:12:33 > 0:12:41# I'm just far too tired. #
0:12:57 > 0:12:59APPLAUSE
0:13:02 > 0:13:04Hannah McPhillimy with Sinking
0:13:04 > 0:13:07and Jan Carson with Malcolm Orange Disappears.
0:13:07 > 0:13:11So, who made the first move, then?
0:13:11 > 0:13:13It was Jan. She was more keen.
0:13:13 > 0:13:16- Really?- Well, we've been friends for an awfully long time
0:13:16 > 0:13:20and I've always been in awe of Hannah's talent, as you can hear,
0:13:20 > 0:13:22and I was just dying for an opportunity to work with her,
0:13:22 > 0:13:24and this came up.
0:13:24 > 0:13:25So what is the physical process?
0:13:25 > 0:13:28I mean, Hannah, do you read Jan's work
0:13:28 > 0:13:30and then you hear something musically
0:13:30 > 0:13:32and then you rewrite it?
0:13:32 > 0:13:37- Yeah, well, Jan gave me... Was it the first draft of your novel?- Yeah.
0:13:37 > 0:13:39And then I just read it in its entirety,
0:13:39 > 0:13:42and then Jan gave me the freedom to write about whatever I wanted,
0:13:42 > 0:13:44so just whatever I was attracted to.
0:13:44 > 0:13:46Then I scribbled away.
0:13:46 > 0:13:49And then what do you hear in Hannah's work, Jan?
0:13:49 > 0:13:52I hear a lot of my characters coming to life in a different way,
0:13:52 > 0:13:56so it's almost like getting someone else's eye to see things
0:13:56 > 0:13:58that you maybe missed the first time round,
0:13:58 > 0:14:00which is a lovely process to go through.
0:14:00 > 0:14:02I mean, there must be a huge amount of trust here.
0:14:02 > 0:14:06Is it like a screenwriter adapting a book for a film?
0:14:06 > 0:14:09Yeah. When she first asked me, I was terrified,
0:14:09 > 0:14:11cos I thought she might hate it!
0:14:11 > 0:14:13It's a big undertaking!
0:14:13 > 0:14:17Yes, but...yeah, I think with any creative collaboration,
0:14:17 > 0:14:20there is massive trust and I'd never actually done that before,
0:14:20 > 0:14:23so it was lovely to do it with someone I really respected.
0:14:23 > 0:14:25And you're heavily into music.
0:14:25 > 0:14:27Do you understand, really, though,
0:14:27 > 0:14:31the different approach that Hannah needs to take your words?
0:14:31 > 0:14:33Well, I actually got a little insight into it,
0:14:33 > 0:14:35cos Hannah did the same manoeuvre on me last year,
0:14:35 > 0:14:38and gave me some of her music to write a story about,
0:14:38 > 0:14:41so she flipped the thing over and made me do it.
0:14:41 > 0:14:45So I realised at that point just how difficult it is
0:14:45 > 0:14:46to be given someone else's work.
0:14:46 > 0:14:50And you don't talk about it - I mean, do you just let it sit,
0:14:50 > 0:14:51and then you send it to her,
0:14:51 > 0:14:54and go, "Fingers crossed, it's going to work"?
0:14:54 > 0:14:57We had a lot of frantic coffee, and just...meetings,
0:14:57 > 0:14:59throwing ideas at each other, and things.
0:14:59 > 0:15:01But art demands honesty,
0:15:01 > 0:15:04so how do you retain the integrity of the work,
0:15:04 > 0:15:06while staying mates?
0:15:07 > 0:15:09I think it comes down to trust, to be honest.
0:15:09 > 0:15:12And if you really value and understand
0:15:12 > 0:15:13another artist's integrity,
0:15:13 > 0:15:17actually, sometimes their opinion is better than yours.
0:15:17 > 0:15:20- Really?- Yeah. - Do you believe that, Hannah?
