0:00:02 > 0:00:04SONG: "Killer" by Fazer
0:00:04 > 0:00:09I'm Fazer. I'm a rapper, musician and multi-platinum music producer.
0:00:09 > 0:00:11Most of you will know me as an urban artist,
0:00:11 > 0:00:14but last year I got to play with a world-renowned classical orchestra,
0:00:14 > 0:00:17and ever since I've become a huge fan of classical music.
0:00:19 > 0:00:22It was like the most overwhelming experience in music
0:00:22 > 0:00:24that I've had, cos it's like,
0:00:24 > 0:00:27"Wow." It's all live instruments and real musicians,
0:00:27 > 0:00:28like an eargasm.
0:00:29 > 0:00:32Like 3D music. Music in high definition.
0:00:32 > 0:00:36You ain't getting no music like this through a computer.
0:00:36 > 0:00:38I tell you that much now.
0:00:38 > 0:00:40I was lucky to have this mind-blowing experience,
0:00:40 > 0:00:44but many young people today don't ever have that kind of opportunity,
0:00:44 > 0:00:47and have preconceived ideas about those that do.
0:00:47 > 0:00:50What kind of people do you think listen to classical music?
0:00:50 > 0:00:53- Posh people. - Posh people, yes.
0:00:53 > 0:00:55- Rich people. - Old people.- Old people?
0:00:55 > 0:00:57But I think they're missing out,
0:00:57 > 0:00:59and I'm worried about where the classical audience of tomorrow
0:00:59 > 0:01:00will come from.
0:01:03 > 0:01:05So I'm going to take a group of young musicians
0:01:05 > 0:01:09who prefer beats to Beethoven, and give them a classical crash course.
0:01:10 > 0:01:12They'll listen to it...
0:01:12 > 0:01:14Just needs to stop getting in my ears, really.
0:01:14 > 0:01:16- ..learn about it... - Mosh the beat.
0:01:17 > 0:01:21- ..and live it... - Oh, my...
0:01:21 > 0:01:23This is madness.
0:01:23 > 0:01:26..in order to write and perform an epic piece of music that fuses
0:01:26 > 0:01:29urban sounds with a classical orchestra.
0:01:29 > 0:01:31In under two months we're going to be playing at this year's
0:01:31 > 0:01:35BBC Proms at the world-renowned Royal Albert Hall.
0:01:35 > 0:01:38I want my project to blow apart the stereotypes of young people
0:01:38 > 0:01:40and the classical world.
0:01:40 > 0:01:42When I walked in there, I got goose bumps, man.
0:01:42 > 0:01:44It's an emotional experience.
0:01:44 > 0:01:46Sorry.
0:01:46 > 0:01:49And hopefully, open each other's eyes, ears, and minds
0:01:49 > 0:01:53to different types of music, and ultimately different perspectives.
0:01:54 > 0:01:56The job that I have with this project
0:01:56 > 0:01:58and what I'm actually taking on on my shoulders,
0:01:58 > 0:01:59it could go either way.
0:01:59 > 0:02:02I'm literally just shaking in my boots right now.
0:02:13 > 0:02:16I think this is one of the most epic pieces in classical music.
0:02:16 > 0:02:20Just the way it's composed, the way it's together, like the way it...
0:02:20 > 0:02:22the suspense of it and everything like that, it's crazy.
0:02:23 > 0:02:27I'm a bit worried about classical music in general,
0:02:27 > 0:02:30because I don't think there's enough young people engaging in it
0:02:30 > 0:02:33and understanding the type of music it is.
0:02:33 > 0:02:36What would your friends think if they heard you listening to classical music?
0:02:36 > 0:02:38- They'd think I'm mad. - They'd think you're mad?
0:02:38 > 0:02:40Have any of you guys heard of the BBC Proms?
0:02:40 > 0:02:43Is it sort of like Britain's Got Talent for posh people?
0:02:45 > 0:02:48I think classical music needs young people to carry on
0:02:48 > 0:02:50the legacy behind it. Do you know what I mean?
0:02:50 > 0:02:53To keep an audience with it to live on.
0:02:53 > 0:02:56That's hopefully where I'm coming in.
0:02:56 > 0:02:59My aim is to put together a group of young musicians
0:02:59 > 0:03:02that never had any sort of classical interest
0:03:02 > 0:03:04or even heard of classical music.
0:03:04 > 0:03:07We're going to write a track with them, which then we'll perform
0:03:07 > 0:03:09at this year's Urban Classic Proms
0:03:09 > 0:03:11with some of the most amazing musicians in the world.
0:03:16 > 0:03:18Now in its 119th year,
0:03:18 > 0:03:22the BBC Proms is the world's biggest classical music festival,
0:03:22 > 0:03:26running for eight weeks every summer at the famous Royal Albert Hall.
0:03:26 > 0:03:29But this year the Proms are mixing it up by fusing urban artists
0:03:29 > 0:03:34like Maverick Sabre, Wretch 32, Laura Mvula and me
0:03:34 > 0:03:36with the prestigious BBC Symphony Orchestra
0:03:36 > 0:03:39at the first ever Urban Classic Prom.
0:03:40 > 0:03:43Alongside rehearsing for the Prom, I want to take my band
0:03:43 > 0:03:47of musicians and involve them in all aspects of classical music.
0:03:47 > 0:03:49Like, I want to expose them to things that the would never
0:03:49 > 0:03:52normally experience, and ultimately I'm hoping that,
0:03:52 > 0:03:55by mixing them with them with musicians who know
0:03:55 > 0:03:57and love classical music,
0:03:57 > 0:03:59that they might be able to appreciate it themselves.
0:04:05 > 0:04:08I'm starting my classical mission at Club Scala in London,
0:04:08 > 0:04:11for a renowned hip-hop night, the Jump Off,
0:04:11 > 0:04:13home to the most die-hard urban music fans.
0:04:16 > 0:04:19We're here in Kings Cross today for the Jump Off UK.
0:04:19 > 0:04:23I think it's one of the biggest rap battles/producer battles
0:04:23 > 0:04:25in the UK right now.
0:04:25 > 0:04:27RAPPER FREESTYLES
0:04:27 > 0:04:28At the Jump Off,
0:04:28 > 0:04:30all types of performers go up against each other
0:04:30 > 0:04:33in a series of battles where the winner is decided
0:04:33 > 0:04:34by a panel of judges.
0:04:36 > 0:04:39Tonight, yours truly is one of the judges.
0:04:39 > 0:04:42But I'm also here to test whether I can sell classical music
0:04:42 > 0:04:43to even the toughest young crowd
0:04:43 > 0:04:46by mixing a string quartet with some urban techniques.
0:04:48 > 0:04:52- Have you guys ever played an urban-type grime night before?- No.
0:04:52 > 0:04:54- They have a twerk-off battle. - Oh.
0:04:54 > 0:04:57- Do you know what a twerk-off is? - Not really.
0:04:58 > 0:05:04- Basically, a lot of girls shaking their...rear ends.- Ah!
0:05:04 > 0:05:07- Oh, yeah. Shake your booty. - Yeah.
0:05:07 > 0:05:08Shake your booty!
0:05:12 > 0:05:15This classical performance will be a first for Jump Off,
0:05:15 > 0:05:17and I've got no idea how the experiment will go down.
0:05:19 > 0:05:21The thing about a Jump Off crowd is they're like
0:05:21 > 0:05:23"go hard or go home", sort of thing.
0:05:23 > 0:05:27Like if you're not bringing it, then they don't want to know.
0:05:27 > 0:05:29It's a big risk, because you never know how it could go down.
0:05:29 > 0:05:32People might not connect with it in the way that I hoped.
0:05:32 > 0:05:34It'll either be a hands-up situation,
0:05:34 > 0:05:37or it could be... thumbs-down situation.
0:05:37 > 0:05:39So, fingers crossed, man.
0:05:39 > 0:05:42I know you guys are used to something different each week
0:05:42 > 0:05:43from the producer battle.
0:05:43 > 0:05:46I've got a string quartet. Four string players.
0:05:46 > 0:05:49What they're going to do is they're going to come up here
0:05:49 > 0:05:51and they're going to play a piece for you guys.
0:05:51 > 0:05:54What has to happen is the producer is going to sample this
0:05:54 > 0:05:57and make something out of nothing.
0:05:58 > 0:06:01So I'm going to introduce to the stage my four string players.
0:06:01 > 0:06:04They're called the Premier String Slayers.
0:06:04 > 0:06:07Make some noise, Jump Off.
0:06:07 > 0:06:09Yeah! That's a gangster name as well.
0:06:09 > 0:06:13The Premier String Slayers. Yeah!
0:06:13 > 0:06:14Are you ready?
0:06:17 > 0:06:21QUARTET PLAYS
0:06:26 > 0:06:30When the orchestra first came out and started playing, it was like...
0:06:30 > 0:06:32tumbleweed. They just didn't get it.
0:06:36 > 0:06:39I think classical music is for the older generation.
0:06:42 > 0:06:44It's more for the older people and middle class.
0:06:48 > 0:06:52It's just too calm, it'll put me to sleep if I listen to it.
0:06:52 > 0:06:54It hurts my ears, I don't like the...
0:07:02 > 0:07:05It's no surprise that my classical quartet have failed to impress.
0:07:06 > 0:07:09But I'm hoping that, by mixing in some beats, the producers can start
0:07:09 > 0:07:12to win over the crowd and I can see a way forward in my mission
0:07:12 > 0:07:14to bring together these worlds.
0:07:15 > 0:07:17Let's see how good these producers are.
