:00:00. > :00:08.Hello, it's Wednesday and for your viewing pleasure tonight: I'll
:00:09. > :00:12.be catching up with singing powerhouse Sir Tom Jones.
:00:13. > :00:15.His leading lady, Sally, will be here.
:00:16. > :00:24.Plus vocal coach to the stars Yvie Burnett will be offering an analysis
:00:25. > :00:31.of last Saturday's performances. You're watching The Voice Louder: On
:00:32. > :00:41.Two. Hello and welcome to The Voice: Louder on Two. Let's kick off with a
:00:42. > :00:44.round-up of some news. On Monday we launched the latest caption pic
:00:45. > :00:48.online so you've had plenty of time to say what you meme. Here is the
:00:49. > :00:52.picture we showed. We now have three of our favourites. Kelly from
:00:53. > :00:58.Liverpool said, "99,100!!! Coming, ready or not!!!"
:00:59. > :01:07.Heidi from Maidstone said, "OK, who put the superglue on my fingertips?"
:01:08. > :01:17.And finally Jeffrey in Caerphilly who said, "Oh no, brain freeze."
:01:18. > :01:21.Brilliant. Well done to all of you. But we, here at Louder on Two, had
:01:22. > :01:24.our own theory about Will's despair and wondered if it was just his
:01:25. > :01:32.reaction to seeing himself doing this on Saturday night.
:01:33. > :01:49.# You really got me # You really got me. #
:01:50. > :02:06.And always a thrust at the end! How come he didn't break it? Last night,
:02:07. > :02:10.Kylie took Jamie to a Justin Timberlake gig. Here is photographic
:02:11. > :02:18.evidence. Jamie and JT. You can find out more details on Saturday night.
:02:19. > :02:22.And finally, don't forget, if you want to apply for the next series of
:02:23. > :02:25.The Voice head on over to the website for details on how to apply.
:02:26. > :02:28.And that concludes your news round-up.
:02:29. > :02:32.In a moment, I'll be joined by the music icon that is Sir Tom Jones but
:02:33. > :02:36.first, a little treat for all you Team Tom fans out there courtesy of
:02:37. > :02:38.Bizzi. Here he is earlier in the week with a special acoustic
:02:39. > :02:45.performance of Everything Must Change. Enjoy.
:02:46. > :03:05.# Everything must change # Nothing stays the same
:03:06. > :03:11.Everyone must change # No-one goes unchanged
:03:12. > :03:25.# Oh # The young become the old
:03:26. > :03:34.# And mysteries do unfold # Because that's the way of time
:03:35. > :03:36.# Nothing, no-one goes unchanged... #
:03:37. > :03:44.APPLAUSE I love that. He has the strongest
:03:45. > :03:49.lungs in showbusiness and he is not afraid to use them. Please welcome
:03:50. > :03:59.Sir Tom Jones! How are you? I'm all the better for hearing that from
:04:00. > :04:09.Bizzi and seeing you. Is that a... A smoking jacket. You are not allowed
:04:10. > :04:13.to smoke. Nice seeing Bizzi doing a stripped-back acoustic version
:04:14. > :04:19.there? Yes, he is great. Bizzi is a great singer and a lovely man, too.
:04:20. > :04:23.I like the way he stands there and repositions his feet, just to make
:04:24. > :04:29.sure that he is standing right. Yes. I have had some singing lessons,
:04:30. > :04:32.they didn't work out very well. It is all about where you stand and how
:04:33. > :04:39.you stand? Yes, your core. Of course. That is my problem. You went
:04:40. > :04:42.busking with Sally and Bizzi. Let's remind ourselves what happened.
:04:43. > :04:47.# It's not unusual # To be loved by anyone
:04:48. > :04:53.# It's not unusual # To have fun with anyone
:04:54. > :04:59.# When I see you hanging # About with anyone
:05:00. > :05:04.# It's not unusual # To see me cry
:05:05. > :05:09.# I want to die # It's not unusual
:05:10. > :05:15.# To find that I'm in love # With you
:05:16. > :05:15.# Woah, woah # Woah, alright
:05:16. > :05:26.# Come on! # We can end when ever you want to!