0:15:20 > 0:15:22- Erm...- Say "Yes!"- Yes!
0:15:22 > 0:15:24LAUGHTER
0:15:24 > 0:15:26- She does.- That's the right answer!
0:15:26 > 0:15:28Have you ever fallen out, though?
0:15:28 > 0:15:31I don't think so. Jan has some grudges held against me,
0:15:31 > 0:15:34cos she didn't realise when she was enlisting me
0:15:34 > 0:15:36she'd have to carry my huge keyboard.
0:15:36 > 0:15:38So she has a few scars on her shins!
0:15:38 > 0:15:41I actually pulled a rib carrying Hannah's keyboard around Ireland.
0:15:41 > 0:15:44Yeah, you don't do that with a pen and paper.
0:15:44 > 0:15:46Ladies and gentlemen, please thank Hannah McPhillimy and Jan Carson,
0:15:46 > 0:15:49and please, no falling out, we need more of you!
0:15:49 > 0:15:52Thank you! APPLAUSE
0:15:57 > 0:16:00Now, there's a healthy tradition of portrait painting in Ulster,
0:16:00 > 0:16:02from Sir John Lavery's epics and studies
0:16:02 > 0:16:06to Colin Davidson's list of heads of state and Hollywood icons.
0:16:06 > 0:16:10We add a new name to this roster - Donegal painter Daniel Nelis.
0:16:10 > 0:16:15Welcome. You won the Royal Ulster Academy Portrait Prize in 2015.
0:16:15 > 0:16:18So what did that mean to you as an artist?
0:16:18 > 0:16:19Well, I remember my first time
0:16:19 > 0:16:22getting to see the Royal Ulster Academy was in 2009,
0:16:22 > 0:16:25and that was the year that I was just committing to art, I guess,
0:16:25 > 0:16:27because I was doing my foundation course
0:16:27 > 0:16:31in North West Regional College in Limavady.
0:16:31 > 0:16:33And so we were brought up, and that was my first time getting to see
0:16:33 > 0:16:35people like Colin Davidson in person.
0:16:35 > 0:16:37There was even a drawing of Michael Longley
0:16:37 > 0:16:38by David Russell as well.
0:16:38 > 0:16:41That had a super, kind of, profound impact on me.
0:16:41 > 0:16:44They made me realise that, "Here's these guys that can actually
0:16:44 > 0:16:47"have a credible career out of making art."
0:16:47 > 0:16:49And then, a few years later,
0:16:49 > 0:16:51whenever the e-mail came through
0:16:51 > 0:16:54that I'd won the Portrait Prize,
0:16:54 > 0:16:56it was a super confirming moment.
0:16:56 > 0:16:58So talk to me about some of these...
0:16:58 > 0:17:01Some of them are fairly big, others are very, very small.
0:17:01 > 0:17:03So, what's the process?
0:17:03 > 0:17:06Well, I think the thinking behind all of my work is...
0:17:06 > 0:17:08It's kind of inspired
0:17:08 > 0:17:10by these still, quiet, contemplative moments.
0:17:10 > 0:17:14The place that conjures that kind of sensation the most for me
0:17:14 > 0:17:16is just the area that I'm from.
0:17:16 > 0:17:17- Which is Glenveagh, Donegal. - Exactly.
0:17:17 > 0:17:20We're just surrounded by miles and miles of bogland.
0:17:20 > 0:17:22And it's not unlike, maybe,
0:17:22 > 0:17:24the paintings of Caspar David Friedrich,
0:17:24 > 0:17:27the German Romantic painter.
0:17:27 > 0:17:31His paintings were about being alone in nature, or figures...
0:17:31 > 0:17:33Very much being, in the bog by yourself, kind of,
0:17:33 > 0:17:35conjures a similar feeling.
0:17:35 > 0:17:37So you put your mum into the middle of a bog.
0:17:37 > 0:17:40- And you paint your mum.- Yep.