0:07:17 > 0:07:20They've got five minutes to make something out of that beat.
0:07:26 > 0:07:29As the last seconds of the battle tick away, it's time for us
0:07:29 > 0:07:32to hear the producers' finished pieces.
0:07:32 > 0:07:36Then you'll see where the two worlds come together.
0:07:36 > 0:07:39First up, it's Messy Beatz's track.
0:07:41 > 0:07:44HE PLAYS BEATS OVER THE STRINGS
0:07:52 > 0:07:55Messy Beatz hasn't got the crowd jumping.
0:07:55 > 0:07:57Maybe Strika's efforts will pump them up.
0:07:57 > 0:08:00HE PLAYS BEATS OVER THE STRINGS
0:08:13 > 0:08:17It's now time for me and the panel to decide a winner.
0:08:18 > 0:08:22Strika right here. Strika is your champion.
0:08:22 > 0:08:25But, judging by the faces in the crowd,
0:08:25 > 0:08:28my experiment has proved to be an epic fail.
0:08:28 > 0:08:31I think if classical music had more of what the producers did,
0:08:31 > 0:08:33I think more people would listen to it.
0:08:34 > 0:08:38I think it was interesting, but I still wouldn't listen to it.
0:08:40 > 0:08:43The gap tonight for me between the two worlds of classical
0:08:43 > 0:08:47and pop music is a lot further than I could ever have imagined.
0:08:47 > 0:08:49The job that I have with this project and what I'm actually
0:08:49 > 0:08:52taking on on my shoulders, it could go either way.
0:08:52 > 0:08:54I'm literally just shaking in my boots right now.
0:08:54 > 0:08:56I think I'm going to have a hard night's sleeping tonight,
0:08:56 > 0:08:59insomnia and that, and hopefully I'll wake up tomorrow
0:08:59 > 0:09:02with a fresh head with thoughts
0:09:02 > 0:09:05on how I'm going to accomplish this mission, do you know what I mean?
0:09:17 > 0:09:20My classical experiment at the Jump Off proved I've really got
0:09:20 > 0:09:23my work cut out for me with the younger generation.
0:09:23 > 0:09:25But I also need to get the classical world on board.
0:09:28 > 0:09:32My project is a massive risk for the head of the Proms, Roger Wright.
0:09:32 > 0:09:35So today I've come to the BBC broadcasting house in London
0:09:35 > 0:09:38to meet the man himself and make sure I've got his full support.
0:09:40 > 0:09:43Yeah, I'm a bit nervous about meeting the head of the Proms,
0:09:43 > 0:09:45cos if he doesn't like me, he might just call quits
0:09:45 > 0:09:48on the whole programme.
0:09:48 > 0:09:50I'll be on my best behaviour today
0:09:50 > 0:09:52and fingers crossed we'll kick it off on the right foot
0:09:52 > 0:09:56and I'll still be at the Proms to make this dream come true.
0:10:02 > 0:10:06I want to give a bunch of musicians the same experience that I had
0:10:06 > 0:10:08when I first worked with a symphony orchestra.
0:10:08 > 0:10:10Cos I remember growing up,
0:10:10 > 0:10:13and maybe I speak for a lot of people here,
0:10:13 > 0:10:16who thinks going out and playing a violin or a cello
0:10:16 > 0:10:18or a brass instrument is cool?
0:10:18 > 0:10:21They'd rather pick up an electric guitar, run a solo,
0:10:21 > 0:10:23pick up the drums, "I'm in a band," you know,
0:10:23 > 0:10:26and they don't understand that within popular music that strings,
0:10:26 > 0:10:28classical instruments, brass instruments,
0:10:28 > 0:10:30play a major part in what we do.
0:10:30 > 0:10:33It seems like a really natural extension for us,
0:10:33 > 0:10:36what the Proms has been doing in terms of broadening the audience
0:10:36 > 0:10:40for classical music, but also putting different artists together
0:10:40 > 0:10:42particularly to showcase the orchestra.
0:10:42 > 0:10:45Hopefully, what we'll be doing at the Royal Albert Hall
0:10:45 > 0:10:46can open the eyes of other people
0:10:46 > 0:10:48and keep classical music alive in a sense, as well.
0:10:52 > 0:10:55So with the classical establishment on board,
0:10:55 > 0:10:59I can start my search for the most crucial ingredient for my challenge.
0:10:59 > 0:11:00The band.
0:11:00 > 0:11:05I'll be running auditions today for this group
0:11:05 > 0:11:09we're going to put together, this dream group for the BBC Proms.
0:11:12 > 0:11:14I posted today's auditions on Twitter
0:11:14 > 0:11:16and put a shout-out at Jump Off the other night,
0:11:16 > 0:11:19but I deliberately didn't promote the classical element of the project
0:11:19 > 0:11:22because I was worried no-one would turn up.
0:11:22 > 0:11:25The main objective today is to find talented people
0:11:25 > 0:11:27that have a raw talent and raw passion for music,
0:11:27 > 0:11:31but don't have any interest in the slightest in classical.
0:11:31 > 0:11:34At today's auditions, I'll be joined by composer
0:11:34 > 0:11:36and arranger Jason Yarde, who'll be helping me
0:11:36 > 0:11:39produce the final music for the 85-piece orchestra.
0:11:39 > 0:11:41I can't wait to get this started, man.
0:11:41 > 0:11:44Yes, it's going to be a long and interesting day.
0:11:46 > 0:11:47- Hello. - Hello.- Hello.
0:11:47 > 0:11:48Hello, everyone.
0:11:48 > 0:11:50- What's your name? - Shevelle Anderson.
0:11:50 > 0:11:53- You all right, yeah?- Yeah, I'm calm. - Where you from, Shevelle?
0:11:53 > 0:11:55- I'm from Tottenham. - How did you get into singing?
0:11:55 > 0:11:58I started singing in church. I went to Jamaica
0:11:58 > 0:12:01and I got introduced to reggae, which is like my favourite genre.
0:12:01 > 0:12:06- What do you know about classical music?- Nothing.
0:12:06 > 0:12:09There's a B person. What's his name? Bait-over?
0:12:09 > 0:12:11- There you go. - Yeah...
0:12:11 > 0:12:14Well, at least you knew him as a composer and not a dog, you know.
0:12:14 > 0:12:16- I know.- That's something.
0:12:16 > 0:12:19# I bust the windows out your car
0:12:20 > 0:12:24# You know I did it cos I left my mark
0:12:24 > 0:12:29# Wrote my initials with a crowbar
0:12:29 > 0:12:33# And then I drove off into the dark... #
0:12:33 > 0:12:35Great confidence, very soulful voice.
0:12:35 > 0:12:39I like her whole persona, man. She's cool, man.
0:12:39 > 0:12:43The auditions continue and we meet more brilliant vocalists.
0:12:43 > 0:12:46# You're barking up the wrong tree
0:12:46 > 0:12:48# The spotlight's on me... #
0:12:48 > 0:12:51But as well as talent, I'm determined to uncover the people
0:12:51 > 0:12:53who are furthest away from the classical world.
0:12:53 > 0:12:55Are you into classical music at all?
0:12:55 > 0:12:58- I went to a classical concert with my dad.- What happened?
0:12:58 > 0:13:00I fell asleep.
0:13:01 > 0:13:05# Baby, you light up my world like nobody else... #
0:13:05 > 0:13:07What do you know about classical music?
0:13:07 > 0:13:09I only listen to it if I want to go to sleep or something.
0:13:12 > 0:13:14# You don't know
0:13:14 > 0:13:17# You don't know you're beautiful. #
0:13:17 > 0:13:18# I'm bulletproof
0:13:18 > 0:13:20# Nothing to lose
0:13:20 > 0:13:24# Fire away, fire away... #
0:13:24 > 0:13:26What do you think of classical music?
0:13:26 > 0:13:29I don't know, it's a bit boring, innit.
0:13:29 > 0:13:32My new band are going to get the chance to compose a music track
0:13:32 > 0:13:35with me and the BBC Symphony Orchestra.
0:13:35 > 0:13:38So I'm not just looking for singers, I also need talented musicians
0:13:38 > 0:13:40who can help pull the whole piece together.
0:13:41 > 0:13:45I'm Vic Jamieson, I'm originally from Portsmouth.
0:13:45 > 0:13:47What do you think about classical music?
0:13:47 > 0:13:50I find it slow, the pieces are very long.
0:13:50 > 0:13:52It just sounds old.
0:14:12 > 0:14:14Listen, I ain't seen a guitarist like that for a while.
0:14:14 > 0:14:17He's got his own unique playing style... Sick Vic!
0:14:17 > 0:14:20Yeah, he's amazing, man. Raw talent. I like that.
0:14:24 > 0:14:26Well done, man. Well done.
0:14:28 > 0:14:30Vic's audition really blew me away,
0:14:30 > 0:14:33but he isn't the only multi-talented musician hoping to make it
0:14:33 > 0:14:34into my band.
0:14:34 > 0:14:38My name's Benji and I'm from a small town near Swindon.
0:14:38 > 0:14:40So what are you going to do for us today?
0:14:40 > 0:14:42I'm going to do a little mess around on the drums first.
0:14:47 > 0:14:50I'm going to do a song or two on guitar.
0:14:50 > 0:14:53# It's a marvellous night for a moondance... #
0:14:53 > 0:14:55Yeah, I like Benji.
0:14:55 > 0:14:58I wonder if he can play drums, sing and guitar at the same time.
0:15:01 > 0:15:04The level of musical talent has been crazy so far,
0:15:04 > 0:15:07but if I'm going to succeed in bringing classical to a new crowd,
0:15:07 > 0:15:09my Proms piece needs to be edgy.