:05:27. > :05:33.APPLAUSE Yes!
:05:34. > :05:37.Everyone was so lucky! How much money did you raise? We didn't! No?
:05:38. > :05:41.We thought we would. I think they took a cap around afterwards. Enough
:05:42. > :05:47.for a round of drinks? It was for charity. OK. Any time I do it, it is
:05:48. > :05:51.nice if it is for charity. It is amazing drawing a big crowd like
:05:52. > :05:55.that. It must be great for Bizzi and Sally to see you out like that. Do
:05:56. > :06:01.you prepare them for a life of fame as well? I thought that would be a
:06:02. > :06:09.good idea to take them where there are people and see what affect a
:06:10. > :06:18."star" has on people, especially when you don't know we are coming.
:06:19. > :06:22.None of the audience knew that we were going to do what we did. I
:06:23. > :06:26.wanted them to see that and experience that. When you get, when
:06:27. > :06:31.you are recognisable... Did they cope with it well? Yeah. Yes? Yes. I
:06:32. > :06:40.learned a few things myself that day. I didn't know that Sally played
:06:41. > :06:44.guitar that well! Brilliant. She is basically a folksinger. She does
:06:45. > :06:50.sing all kinds of things, but with the guitar and all that. I thought
:06:51. > :06:56.she'll strum a few chords and it will be very nice. She busted into
:06:57. > :07:02.Sugar Daddy doing a Chuck Berry thing! There are no end to her
:07:03. > :07:07.skills! She surprised me. She is your finalist now. Are you feeling
:07:08. > :07:12.confident about Saturday? Yes, I am. I think Sally can win this. I told
:07:13. > :07:17.her that to begin with. She touches people. If she touches the audience,
:07:18. > :07:23.like she touches me, then she will win. You can't - that is up to the
:07:24. > :07:28.viewers. OK. I'm glad that I won't have to say, "I think the winner
:07:29. > :07:34.is..." Yeah. For me, she is such a warm, she has a beautiful, natural
:07:35. > :07:38.sounding voice and she doesn't sound like anybody else. No, that is true.
:07:39. > :07:47.She sounds like Sally. That is enough of my questions. This was
:07:48. > :07:50.once Kylie's I Should Be So Lucky Dip, but being the environmentally
:07:51. > :07:58.conscious bunch that we are, we've recycled it into a Tom Bowler.
:07:59. > :08:03.APPLAUSE No expense spared! Pick a question.
:08:04. > :08:11.Anyone? There you go. Look at that. Shall I open it and ask it? "Who was
:08:12. > :08:17.your idol when you were growing up?" When I was very young, I was born in
:08:18. > :08:27.1940, so after the war, you know, in South Wales, we were Labour, we were
:08:28. > :08:30.taught that and Winston Churchill came on because he was Conservative
:08:31. > :08:36.and what happened in the 1926 strike was a bad time. Yes. In South Wales.
:08:37. > :08:42.OK. That is when you are a child, you learn what you are taught. Then,
:08:43. > :08:47.as time went on, I realised how strong and important Winston
:08:48. > :08:52.Churchill was. Yes. So, he became my hero. I like that. OK. A little
:08:53. > :08:58.politics lesson for you there. Another question. I'll do the
:08:59. > :09:02.honours for you. "If there was a movie of your life, which actor
:09:03. > :09:07.would you like to play you?" This must have been discussed, surely?
:09:08. > :09:16.Yes. I mean, I have thought about it. Yes. I think that Jonathan Rees
:09:17. > :09:21.Myers, he is strong. He did - I don't know whether it was shown in
:09:22. > :09:27.Britain, but for HBO he did the Elvis Story and he played Elvis
:09:28. > :09:31.Presley and I thought, "My God, this guy has transformed himself into
:09:32. > :09:35.Elvis Presley." If he could do the same thing with me, that would be
:09:36. > :09:43.it. OK. Calls are being made as we speak! Ladies and Gentleman, Sir Tom
:09:44. > :09:47.Jones. Don't go anywhere just yet, Tom, because Sally will be here in
:09:48. > :09:55.just a moment after this reminder of her Saturday night.