0:17:40 > 0:17:42Imperfections and everything?
0:17:42 > 0:17:46For me, it's just about, kind of, bearing witness to the person
0:17:46 > 0:17:47in as honest a way as possible.
0:17:47 > 0:17:50Obviously, what we're doing still is an artefact of the person,
0:17:50 > 0:17:52it's not the person themselves.
0:17:52 > 0:17:55- But...- Does your mother like it?
0:17:55 > 0:17:57As chance would have it, she did like the painting.
0:17:57 > 0:17:58- So that was...- OK, OK.
0:17:58 > 0:18:00My father had been through a similar process,
0:18:00 > 0:18:02so she had seen the damage done there.
0:18:02 > 0:18:06You see, I have sat for a painter, Colin Davidson no less.
0:18:06 > 0:18:08And I know I was very honoured to,
0:18:08 > 0:18:11but I found it the most nerve-racking experience
0:18:11 > 0:18:13- of being looked at. - Absolutely. Because it's...
0:18:13 > 0:18:16I mean, Lucien Freud even said of one of his teachers, Cedric Morris,
0:18:16 > 0:18:18that his paintings were more intrusive
0:18:18 > 0:18:19than they had any right to be.
0:18:19 > 0:18:21And I think that's true, they are intrusive,
0:18:21 > 0:18:24and they kind of make us bear witness to ourselves in a way,
0:18:24 > 0:18:26especially now, we wouldn't feel comfortable with.
0:18:26 > 0:18:29But I think that's super important, because it lets us see
0:18:29 > 0:18:30the truth in ourselves.
0:18:30 > 0:18:32So will your mother let you paint her again?
0:18:32 > 0:18:34I doubt it very, very much.
0:18:34 > 0:18:36Well, somebody else will want to be painted by you.
0:18:36 > 0:18:39- Daniel Nelis, thank you so much. Thank you.- Thank you.
0:18:39 > 0:18:41APPLAUSE
0:18:44 > 0:18:46Now, you could say that my next guest
0:18:46 > 0:18:49paints sonic portraits with his six-string.
0:18:49 > 0:18:51He is Gavin Ferris, one of an emerging group
0:18:51 > 0:18:55of virtuoso guitarists in Northern Ireland at the moment.
0:18:55 > 0:18:59Here he is with The Dragon Is Coming.
0:22:40 > 0:22:42APPLAUSE
0:22:47 > 0:22:50Those fingers were a blur, Gavin, thank you so much.
0:22:50 > 0:22:53Now, Ross Thompson is an English teacher by day,
0:22:53 > 0:22:55and when the school bell goes, he writes.
0:22:55 > 0:22:57This year bodes well for him,
0:22:57 > 0:23:00as he's been chosen as one of 12 to watch by Lagan Press.
0:23:00 > 0:23:03Ross, over to you.
0:23:03 > 0:23:04The Slipping Forecast.
0:23:05 > 0:23:07Viking, North Utsire,
0:23:07 > 0:23:10South Utsire, Irish Sea.
0:23:10 > 0:23:15South-westerly veering north-westerly, four or five,
0:23:15 > 0:23:17backing into East Yamatai.
0:23:17 > 0:23:20Moderate or rough, becoming good.
0:23:20 > 0:23:24Sweetwater, trimble fee, ley line.
0:23:24 > 0:23:29Narnia, magnetic pull veering centrally at first,
0:23:29 > 0:23:33heliosphere fragmenting later, rough or very rough,
0:23:33 > 0:23:39chances of meteors high, obliteration unlikely.
0:23:39 > 0:23:45Nettle song, Legoland, shimmer moon, silver pen,
0:23:45 > 0:23:47fog patches, white squall,
0:23:47 > 0:23:50vengeful ghost pirates hunting for plunder.
0:23:50 > 0:23:53Severe gale, becoming cyclonic,
0:23:53 > 0:23:57occasionally very violent in Groomsport.