0:15:09 > 0:15:13So the final element I'm looking for to complete my band is rap.
0:15:15 > 0:15:18- My name's Curtis McCaller. - Where you from?- I'm from Harlesden.
0:15:18 > 0:15:21My musical influence, like artist-wise would be Nas,
0:15:21 > 0:15:23Kendrick Lamar...
0:15:23 > 0:15:24Old school hip-hop.
0:15:24 > 0:15:28Anything that's there that I think is worthy to be listened to,
0:15:28 > 0:15:29I listen to.
0:15:29 > 0:15:33- So, is classical music on that list? - Um...
0:15:34 > 0:15:37I think it's for old people, like, I think...
0:15:37 > 0:15:40When I reach 50 I'll probably wind down and start listening to it.
0:15:40 > 0:15:44But for now, I only listen to hard-hitting hip-hop.
0:15:44 > 0:15:46# This style I got I was blessed with
0:15:46 > 0:15:48# And we're the best
0:15:48 > 0:15:49# They just take rappers to the morgue... #
0:15:49 > 0:15:53As far as classical music, yeah, and the disconnection between him
0:15:53 > 0:15:57and that genre, it's a big misconnection there.
0:15:57 > 0:15:59And the rapping talent don't stop there.
0:16:02 > 0:16:04I'm Samantha, or Soulist. Manchester.
0:16:04 > 0:16:05- Manchester, yeah?- Yeah.
0:16:05 > 0:16:07# Please take it into consideration
0:16:07 > 0:16:08# This is an a cappella
0:16:08 > 0:16:10# So you can hear my diction
0:16:10 > 0:16:11# So I can clearly tell ya... #
0:16:11 > 0:16:14SHE BEATBOXES
0:16:14 > 0:16:17- She's got some skills. - All right, man. What's your name?
0:16:17 > 0:16:20- Where you from?- It's Adio, aka Sin Seer from Manchester.
0:16:20 > 0:16:22Everyone's rapping in Manny, yeah?
0:16:22 > 0:16:23# I just got to get my mind right
0:16:23 > 0:16:24# Already rung tight
0:16:24 > 0:16:26# Reach the masses, smash it
0:16:26 > 0:16:27# Be a beast at rapping
0:16:27 > 0:16:28# See my chance and grab it... #
0:16:28 > 0:16:32He's all right, man. Got a good flow. Nice content as well.
0:16:35 > 0:16:40So the auditions are finally over, and it's time to choose my band.
0:16:40 > 0:16:43I'm so looking forward to opening these guys' ears
0:16:43 > 0:16:45and eyes to classical music.
0:16:45 > 0:16:47Hopefully they'll get the same inspiration
0:16:47 > 0:16:49and the same feeling that I got
0:16:49 > 0:16:52when I first worked with a 85-piece orchestra, do you know what I mean?
0:16:52 > 0:16:54It inspired me to do this project.
0:16:54 > 0:16:57So hopefully they feel it like I did and we make something out of this.
0:17:05 > 0:17:08Today I'm revealing which of the auditionees I've picked
0:17:08 > 0:17:09to be in the band.
0:17:11 > 0:17:14The chosen seven have been asked to come to the Maida Vale studios
0:17:14 > 0:17:17for what they think is a second audition,
0:17:17 > 0:17:20but they're actually about to get the surprise of their lives.
0:17:22 > 0:17:25I know you guys have been told today that you'd be coming down here
0:17:25 > 0:17:26for a call-back and all that,
0:17:26 > 0:17:29but I'm going to let you know that's not really the case.
0:17:29 > 0:17:30We kind of blagged it.
0:17:33 > 0:17:34You guys have actually made it through.
0:17:41 > 0:17:45So my new band is made up of gospel singer Shevelle,
0:17:45 > 0:17:47guitarist and vocalist Benji,
0:17:47 > 0:17:50Samantha, a rapper and beatboxer,
0:17:50 > 0:17:52Vic, a multi-talented guitarist,
0:17:52 > 0:17:54soul singer Samara
0:17:54 > 0:17:56and rappers Curtis and Sin Seer.
0:17:59 > 0:18:02Everyone is totally gassed they've made it.
0:18:02 > 0:18:05Time to drop another bomb - that they're going to be playing
0:18:05 > 0:18:09at the biggest classical music festival in the world.
0:18:09 > 0:18:11Over the next few weeks we're going to be writing and composing
0:18:11 > 0:18:15a track in co-operation with the BBC Symphony Orchestra.
0:18:15 > 0:18:18That's 80 players playing from strings to brass instruments
0:18:18 > 0:18:20to percussions, everything,
0:18:20 > 0:18:22and in under two months we're going to be playing at this year's
0:18:22 > 0:18:26BBC Proms at the world-renowned Royal Albert Hall.
0:18:26 > 0:18:28That's crazy!
0:18:30 > 0:18:33So luckily no-one has run away at the thought
0:18:33 > 0:18:35of playing with a full classical orchestra.
0:18:35 > 0:18:38Although I'm not quite sure they all totally realise what they're
0:18:38 > 0:18:41letting themselves in for, or even where they're performing.
0:18:43 > 0:18:47The Royal Prom, right? The Royal Proms?
0:18:47 > 0:18:49I had never heard of the Proms.
0:18:49 > 0:18:51I know that might sound really ignorant.
0:18:51 > 0:18:54My world is quite a long way away from the classical world.
0:18:54 > 0:18:56I've never sat down properly and listened to classical,
0:18:56 > 0:18:58so this is like a completely new thing for me.
0:19:00 > 0:19:03I'm so excited by my new band's reaction to the news.
0:19:03 > 0:19:05But I've got one last surprise for them.
0:19:05 > 0:19:07For their Proms performance,
0:19:07 > 0:19:09they're going to be sharing the stage with the incredible
0:19:09 > 0:19:12BBC Symphony Orchestra, and I want the group to get an idea
0:19:12 > 0:19:15of just how powerful these classical instruments can sound.
0:19:21 > 0:19:24So we've been allowed to eavesdrop on their rehearsals.
0:19:32 > 0:19:36To see that was just like, quite overwhelming, to be honest with you.
0:19:36 > 0:19:38When I walked in there, I got goose bumps, man.
0:19:38 > 0:19:42It's exactly what Fazer said. It's music in 3D.
0:19:42 > 0:19:45My new band has got just seven weeks to create a piece of music
0:19:45 > 0:19:48worthy of being performed by this mind-blowing orchestra
0:19:48 > 0:19:49at the Royal Albert Hall.
0:19:52 > 0:19:55I'm hoping that by working closely with the people who know and love
0:19:55 > 0:19:58classical music, my band might learn to appreciate it themselves.
0:20:06 > 0:20:08It's the next day and our first rehearsal.
0:20:08 > 0:20:11I'm totally buzzing, but we've got a lot to do.
0:20:12 > 0:20:14It's going to be an exciting day today. I can't wait.
0:20:14 > 0:20:16I started ideas late last night,
0:20:16 > 0:20:18and hopefully by the end of the day we'll have a solid structure
0:20:18 > 0:20:21of what we want and we can take it from there.
0:20:25 > 0:20:26My brothers!
0:20:26 > 0:20:29As well as composer and arranger Jason Yarde,
0:20:29 > 0:20:30who joined me at the auditions...
0:20:32 > 0:20:35..I've also asked the hottest conductor on the music scene,
0:20:35 > 0:20:36Jules Buckley, to help bring together
0:20:36 > 0:20:38my urban-classical masterpiece.
0:20:38 > 0:20:41- How are you, man?- I'm good, you? - Yeah, how was your flight?
0:20:41 > 0:20:44- It was kind of early. - Early, yeah?
0:20:44 > 0:20:48Jules will be conducting the BBC Symphony Orchestra on the big night.
0:20:48 > 0:20:52- Everything all right, yeah?- Yeah. - Ready for this?- Uh... Yeah.
0:20:52 > 0:20:55Let's see what happens.
0:20:55 > 0:20:57I've also asked my right-hand man
0:20:57 > 0:21:00and co-producer Pete Ibsen to join the party.
0:21:00 > 0:21:03He's down here today to help make this epic piece of music
0:21:03 > 0:21:05become something out of nothing, do you know what I mean?
0:21:05 > 0:21:07So, I couldn't do it without him
0:21:07 > 0:21:10and I couldn't do it without Jason and I couldn't do it without Jules.
0:21:10 > 0:21:12- So, we've got the dream team here today.- Damn right.
0:21:12 > 0:21:15But do my dream team really know what they've let themselves in for?
0:21:15 > 0:21:18Did you chat to them yesterday about how much they know?
0:21:18 > 0:21:22- Like, what classical music they might know?- They don't know anything.
0:21:22 > 0:21:25- But they might know a couple of tunes.- No, they don't.
0:21:27 > 0:21:30The most we got was people knew Beethoven.
0:21:32 > 0:21:35We only have a limited amount of rehearsal days between now
0:21:35 > 0:21:38and the big night, so creating a track that appeals to both classical
0:21:38 > 0:21:42and urban music fans is a tall order.
0:21:42 > 0:21:46Last night I came up with a starting point for the composition.
0:21:46 > 0:21:47Big intro. Massive, massive, massive,
0:21:47 > 0:21:51and then really into something really small, like this.
0:21:51 > 0:21:54HE PLAYS SOME LIGHT CHORDS
0:22:04 > 0:22:05This part's for the singers, right.