:09:56. > :10:01.# The whole of the moon... # Beautiful. I loved hearing another
:10:02. > :10:06.side to your performance. Fantastic. # The wind at your heels... #
:10:07. > :10:12.Flawless and so uplifting as well. I loved it. I like the risk you took
:10:13. > :10:28.tonight and you thrilled me. # There's be dancing in the street
:10:29. > :10:32.# Dancing in the street # It's a new invitation
:10:33. > :10:36.# Across the nation... # We are dancing in the street. #
:10:37. > :10:42.Team Tom! The artist with the most public
:10:43. > :10:58.votes securing a place in next week's final is... Sally!
:10:59. > :11:05.Sally Barker! You said you are relaxing into the process now. Was
:11:06. > :11:09.there a turning point when that happened? It was temporary.
:11:10. > :11:12.Temporary? I am nervous about Saturday, not the bit we have to do
:11:13. > :11:17.together. That is the part I'm nervous about! Are you? I'm fine
:11:18. > :11:21.with that. Good! It's the bits where I have to be on my own on stage. I
:11:22. > :11:26.prefer it with you. I will be in front of you, in the chair. Alright.
:11:27. > :11:31.I will keep looking at you. You are never alone. Sing to me and we'll be
:11:32. > :11:37.OK. Hold tight. I loved it when you were channelling Fearne Cotton on
:11:38. > :11:42.Saturday. We saw your inner rock chick. You said it was one of the
:11:43. > :11:46.most nerve-wracking moments doing this song, why? I was opening the
:11:47. > :11:52.show and I wasn't sure about the lyrics. Right. OK. You are learning
:11:53. > :11:55.them until the last minute and the piece of paper gets torn away from
:11:56. > :12:00.you and you have to go on. By yourself. Without it. I know the
:12:01. > :12:05.feeling. I have done it many times! Have you ever forgotten the words,
:12:06. > :12:12.Tom? Yes. Then you try and make them up. OK. I forgot the words to Deliah
:12:13. > :12:17.and instead of singing, "I was lost like a slave that no man could
:12:18. > :12:23.free." I said, "I was lost like a ship on a stormy sea!" It worked,
:12:24. > :12:31.though. Up to three performances on Saturday, Sally. What are you going
:12:32. > :12:36.to be singing as your new song? Am I allowed to tell? I think so. Are we
:12:37. > :12:41.going to blow it? There is no-one watching, it's fine! Alright. I will
:12:42. > :12:49.be singing a song by Joni Mitchell. Let's hear the original.
:12:50. > :12:56.And now, let's look at Sally in rehearsals earlier on today.
:12:57. > :13:14.#... Castles in the air... # Loving the arrangement! It sounds
:13:15. > :13:21.beautiful. What was the decision behind this choice? I wanted Sally
:13:22. > :13:26.to do a song that she was familiar with, I know what it is like and you
:13:27. > :13:31.have just learnt something, that is not good, especially for the final.
:13:32. > :13:35.I think. Yes. So, if I was in the final, and my coach wanted me to do
:13:36. > :13:39.something I wasn't familiar with, I wouldn't be too pleased. I thought
:13:40. > :13:43.why don't I find out what Sally really wants to sing and then listen
:13:44. > :13:47.to it and decide, you know, whether she should do it or not. That is the
:13:48. > :13:51.first time I heard her sing it, at rehearsal. So, I thought that's it.
:13:52. > :13:54.That's the one. That's it. You are also going to do a duet, which I
:13:55. > :13:59.have heard you are looking forward to, to having Tom on your own on the
:14:00. > :14:04.stage. You had to share him with Bizzi last week. What are you going
:14:05. > :14:08.to be singing? We will be singing... Walking in Memphis. Brilliant. That
:14:09. > :14:12.holds a lot of meaning for you? My husband was a big fan of that song.