0:23:57 > 0:24:02Golden glove, solitude, honey trap, trill.
0:24:02 > 0:24:05Infrequent sightings of three-way fisticuffs
0:24:05 > 0:24:09between Godzilla, Mothra and King Kong.
0:24:09 > 0:24:12Screaming Japanese civilians decreasing three,
0:24:12 > 0:24:15at times hellfire and brimstone rising,
0:24:15 > 0:24:19but tailing off by End of Days.
0:24:19 > 0:24:2340s, middle-aged spread sinking southward,
0:24:23 > 0:24:25afternoon naps increasing,
0:24:25 > 0:24:29self-loathing eight, weepy clouds ten,
0:24:29 > 0:24:32mood swings frequent,
0:24:32 > 0:24:33anguish severe,
0:24:33 > 0:24:37periods of low depression, ennui, rough,
0:24:37 > 0:24:38crises inevitable,
0:24:38 > 0:24:42staring at childhood drawings of snowmen, nine.
0:24:42 > 0:24:46High chance of crying over spilt milk.
0:24:46 > 0:24:52Tumbledown, fox willow, apple glass, adultcy,
0:24:52 > 0:24:56cosy and carefree middle-age ebbing to all four corners.
0:24:56 > 0:24:59Wistful, yet without regret.
0:24:59 > 0:25:02Unhappy, but content.
0:25:02 > 0:25:06Restful slumber, not giving two hoots.
0:25:06 > 0:25:11Peace descending, zero to zero.
0:25:11 > 0:25:14APPLAUSE
0:25:19 > 0:25:21Thank you to Ross Thompson,
0:25:21 > 0:25:25and thank you to all our guests and performers here this evening.
0:25:25 > 0:25:30You can't get away from us, we are on radio and online all the time.
0:25:30 > 0:25:34We'll leave you tonight with one more tune from The Darkling Air.
0:25:34 > 0:25:36Goodnight.
0:25:58 > 0:26:03# The darkling air descends its veil
0:26:03 > 0:26:05# Upon the rugged hills
0:26:07 > 0:26:14# I stayed too long and now I can't see anything
0:26:16 > 0:26:21# Though the night is young, my glass is full
0:26:21 > 0:26:24# It's another done deal
0:26:26 > 0:26:32# With the tendency to sting you in the morning
0:26:35 > 0:26:40# Barefoot though the wilderness
0:26:40 > 0:26:44# It's what I'm comprehending
0:26:44 > 0:26:49# Magnificent yet cold and cruel
0:26:49 > 0:26:57# And unforgiving
0:27:14 > 0:27:19# Deep it lies, the olden spring
0:27:19 > 0:27:23# Broken by the years
0:27:23 > 0:27:30# Now quilted by a heather bed is sleeping
0:27:32 > 0:27:36# Nature stands to nurture life
0:27:36 > 0:27:40# Then leaves it to decay
0:27:41 > 0:27:48# I collect the bones she casts away
0:27:50 > 0:27:54# Barefoot through the wilderness
0:27:54 > 0:27:59# It's what I'm comprehending
0:27:59 > 0:28:06# Magnificent yet cold and cruel and scorning
0:28:07 > 0:28:11# I feel it all, I feel my way
0:28:11 > 0:28:16# Until I finally find you
0:28:16 > 0:28:19# I do it all in hope
0:28:19 > 0:28:23# I do it all
0:28:23 > 0:28:28# For love
0:28:30 > 0:28:36# Ooh, ooh, ooh
0:28:36 > 0:28:39# Mm
0:28:58 > 0:29:03# The darkling air descends its veil
0:29:03 > 0:29:06# Upon the rugged hills
0:29:08 > 0:29:10# I stayed too long
0:29:10 > 0:29:17# And now I can't see anything. #
0:29:20 > 0:29:23APPLAUSE