0:22:07 > 0:22:10The piece I've written has a pop sort of feel to it,
0:22:10 > 0:22:12but when it's backed by the BBC Symphony Orchestra
0:22:12 > 0:22:15will have a strong classical element to it,
0:22:15 > 0:22:17and I think it's that... this kind of fusion,
0:22:17 > 0:22:20the track will be the perfect introduction to classical music
0:22:20 > 0:22:22for the group.
0:22:22 > 0:22:24For the rappers now, it goes...
0:22:24 > 0:22:27HE PLAYS DRAMATIC CHORDS
0:22:28 > 0:22:30And maybe if I can get them to engage with this,
0:22:30 > 0:22:33by the end of their classical crash course, I can get them to, you know,
0:22:33 > 0:22:36start appreciating more traditional classical music.
0:22:36 > 0:22:39Could you imagine with the orchestra it's going to be some epic...
0:22:39 > 0:22:42Although I've written the basic chords, I'm handing the rest
0:22:42 > 0:22:46of the composition over to the group, starting with the title.
0:22:46 > 0:22:49Kind of maybe think about why you're here and...
0:22:49 > 0:22:51It's like we've put a book together.
0:22:51 > 0:22:55- We're all a chapter each, like a journal.- Chapters.
0:22:55 > 0:22:58- And the end of the book is, we're here...- Call it Chapters, innit.
0:22:58 > 0:23:00No, you can't do that. You can't do that.
0:23:00 > 0:23:02All who agree on Chapters, raise your hand.
0:23:02 > 0:23:05No, you cannot call it Chapters.
0:23:05 > 0:23:08Cos I've already written a song called Chapters!
0:23:08 > 0:23:12I think Chapters has a nice ring to it as a title.
0:23:12 > 0:23:16- There's seven of you, 7 Chapters.- I like that.
0:23:16 > 0:23:187 Chapters.
0:23:18 > 0:23:20It's very much about us. It's nice.
0:23:20 > 0:23:23I don't have a problem now, cos you've added the seven.
0:23:23 > 0:23:25Cos you've put a seven in front of it.
0:23:25 > 0:23:29The concept of the song is basically 7 Chapters.
0:23:29 > 0:23:35It's the idea that we all have our own story to tell,
0:23:35 > 0:23:41and each one of those stories adds a chapter towards the bigger story.
0:23:43 > 0:23:47Now we've got the title and a concept, the group splits up.
0:23:47 > 0:23:50The track we gave them has a couple of sections.
0:23:50 > 0:23:54It has quite a pretty section for the chorus and for the singers.
0:23:55 > 0:23:57So you go...
0:23:58 > 0:24:02And it's got a very dark section for the rap, the hip-hop.
0:24:02 > 0:24:05- And like, I do what I'm doing in the background.- OK.
0:24:05 > 0:24:07So the singers need to find the melody that works for them
0:24:07 > 0:24:09and the orchestra.
0:24:13 > 0:24:16While the rappers need to knuckle down with writing lyrics
0:24:16 > 0:24:19that speak to both classical and urban audiences.
0:24:19 > 0:24:21It's going good.
0:24:21 > 0:24:23I think I might have more or less got everything
0:24:23 > 0:24:26and I know what I need to say, so I think I've got it.
0:24:26 > 0:24:28Pretty quick.
0:24:28 > 0:24:30Sin Seer is in his element.
0:24:33 > 0:24:36And Samantha's lyrics are also flowing freely,
0:24:36 > 0:24:39but 17-year-old Curtis is having a writer's block.
0:24:40 > 0:24:44Curtis, I think he felt probably most nervous because...
0:24:44 > 0:24:46I'm not sure if it's because of his age,
0:24:46 > 0:24:48also for the fact that people were flowing,
0:24:48 > 0:24:52like he could see pen to paper, which adds even more pressure.
0:24:55 > 0:24:59I just can't think and I feel like I'm letting everyone down,
0:24:59 > 0:25:01which I don't want to do.
0:25:02 > 0:25:07I've got something there that's meaningful, but I can do better.
0:25:07 > 0:25:10My rhyme scheme right now is pretty basic, bruv.
0:25:12 > 0:25:14And I'm not in primary school no more,
0:25:14 > 0:25:17so I shouldn't be doing basic rhymes.
0:25:23 > 0:25:26It's mad but it's going in the bin. I'm starting again.
0:25:26 > 0:25:28I chose Curtis for my project
0:25:28 > 0:25:32because he's a million miles away from a typical classical music fan,
0:25:32 > 0:25:35and I saw just how much he wanted and needed this opportunity.
0:25:38 > 0:25:41My name's Curtis McCaller, I'm from Harlesden,
0:25:41 > 0:25:44also known as Harlem, northwest London.
0:25:48 > 0:25:51We call it Harlem cos it's full of hustlers,
0:25:51 > 0:25:53and it's the same thing in Harlem in New York.
0:25:53 > 0:25:56There's people that's been standing on the same corner
0:25:56 > 0:25:58for five years doing the same thing.
0:25:58 > 0:26:00Everyone's just trying to be the biggest and baddest man.
0:26:03 > 0:26:05Curtis was born in Jamaica and came to England
0:26:05 > 0:26:08when he was six years old.
0:26:08 > 0:26:10My dad still resides in Jamaica.
0:26:10 > 0:26:12He's not been to this country ever in his life.
0:26:14 > 0:26:17His mum raised him on her own with his four brothers and sisters,
0:26:17 > 0:26:20but as soon as he hit his teens he started to get into trouble
0:26:20 > 0:26:21at school and with the law.
0:26:22 > 0:26:25When you're growing up around here and getting in trouble
0:26:25 > 0:26:28with the police, it's like graduating to a certain extent.
0:26:28 > 0:26:31You don't plan out saying, "Yeah, I want to be a criminal,"
0:26:31 > 0:26:34but like, when you're living amongst demons to a certain extent,
0:26:34 > 0:26:36it's hard to be an angel, innit.
0:26:36 > 0:26:40It got so bad that when he was 14 Curtis left Harlesden.
0:26:42 > 0:26:45It was Social Services and my mum that eventually moved me
0:26:45 > 0:26:47out of the area cos they thought that
0:26:47 > 0:26:53if I stayed I would've ended up in some serious trouble, or dead.
0:26:53 > 0:26:55# The strain's on me cos I'm my mum's last son
0:26:55 > 0:26:56# Looking in the mirror
0:26:56 > 0:26:58# Like what have I become... #
0:26:58 > 0:27:00Away from the gang culture of northwest London,
0:27:00 > 0:27:03Curtis found a new focus in life - rap music.
0:27:05 > 0:27:08I don't want to be, like, still on the block when I'm 40.
0:27:08 > 0:27:10I've got to make something happen.
0:27:10 > 0:27:12Music was the only thing I was good at.
0:27:12 > 0:27:14# The system set us up to fail
0:27:14 > 0:27:15# No change, I kept it real... #
0:27:15 > 0:27:18It's like a lifeline to a certain extent.
0:27:18 > 0:27:20There's nowhere else that I'll be able to, like,
0:27:20 > 0:27:22be a better person if it weren't for music, innit,
0:27:22 > 0:27:26cos I feel like I've got something to look forward to.
0:27:26 > 0:27:28I'm hoping that by the end of my project
0:27:28 > 0:27:31Curtis might find that same inspiration from classical music.
0:27:39 > 0:27:42Back at rehearsals, Curtis still has writer's block, but it's time for
0:27:42 > 0:27:45the rest of the group to showcase what they've composed so far.
0:27:46 > 0:27:49THE GIRLS HUM A TUNE
0:27:57 > 0:27:59Inspiration!
0:27:59 > 0:28:01That's really cool.
0:28:02 > 0:28:06I got some inspiration and that from their singing and stuff,
0:28:06 > 0:28:11- so I'm on track now. I'm on track. - I'm happy for you, man.
0:28:11 > 0:28:14We've got the beginnings of a good track, but I want the group to start
0:28:14 > 0:28:17thinking about the BBC Symphony Orchestra's role in the piece.
0:28:17 > 0:28:19So the 7 Chapters, as they're now called,
0:28:19 > 0:28:21need to do some homework.
0:28:21 > 0:28:23Well, before tomorrow you each need to go
0:28:23 > 0:28:25and you need to listen to one piece of classical music.
0:28:27 > 0:28:30And it needs to be a minimum of seven minutes long.
0:28:30 > 0:28:32- We've got to listen to the whole seven minutes?- Yeah.
0:28:33 > 0:28:36For most of the group, this is the first time they've listened
0:28:36 > 0:28:39to a piece of classical music from beginning to end.
0:28:41 > 0:28:44Classical music is...old.
0:28:44 > 0:28:46It's never connected with me.
0:28:46 > 0:28:51It just sounds like medieval jesters dancing in a courtyard.
0:28:53 > 0:28:56If I was in medieval times, maybe I'd be like the lute player
0:28:56 > 0:28:59in the corner going up to people, but I'm not,
0:28:59 > 0:29:02so it just needs to stop getting in my ears, really.
0:29:04 > 0:29:07I've always had this thing, like rich people...
0:29:07 > 0:29:09I think they mostly listen to classical music.
0:29:12 > 0:29:14Imagine if I go to my friends and say,
0:29:14 > 0:29:19"Oh, it's banging song, yeah, but it's classical.
0:29:19 > 0:29:22"You need to hear it." They'd be like, "No, Shevs!"
0:29:23 > 0:29:24Nah, it won't happen.
0:29:24 > 0:29:28DRAMATIC ORCHESTRAL SCORE
0:29:28 > 0:29:29It's hyper, innit.
0:29:29 > 0:29:32It's fast, lots going on and a lot of different instruments.
0:29:35 > 0:29:38It sounds good, innit. Bruv, I like it, I like it, innit.
0:29:40 > 0:29:42I'd give it a chance
0:29:42 > 0:29:45but if my iPod was full and I needed memory, I'd delete it.
0:29:45 > 0:29:48It would be the first to go, but I'd give it a chance, innit.
0:29:50 > 0:29:52There's still a long way to go
0:29:52 > 0:29:54before my band are ready to mosh to Mozart.
0:29:55 > 0:29:58There's a couple of tracks here I thought we'd play you, briefly.
0:29:58 > 0:30:01So we're back in Maida Vale for the next stage
0:30:01 > 0:30:03in their classical conversion.
0:30:04 > 0:30:06- What about this tune? - # Dah-dah-dah... #
0:30:08 > 0:30:11Before we get back into rehearsing our composition,
0:30:11 > 0:30:13conductor Jules Buckley is giving the group a crash course
0:30:13 > 0:30:16in how classical can be used to influence a modern track.
0:30:16 > 0:30:19Another tune that's fairly recent is this one...
0:30:21 > 0:30:23SONG: "Upper Clapton Dance" by Professor Green
0:30:23 > 0:30:27Now, that's the start of it, who's the artist that comes in after?
0:30:27 > 0:30:29That's a Professor Green track,
0:30:29 > 0:30:32but that's originally a piece called The Hungarian Dance,
0:30:32 > 0:30:35and then that became known as the Upper Clapton Dance.
0:30:35 > 0:30:40# You'll never know the path that we had to take... #
0:30:40 > 0:30:43Each member of the band starts working on their section
0:30:43 > 0:30:44of the piece.
0:30:45 > 0:30:47But Samara is feeling a bit cheated.
0:30:49 > 0:30:53I'm limited with two lines, four bars, you know what I mean?
0:30:53 > 0:30:55I think that's more difficult to write two lines than a whole song.
0:30:57 > 0:31:00In a way I don't feel that I've had enough chance to show
0:31:00 > 0:31:02my writing ability because I've been given two lines,
0:31:02 > 0:31:05and it makes me look like I can't write, because...
0:31:05 > 0:31:06You know, what's two lines?
0:31:06 > 0:31:08Two lines ain't nothing to me, if I'm honest with you.
0:31:10 > 0:31:14And Samara isn't the only one who's unhappy with her piece of the pie.
0:31:14 > 0:31:16# Real script, no actor
0:31:16 > 0:31:18# One story
0:31:18 > 0:31:19# 7 Chapters. #
0:31:19 > 0:31:21Like, that was pretty much...
0:31:21 > 0:31:23'I'm happy with how the song's going.
0:31:23 > 0:31:26'I'm still a little bit apprehensive with the part that I've got.'
0:31:26 > 0:31:29I don't feel like I got a part yet where it's, like, harnessing
0:31:29 > 0:31:33the skills which hopefully I brought to this project.
0:31:34 > 0:31:37I chose Samantha for this project because she's so passionate
0:31:37 > 0:31:41about music, she can't help but stand up for what she believes in,
0:31:41 > 0:31:43even when it's out of time with other people around her.
0:31:44 > 0:31:47My name is Samantha Pedley, aka Soulist.
0:31:47 > 0:31:49I am 22 years old, I'm from Manchester.
0:31:50 > 0:31:53Although Samantha grew up in a relatively affluent area,
0:31:53 > 0:31:55her parents were not high earners
0:31:55 > 0:31:57and she often felt like she didn't belong.
0:31:57 > 0:31:59I would go round to friends' houses
0:31:59 > 0:32:03and I couldn't relate to the whole detached house,
0:32:03 > 0:32:05'and you have two cars parked outside, you have a garden,
0:32:05 > 0:32:08'and you have a cleaner. I didn't feel I fitted in.'
0:32:08 > 0:32:10SHE FREESTYLES
0:32:10 > 0:32:13I mean, I already had my first Eminem album from the age of seven.
0:32:15 > 0:32:19By 11 I already had my Wu-tang album, Cypress Hill album,
0:32:19 > 0:32:20Tupac album, Biggie album.
0:32:22 > 0:32:25Round my area, if you were to come to someone and say,
0:32:25 > 0:32:27"Oh, yeah, I rap," it's not going to be taken seriously.
0:32:27 > 0:32:30It's just socially not acceptable.
0:32:33 > 0:32:37Samantha is now studying music and sociology at university,
0:32:37 > 0:32:40but she's the only student on her course who isn't classically trained
0:32:40 > 0:32:42and still feels like she doesn't belong.
0:32:44 > 0:32:47When I first started uni, I did not feel like I fitted in.
0:32:47 > 0:32:50I think the barriers that exist within classical music,
0:32:50 > 0:32:52first and foremost, is money.
0:32:52 > 0:32:54I think if you have the money,
0:32:54 > 0:32:57then you have the resources to having private lessons
0:32:57 > 0:33:00in however many instruments you want from a young age.
0:33:01 > 0:33:06Secondly, your exposure to it. Did I grow up to classical music? No.
0:33:07 > 0:33:09So, how can I do something I don't know?
0:33:11 > 0:33:14I don't necessarily think that people from an urban music or people
0:33:14 > 0:33:18who come from other backgrounds don't have the understanding of it
0:33:18 > 0:33:20and they're not capable of understanding it,
0:33:20 > 0:33:23I just don't think they've been given the chance.
0:33:23 > 0:33:24You have to worry about you
0:33:24 > 0:33:27and that's the one thing you've got to focus on.
0:33:27 > 0:33:30Back at rehearsals, Samantha and Samara have decided
0:33:30 > 0:33:33they needed to speak up about their parts in the piece.
0:33:33 > 0:33:36You know how you're saying that obviously Curtis has a lot to say?
0:33:36 > 0:33:39We all do, but I don't feel I've had enough opportunity to do that.
0:33:39 > 0:33:41To me, it's sounding pretty banging,
0:33:41 > 0:33:43and I think we should probably consider keeping it where it is.
0:33:43 > 0:33:46The only thing I'll say in relation to that is,
0:33:46 > 0:33:47I still haven't got any actual part.
0:33:47 > 0:33:49I still haven't got more than two lines.
0:33:49 > 0:33:51The parts that you do have, work hard at that,
0:33:51 > 0:33:53and as she said, make your presence known.
0:33:53 > 0:33:56- You don't have to do that part... - I still haven't...- Hold on.
0:33:56 > 0:33:59You don't have to do that part the same all the time.
0:33:59 > 0:34:01You can change it up and do what you want to do,
0:34:01 > 0:34:03just make sure it musically makes sense.
0:34:03 > 0:34:06When you come back, bang it out. Show us what you've got.
0:34:06 > 0:34:08Change it up and you'll see our faces, like "Whoa,"
0:34:08 > 0:34:10like "Where did that come from," kind of thing.
0:34:14 > 0:34:16Whilst Samantha and Samara come to terms with their roles,
0:34:16 > 0:34:18rehearsals continue.
0:34:18 > 0:34:20Today it's finally time for the band to be joined
0:34:20 > 0:34:22by the professional musicians from the symphony orchestra,
0:34:22 > 0:34:25and there's a definite fear of the unknown.
0:34:26 > 0:34:30Everyone, just look over there. Look at the instruments.
0:34:30 > 0:34:32They're bloody scary.
0:34:32 > 0:34:34But it's not just the 7 Chapters who are unsure about how
0:34:34 > 0:34:37they're going to get along with their new musical partners.
0:34:37 > 0:34:39I'm kind of a bit nervous.
0:34:39 > 0:34:42Everybody's got these really cool attitudes and cool names
0:34:42 > 0:34:44and I always just feel a bit, "Oh, my God," you know,
0:34:44 > 0:34:46my instrument's very staid.
0:34:46 > 0:34:48I feel a bit out of my comfort zone.
0:34:49 > 0:34:52Instead of storming into full rehearsals,
0:34:52 > 0:34:55I've asked just six of the key members of the symphony orchestra
0:34:55 > 0:34:57to initially join the group.
0:34:57 > 0:34:59Unfortunately, I can't be there,
0:34:59 > 0:35:01but Jules and Jason will be leading the day.
0:35:03 > 0:35:07Could've gone straight in and just given the whole 60-70,
0:35:07 > 0:35:10100-piece orchestra, but this way, it just kind of...
0:35:10 > 0:35:12It's a little baby step.
0:35:14 > 0:35:17Most of the 7 Chapters have never been up close to
0:35:17 > 0:35:19these kind of classical instruments before,
0:35:19 > 0:35:22and I want the group to learn exactly how they sound.
0:35:22 > 0:35:24So I'm giving them the chance to conduct in the hope that
0:35:24 > 0:35:27they'll start to see what different sections of the orchestra
0:35:27 > 0:35:29can bring to the overall composition.
0:35:39 > 0:35:42We basically had a go at conducting some of the members
0:35:42 > 0:35:43from the orchestra.
0:35:46 > 0:35:48I know that my eyes were watering when I sat down.
0:35:48 > 0:35:50It was actually overwhelming.
0:35:50 > 0:35:52I thought this was something I was going to take as a joke.
0:35:52 > 0:35:54My heart was actually like ba-boom, ba-boom,
0:35:54 > 0:35:56I didn't think I could be that nervous.
0:35:56 > 0:35:57I just completely zoned out
0:35:57 > 0:36:01and it just didn't feel like anyone was behind me, apart from just them.
0:36:01 > 0:36:03Basically, mosh the beat.
0:36:03 > 0:36:06Curtis is next up to take control of the classical musicians.
0:36:23 > 0:36:27The orchestra have definitely never had a Curtis conducting them before.
0:36:27 > 0:36:29It was a beautiful moment for me to see that
0:36:29 > 0:36:31and to see that it was really working.
0:36:33 > 0:36:36These guys, let's get them stamping the beat.
0:36:43 > 0:36:45# I try to get from the bolts to the stage
0:36:45 > 0:36:46# It's how I'm living,
0:36:46 > 0:36:47# Got me feeling like I'm caged... #
0:36:47 > 0:36:50RAP DROWNED OUT BY MUSIC
0:36:55 > 0:36:58It's great to see the whole group engaging with the orchestra,
0:36:58 > 0:37:00and having fun at the same time.
0:37:01 > 0:37:03Do you listen to rap music?
0:37:03 > 0:37:05Er, yeah. I mean, no question.
0:37:05 > 0:37:08Can you recommend him any rap music?
0:37:08 > 0:37:11- Nas, yeah?- Who?- Nas.
0:37:11 > 0:37:14- Nas? How do you spell that?- N-A-S.
0:37:14 > 0:37:16- Another one, Big L.- Big Al?
0:37:16 > 0:37:19- Big L.- L?- Yeah.- Like luh?- Yeah.
0:37:19 > 0:37:21He's sick.
0:37:21 > 0:37:24Do you know what sick means when Curtis uses the word sick?
0:37:24 > 0:37:29- It's good, right? No? - Yeah, sick, yeah, good.
0:37:29 > 0:37:32- You see, he's up to date with the lingo and that.- Yeah, man.
0:37:33 > 0:37:37The symphony orchestra haven't heard a single note of the 7 Chapters
0:37:37 > 0:37:40Prom piece yet, so it's up to the group to get the classical musicians
0:37:40 > 0:37:42excited about it.
0:37:42 > 0:37:45# We're turning the page
0:37:45 > 0:37:47# Let me take you back to where it all started
0:37:47 > 0:37:48# Before becoming an artist
0:37:48 > 0:37:49# The world was moving the hardest
0:37:49 > 0:37:51# I put the head aside
0:37:51 > 0:37:52# Cos music is where my heart is
0:37:52 > 0:37:53# What would I do without it
0:37:53 > 0:37:55# On the block
0:37:55 > 0:37:56# Trying to get... #
0:37:58 > 0:38:02- Oh, my days.- Come back in.
0:38:02 > 0:38:04Curtis just can't seem to get his part right.
0:38:04 > 0:38:05# Born winner
0:38:05 > 0:38:07# So naturally there weren't no dinner
0:38:07 > 0:38:08# Uh, I get... #
0:38:08 > 0:38:09Oh...
0:38:09 > 0:38:12- I can't remember. - One, two, three four...
0:38:12 > 0:38:14And he's not the only one.
0:38:14 > 0:38:16# 7 Chapters... #
0:38:17 > 0:38:18- Samara?- Oh, sorry.
0:38:18 > 0:38:21It's all right, come in now.
0:38:21 > 0:38:22# So believe
0:38:22 > 0:38:24# Believe
0:38:24 > 0:38:26# Believe we succeed in the limelight
0:38:26 > 0:38:27# It's now or never
0:38:27 > 0:38:28# Shine together in this limelight
0:38:28 > 0:38:30# I said real script
0:38:30 > 0:38:31# One actor
0:38:31 > 0:38:32# One story
0:38:32 > 0:38:34# 7 Chapters. #
0:38:34 > 0:38:37This is the first time they've performed the track to an audience
0:38:37 > 0:38:39and it's been a shambles.
0:38:39 > 0:38:41Each one of you has to work on you, now.
0:38:41 > 0:38:43Erm... It's a big show, guys.
0:38:45 > 0:38:46It's a big show.
0:38:46 > 0:38:48So, step up.
0:38:49 > 0:38:53I had to say something, cos I just felt like a couple of them
0:38:53 > 0:38:55were taking it a little too easy, I should say.
0:38:55 > 0:38:58There's going to be a lot to think about on the night, and erm...
0:38:58 > 0:39:02I don't even think they've half thought that through yet.
0:39:02 > 0:39:05I know they all say they've done it and done this and done that,
0:39:05 > 0:39:06but trust...
0:39:06 > 0:39:08They haven't done this.
0:39:08 > 0:39:10Pete's dressing down has affected everyone,
0:39:10 > 0:39:12but one person in particular is feeling the pressure.
0:39:12 > 0:39:15We can't just jack it up in the middle of it cos you...
0:39:15 > 0:39:17You know what I'm saying?
0:39:17 > 0:39:19It's a big venue, innit?
0:39:19 > 0:39:22It's a big thing, innit? So I feel like I have to deliver, innit.
0:39:22 > 0:39:25I want to go to limits that I've never went to before.
0:39:25 > 0:39:29I want to do something different and something crazy.
0:39:29 > 0:39:33It's just a big venue, I don't want to let nobody down.
0:39:35 > 0:39:38Curtis may have the motivation to step up his performance,
0:39:38 > 0:39:40but whether or not he will even be at the big night is currently
0:39:40 > 0:39:41hanging in the balance.
0:39:43 > 0:39:45Several months ago, he was arrested for assault
0:39:45 > 0:39:48and is now waiting to go on trial.
0:39:48 > 0:39:50I just can't wait to get it all over
0:39:50 > 0:39:52and done with cos it's been a shadow over me for some time,
0:39:52 > 0:39:56so I just want to get it over and done with and just move on from it.
0:39:58 > 0:40:01With his future and his part in the project now uncertain,
0:40:01 > 0:40:03Curtis is trying to stay positive.
0:40:04 > 0:40:07If I get a not guilty verdict, then the police station will never
0:40:07 > 0:40:10see me again, the court will never see me again.
0:40:10 > 0:40:13I don't want to be doing the same thing till I'm 30.
0:40:13 > 0:40:15I need to break the cycle now.
0:40:28 > 0:40:31My Proms project is about more than music,
0:40:31 > 0:40:33it's about showing my band a whole different perspective
0:40:33 > 0:40:34on the classical world.
0:40:34 > 0:40:37So today, I've sent the group on a mystery trip to show them
0:40:37 > 0:40:40that classical music isn't just for the upper classes.
0:40:42 > 0:40:46We don't know where we're going. We don't know who we're going to see.
0:40:46 > 0:40:50Maybe we're going to meet Fazer's family
0:40:50 > 0:40:52- and have lunch.- Imagine!
0:40:54 > 0:40:58Samara and Sin Seer can't be here today, but the other five Chapters
0:40:58 > 0:41:01are headed to the Edward Elgar Museum in Worcestershire.
0:41:01 > 0:41:03It's a two-hour trip out of London into the countryside,
0:41:03 > 0:41:05and for most of the group,
0:41:05 > 0:41:07this kind of thing is out of their comfort zone.
0:41:11 > 0:41:15Fazer has sent us to the middle of nowhere to hopefully give us
0:41:15 > 0:41:20- the experience of a lifetime.- Yeah. I usually find museums really boring.
0:41:20 > 0:41:22I'm actually going to second that. I'm not a big museum fan.
0:41:24 > 0:41:28Edward Elgar is probably Britain's most famous classical composer.
0:41:28 > 0:41:30Born in this cottage in 1857,
0:41:30 > 0:41:34he came from a poor family and was a self-taught classical composer.
0:41:35 > 0:41:38But his music is part of Britain's heritage.
0:41:39 > 0:41:41He's got a mean moustache.
0:41:41 > 0:41:45His best-known composition is Pomp And Circumstance,
0:41:45 > 0:41:47which is traditionally played at the end of the Proms.
0:41:49 > 0:41:54SONG: "Land Of Hope And Glory." By Edward Elgar and Arthur C Benson
0:41:59 > 0:42:01This is mad. It's mad.
0:42:06 > 0:42:07I've heard this before.
0:42:07 > 0:42:09- Yeah, exactly, bruv. - I've heard it before.
0:42:09 > 0:42:10We all have.
0:42:10 > 0:42:12A lot of his pieces, I've heard before,
0:42:12 > 0:42:15but never knew that he was the guy who wrote it.
0:42:15 > 0:42:17I'd heard the name Elgar, but didn't know...
0:42:17 > 0:42:20- I couldn't put a musical piece to his name.- Exactly, to his name.
0:42:20 > 0:42:23- But as soon as they played that track by him...- I was like, yes.
0:42:23 > 0:42:26As well as having an incredible musical talent,
0:42:26 > 0:42:28I want the group to know that Elgar wasn't someone
0:42:28 > 0:42:31who played by the rules. In fact, he was a bit of a rebel.
0:42:31 > 0:42:33He's the only one of those five people
0:42:33 > 0:42:36to be not looking at the camera.
0:42:36 > 0:42:38If you have a look, he's looking in the middle distance.
0:42:38 > 0:42:41As though he's saying, "I'm not doing the same as everyone else.
0:42:41 > 0:42:43"I'm going to be different."
0:42:43 > 0:42:45It's interesting, different things about him.
0:42:45 > 0:42:48Like the way he made his music by listening to the wind blowing
0:42:48 > 0:42:53and the trees, and saying that "the trees are playing me their music."
0:42:53 > 0:42:56I wanted the group to see that one of the most famous names
0:42:56 > 0:42:58in classical music did things their way, and I'm pleased
0:42:58 > 0:43:00by their response to the trip.
0:43:00 > 0:43:02I think the whole day's inspired me.
0:43:02 > 0:43:05I just feel a vibe, it's just a nice vibe.
0:43:05 > 0:43:08And in fact, it seems to have had a real effect on Samantha.
0:43:09 > 0:43:13I can relate to not necessarily being able to have the financial resources
0:43:13 > 0:43:15to being able to go and be trained,
0:43:15 > 0:43:18so the fact that he actually taught himself to be classically trained
0:43:18 > 0:43:20in that period of time is amazing.
0:43:20 > 0:43:22To know that it could be done then,
0:43:22 > 0:43:25then it's realistic that it can be done now.
0:43:29 > 0:43:30I'm back at rehearsals today
0:43:30 > 0:43:33and I've got a surprise for the 7 Chapters.
0:43:34 > 0:43:38Ooh, live! Live! This is live!
0:43:38 > 0:43:40We're getting amplified!
0:43:40 > 0:43:43All the electronic gizmos and extra musicians look exciting,
0:43:43 > 0:43:47but as well as amping up the volume, it also amps up the pressure.
0:43:50 > 0:43:52You got to understand, on the night,
0:43:52 > 0:43:54you guys are going to be performing with myself, Maverick Sabre,
0:43:54 > 0:43:57Wretch 32, like, you lot need to bring it as much as they bring it
0:43:57 > 0:43:59because there's no turning back.
0:43:59 > 0:44:01Once you get in that Royal Albert Hall in front of them people,
0:44:01 > 0:44:03that's it. It's now or never sort of thing.
0:44:03 > 0:44:06We're going to have a go. Drums, bass, guitar, Curtis.
0:44:06 > 0:44:07Take it away.
0:44:07 > 0:44:10# Not many options when you're coming from the bottom
0:44:10 > 0:44:11# It's rotten
0:44:11 > 0:44:13# I'm at a place where... #
0:44:13 > 0:44:15At this stage of rehearsals,
0:44:15 > 0:44:17everyone should know their parts inside out.
0:44:19 > 0:44:24Curtis? See that pad? You don't need that any more, do you?
0:44:25 > 0:44:28Curtis still isn't confident he can remember his rap,
0:44:28 > 0:44:32so during a break, cellist Clare offers some professional advice.
0:44:33 > 0:44:36Sometimes we would just have the music there,
0:44:36 > 0:44:40if we have to look at it. So you could have the words down here.
0:44:41 > 0:44:44There's just a couple of phrases that he's struggling to remember
0:44:44 > 0:44:48all the words, so I'm just trying to help him to just put those together.
0:44:48 > 0:44:51I would expect people from orchestras to just be, like, proper
0:44:51 > 0:44:54stuck up and stuff, but it's not like that, you lot are cool.
0:44:54 > 0:44:56Oh, that's good.
0:44:56 > 0:44:57Ain't this the way?
0:44:57 > 0:45:00# ..a depiction for those with an addiction... #
0:45:00 > 0:45:02Back in rehearsals,
0:45:02 > 0:45:05Jules is focusing all his attention on Samara.
0:45:05 > 0:45:08# That's a big mistake. #
0:45:08 > 0:45:11End on that note.
0:45:11 > 0:45:15Samara has been feeling unsatisfied with her role in her performance,
0:45:15 > 0:45:19so I've asked Jules to closely work with her so she feels more involved.
0:45:19 > 0:45:20Let's fix this, yeah.
0:45:22 > 0:45:26# You'll never know of the paths that I've had to take
0:45:26 > 0:45:29# For those that stop me... #
0:45:29 > 0:45:31Then go to the chorus chord.
0:45:31 > 0:45:36One, two, come on, Sam-a-ra.
0:45:36 > 0:45:41# You'll never know of the paths that I've had to take
0:45:41 > 0:45:48# For those that stop me Well, that's a big mistake. #
0:45:48 > 0:45:50Whoo!
0:45:54 > 0:45:56I've got what I wanted now.
0:45:56 > 0:45:59I just wanted to show off my voice with ad-libs. I'm happy with it,
0:45:59 > 0:46:01and I'm happy with how the track's coming along,
0:46:01 > 0:46:03and I'm actually starting to enjoy it more.
0:46:04 > 0:46:06I chose Samara to be in my band
0:46:06 > 0:46:10because I love the tone of her voice, but I also respect the fact
0:46:10 > 0:46:13that she's actually put herself forward for this project
0:46:13 > 0:46:15after everything that she's been through.
0:46:15 > 0:46:18My name's Samara. I'm from Luton.
0:46:18 > 0:46:22For 17-year-old Samara, life hasn't always been easy,
0:46:22 > 0:46:23and last year, she made a decision
0:46:23 > 0:46:25to move out of home into a hostel.
0:46:28 > 0:46:31Yeah, so... This is my room, where I live.
0:46:31 > 0:46:33This is me when I was younger.
0:46:33 > 0:46:39This is obviously my mum. That's my mum and all my brothers and sisters.
0:46:39 > 0:46:40That's my baby.
0:46:42 > 0:46:44I was so excited to become a mum,
0:46:44 > 0:46:46and then I went for my five-month scan
0:46:46 > 0:46:49and found out there was no heartbeat, so I had a stillborn.
0:46:49 > 0:46:51I just broke in the hospital, basically.
0:46:51 > 0:46:53And literally five days after his burial,
0:46:53 > 0:46:56I get a phone call saying my mum had passed away.
0:46:56 > 0:47:00Sometimes, it hasn't sunk in, to the point where I think
0:47:00 > 0:47:04"Oh, she won't be here for my 18th. She's not going to see me perform."
0:47:04 > 0:47:08She's not going to be in the crowd, you know,
0:47:08 > 0:47:10screaming for me like she used to...
0:47:12 > 0:47:15..any more.
0:47:15 > 0:47:17But I'm always going to hear her at the back of my mind,
0:47:17 > 0:47:20telling me that I'm going to be on big things.
0:47:20 > 0:47:21But, um...
0:47:29 > 0:47:31Despite what she's been through,
0:47:31 > 0:47:36Samara's determined to turn her experiences into something positive.
0:47:36 > 0:47:38I channel negative stuff into my music.
0:47:38 > 0:47:40When you go through things,
0:47:40 > 0:47:43I think that's when the writing just streams.
0:47:43 > 0:47:44In the process of me being pregnant,
0:47:44 > 0:47:47I was actually writing a song called My Unborn Child.
0:47:47 > 0:47:50I haven't had a chance to finish it, but, you know,
0:47:50 > 0:47:52when you experience things,
0:47:52 > 0:47:54it's easier to put it into music, I think.
0:48:00 > 0:48:04Back at rehearsals, Samantha's really vibing.
0:48:04 > 0:48:07She also wanted a bigger part in the piece,
0:48:07 > 0:48:11so I've given her some space to use her freestyle rapping skills.
0:48:11 > 0:48:14# You never perceive Never judge a book by its cover... #
0:48:14 > 0:48:16'I think today was pretty overwhelming
0:48:16 > 0:48:18'for a lot of people, actually.'
0:48:18 > 0:48:21At first, I thought it was just an individual thing.
0:48:21 > 0:48:23No, we nearly cried a few times.
0:48:23 > 0:48:25There were quite a few times when my eyes just welled up.
0:48:25 > 0:48:28I think it's a mixture of feeling grateful,
0:48:28 > 0:48:33nervous, scared, like, how much I've learned, just everything,
0:48:33 > 0:48:35because it's an emotional experience.
0:48:35 > 0:48:38Sorry.
0:48:38 > 0:48:41'Like, this is the first time'
0:48:41 > 0:48:43I've been accepted for me,
0:48:43 > 0:48:46with all the scattiness, with all the lateness.
0:48:46 > 0:48:49Not once have I been condemned for being myself.
0:48:52 > 0:48:55I'm so glad that Samantha and Samara
0:48:55 > 0:48:58are finally happy with their part in the piece,
0:48:58 > 0:49:02but this project isn't just about learning to make music.
0:49:02 > 0:49:04I want both the urban and classical musicians
0:49:04 > 0:49:07to appreciate each other's perspectives.
0:49:07 > 0:49:09..And then understand, yeah, yeah, yeah.
0:49:09 > 0:49:11There ain't no state giving you money.
0:49:11 > 0:49:12During the break,
0:49:12 > 0:49:15Curtis and Shevelle talk to Claire about their upbringing.
0:49:15 > 0:49:18- Sleeping on the road, like.- All you can rely on is your neighbours
0:49:18 > 0:49:22and the people that obviously should love you and care for you,
0:49:22 > 0:49:23but some people don't have that.
0:49:23 > 0:49:26'We were just talking about the way they'd been brought up,
0:49:26 > 0:49:28'where they come from. They both came from Jamaica'
0:49:28 > 0:49:31and then I had a long chat with Curtis about his life
0:49:31 > 0:49:35and all the gangs and how his music and the rapping
0:49:35 > 0:49:38really is changing his life.
0:49:38 > 0:49:41'It makes me feel really privileged for the life that I've had.'
0:49:41 > 0:49:43I mean, these kids, they've just grown up
0:49:43 > 0:49:45in a completely different world.
0:49:45 > 0:49:46And the more you talk to them,
0:49:46 > 0:49:48you can't really get your head around it.
0:49:52 > 0:49:55Just a few days later, it's D-Day for Curtis.
0:49:55 > 0:49:56It's the start of his court case,
0:49:56 > 0:50:00which could mean the end of his part in my project.
0:50:00 > 0:50:01Basically, big day for me.
0:50:01 > 0:50:04I was at court, and all the charges have been dropped.
0:50:04 > 0:50:07I definitely feel as if a weight's been lifted.
0:50:07 > 0:50:09I can finally move on with my life.
0:50:09 > 0:50:12I can just focus on the Proms, so I feel good, man.
0:50:20 > 0:50:22Now that Curtis can put all his energy
0:50:22 > 0:50:24into his performance for the big night,
0:50:24 > 0:50:27I've arranged for him to hook up with George the poet.
0:50:29 > 0:50:3122-year-old George has succeeded
0:50:31 > 0:50:33in bringing poetry to a new generation
0:50:33 > 0:50:36by performing his work on video-sharing websites,
0:50:36 > 0:50:38so I'm hoping he can help Curtis
0:50:38 > 0:50:41deliver his rap to a totally different crowd at the Proms.
0:50:41 > 0:50:44# I guess that's why certain men are mad at me
0:50:44 > 0:50:45# I was raised by the roadsides
0:50:45 > 0:50:47# Witnessed many cold nights Even had somebody close die
0:50:47 > 0:50:50# RIP to Big T I know you're watching over me
0:50:50 > 0:50:51# You gotta understand to oversee
0:50:51 > 0:50:54# So hopefully, one day I'll take my talent overseas
0:50:54 > 0:50:55# Chasing my dreams I gotta make it
0:50:55 > 0:50:58# The best things tend to come from the worst places. #
0:50:58 > 0:50:59Yeah, that's it.
0:50:59 > 0:51:01BACKING TRACK STOPS
0:51:01 > 0:51:03Now, what do you think of it, like?
0:51:03 > 0:51:07I think it's perfect in terms of, like, what you're saying is real.
0:51:07 > 0:51:09The only think I think about is your delivery.
0:51:09 > 0:51:12Pace your words so you don't fumble them.
0:51:12 > 0:51:14Make sure that you pronounce your words with purpose
0:51:14 > 0:51:18- so that they take you seriously. - I know I mumble a lot, innit?
0:51:18 > 0:51:20If you slow down "The best things" -
0:51:20 > 0:51:21it doesn't have to be rushed.
0:51:21 > 0:51:24"The best things can come from the worst places."
0:51:24 > 0:51:27Music puts me at ease Ain't nothing else that I need
0:51:27 > 0:51:29Chasing my dreams, I got to make it
0:51:29 > 0:51:33The best things can come from the worst...
0:51:33 > 0:51:35See what I did? You see that?
0:51:35 > 0:51:38I see that, I see that. I need a pen, cuz.
0:51:38 > 0:51:42Curtis's lyrics are based on his real-life experiences,
0:51:42 > 0:51:46and he tells George about the gang culture he got caught up in
0:51:46 > 0:51:47during his early teens.
0:51:48 > 0:51:53When I was 14, shots got let off at me, innit. I got stabbed up.
0:51:53 > 0:51:55The Feds were all saying I'm a gang leader.
0:51:55 > 0:51:57Because I was in care, they were telling my social worker,
0:51:57 > 0:52:01and my social worker's telling my mum, and my mum's like,
0:52:01 > 0:52:03"You go back to Jamaica or you leave London."
0:52:03 > 0:52:06So I'm thinking, "I ain't trying to go back to Jamaica."
0:52:06 > 0:52:08I'd rather leave London, innit?
0:52:08 > 0:52:10George had the same kind of tough upbringing
0:52:10 > 0:52:13in the same part of north-west London,
0:52:13 > 0:52:14so he can relate to Curtis's struggle.
0:52:14 > 0:52:17Just through what you've been through alone,
0:52:17 > 0:52:19you have a right to be on that stage.
0:52:19 > 0:52:22So when you get there, you shouldn't be looking for anyone's approval.
0:52:22 > 0:52:24You've earned that right to be there.
0:52:24 > 0:52:26They have the privilege of listening to you.
0:52:26 > 0:52:29It doesn't matter where you started rapping or why you started rapping.
0:52:29 > 0:52:32The fact is, you're doing something very mentally sophisticated.
0:52:32 > 0:52:37It's a very intricate, cognitive process, and that's smart.
0:52:37 > 0:52:39'There's a barrier of shyness'
0:52:39 > 0:52:41that he could just knock down,
0:52:41 > 0:52:46a barrier of, like, protection and reclusiveness that he doesn't need.
0:52:46 > 0:52:48He has nothing to be scared of.
0:52:48 > 0:52:52In terms of the Proms, I want him to be that boy in the ghetto
0:52:52 > 0:52:57who's come here to tell you his story, with no apologies.
0:52:57 > 0:52:59Lord knows I ain't trying to catch another kiss
0:52:59 > 0:53:00I know the feeling's mutual...
0:53:00 > 0:53:02'If he realised how remarkable he is,'
0:53:02 > 0:53:05he would perform those words
0:53:05 > 0:53:08in a way that would just transcend everything.
0:53:08 > 0:53:11The best things can come from the worst places.
0:53:11 > 0:53:12Bang.
0:53:12 > 0:53:16GEORGE LAUGHS
0:53:16 > 0:53:17Trust me, fam.
0:53:24 > 0:53:27With their Proms performance fast approaching,
0:53:27 > 0:53:30I've decided it's time for the 7 Chapters to really understand
0:53:30 > 0:53:32the scale of what they've signed up for.
0:53:35 > 0:53:38Today, I've brought them to the Royal Albert Hall in London,
0:53:38 > 0:53:40the setting for their Proms debut.
0:53:40 > 0:53:42Oh, my days!
0:53:45 > 0:53:46Oh, my...!
0:53:46 > 0:53:48This is madness, like.
0:53:48 > 0:53:52Where we're stood, people are going to be here, watching us.
0:53:53 > 0:53:54Before starting my project,
0:53:54 > 0:53:58most of the group hadn't even heard of this world-class venue,
0:53:58 > 0:54:00let alone stepped inside its historical walls.
0:54:00 > 0:54:06Look at the size of it. Imagine how it's going to be when it's filled.
0:54:06 > 0:54:08It's just making me even more, more hungry.
0:54:10 > 0:54:12This truly is an inspiring venue,
0:54:12 > 0:54:16and the thought of performing on this prestigious stage
0:54:16 > 0:54:17has hit a nerve for Samara.
0:54:17 > 0:54:20This is something I want to share with my mum, innit?
0:54:25 > 0:54:29I'm a bit mixed emotions at the minute. I don't know how to feel.
0:54:29 > 0:54:32Like, stepping out here, I was so excited, and then a bit teary.
0:54:32 > 0:54:35I like sharing my experiences with people,
0:54:35 > 0:54:38and my mum's probably one of the key people, you know what I mean?
0:54:39 > 0:54:42I can see all the 7 Chapters taking in the atmosphere.
0:54:42 > 0:54:45This building just oozes the talent and charisma
0:54:45 > 0:54:48of the thousands of artists that have entertained here.
0:54:48 > 0:54:53It's so epic, I'm even caressing the wood! Oh, this is too much.
0:54:54 > 0:54:57And soon, there will be one more name to add to that list.
0:54:57 > 0:55:01"Ladies and gentlemen, make some noise for 7 Chapters!"
0:55:01 > 0:55:02LAUGHTER
0:55:02 > 0:55:04Oh, my days.
0:55:05 > 0:55:06Oh!
0:55:06 > 0:55:09Literally, I'm just, like, speechless.
0:55:09 > 0:55:11One, two, three...
0:55:11 > 0:55:12The majority of people, like,
0:55:12 > 0:55:14they don't make it out of the hood, innit?
0:55:14 > 0:55:17I'm on my way out of the hood, hopefully, anyways.
0:55:19 > 0:55:22I can't take it all in, bruv. I'm lost for words, man.
0:55:22 > 0:55:25The whole group are humbled by the beauty and scale of this venue.
0:55:27 > 0:55:30But for Samantha, it's triggering something bigger.
0:55:30 > 0:55:33Right now, I'm just overwhelmed by the opportunity
0:55:33 > 0:55:34to even be stood here.
0:55:34 > 0:55:36It's made me think about my timeline.
0:55:36 > 0:55:38From the day I was born until now,
0:55:38 > 0:55:42everything that I've ever been through that has scarred me, torn me,
0:55:42 > 0:55:46and everything I've ever done has led to this second.
0:55:46 > 0:55:49This is the day I put in my calendar that I say,
0:55:49 > 0:55:52"You know what, on this day, I went on stage",
0:55:52 > 0:55:56and everything good and bad that's happened to me, you leave that,
0:55:56 > 0:55:58because this, to me, feels like my baptism today.
0:56:00 > 0:56:04Next time - the Chapters check out some Beethoven, live.
0:56:04 > 0:56:07- That violin player was...- Sick.
0:56:07 > 0:56:10It just didn't really click for me at times.
0:56:10 > 0:56:12The pressure takes its toll in rehearsals.
0:56:12 > 0:56:15I don't want you guys to look silly in front of everyone.
0:56:15 > 0:56:17The band play their first live show.
0:56:17 > 0:56:20- You reckon that's good enough?- No.
0:56:20 > 0:56:23I don't think everyone knows what they're actually doing tomorrow,
0:56:23 > 0:56:25and the show is tomorrow.
0:56:25 > 0:56:27And the day of the performance finally arrives.
0:56:27 > 0:56:29We're at the Royal Albert Hall.
0:56:29 > 0:56:32It's my turn, I'm rapping, and I'm not hearing nothing.
0:56:32 > 0:56:34Welcome to the Urban Classic Prom,
0:56:34 > 0:56:37here at the fantastic Royal Albert Hall!
0:56:59 > 0:57:03Subtitles by Red Bee Media Ltd