:14:13. > :14:16.Yes. You also get to perform your favourite song from the series, how
:14:17. > :14:22.difficult a decision was that and which one have you chosen? It was
:14:23. > :14:28.difficult. I decided to go with Dear Darlin' because I sang that for my
:14:29. > :14:32.Battle song and when Sir Tom told us the song that we were going to sing,
:14:33. > :14:36.I was quite surprised because I didn't know it. And I didn't know
:14:37. > :14:42.who Olly Murs was and I apologise to Olly Murs for not knowing who he is!
:14:43. > :14:45.I've got up to speed now! And I really enjoyed singing the song,
:14:46. > :14:50.trying to interpret the song from a different perspective. Yes. Bless.
:14:51. > :14:56.I'm sure Olly Murs is a massive fan. Are you Twitter friends? I am sure
:14:57. > :15:01.we will be after Saturday! How chuffed is your mum and your two
:15:02. > :15:08.boys, Dill.i.am and Ben? How proud are they? They are really proud. The
:15:09. > :15:12.boys, it was their idea to come on the show. They have spent all the
:15:13. > :15:17.money before we have got it! Of course! My mum glows with inner
:15:18. > :15:22.pride. I can see it. Yeah. We have some messages for you from them.
:15:23. > :15:25.We love our mum lots. We are very proud of her and everything she has
:15:26. > :15:31.done. She is probably the best mum I could have ever wished for.
:15:32. > :15:36.She's not had it easy. She's had to bring us up on her own. She has
:15:37. > :15:39.given us the best start to our lives and she has fitted in her work
:15:40. > :15:46.around our lives and school and everything. I am extremely proud of
:15:47. > :15:54.my mum. She's amazing. She makes so many people happy with the music she
:15:55. > :15:57.plays. When people hear her sing for the first time, they don't think
:15:58. > :16:00.that is what is going to come out of her mouth.
:16:01. > :16:09.# I'm just a soul # Whose intentions are good... #
:16:10. > :16:15.APPLAUSE My mum is a modest person. She
:16:16. > :16:16.doesn't like tell people how good she is, or anything like that. She
:16:17. > :16:31.keeps it quiet. She is the best artist I have ever
:16:32. > :16:36.heard. She gets so into her music and she loves it. The way she is
:16:37. > :16:41.feeling, she puts that into her songs, it makes me quite emotional.
:16:42. > :16:46.The music is in her blood, sort of, I guess. She is amazing. At what she
:16:47. > :16:52.does. # I love you. #
:16:53. > :16:57.APPLAUSE Your beautiful boys. I'm at it
:16:58. > :17:03.again! I cry when you sing and I cry when your boys are on! Tissues for
:17:04. > :17:07.Tom, please! How excited and anxious and all of those things rolled into
:17:08. > :17:12.one for Saturday are you? I would like to say that I'm the only mum
:17:13. > :17:15.they've got so they don't know any better. This is true. I am excited.
:17:16. > :17:20.I want to focus on the work. I want to be able to have that narrow focus
:17:21. > :17:27.and think about the songs. I believe this week is going to be full of
:17:28. > :17:32.stuff to do. I know. I will try and get my headphones in and block out
:17:33. > :17:36.the world. And enjoy the ride. It's been lovely talking to you. We will
:17:37. > :17:47.see you on Friday. Good luck. Tom and Sally!
:17:48. > :17:49.APPLAUSE Don't forget you can download Saturday's
:17:50. > :17:53.performances from Sally and indeed all the finalists by heading to The
:17:54. > :17:56.Voice website. At least 20p from every download goes to the BBC
:17:57. > :17:59.Performing Arts Charity. And you can catch all four finalists tomorrow
:18:00. > :18:03.morning on BBC Breakfast. Now you might have heard Emma and
:18:04. > :18:05.Marvin refer to it as The Voice Arena on Saturday nights and
:18:06. > :18:10.marvelled at its magnificence. But how on earth do they manage to fit
:18:11. > :18:14.all that into one studio? I'm glad you asked.
:18:15. > :18:20.The live finals for The Voice are being shot at the Elstree Film
:18:21. > :18:25.Studios. The studio for the live is on such a huge scale, it is almost
:18:26. > :18:31.like rigging for a rock concert. This studio is where Star Wars was
:18:32. > :18:37.shot! 49 feet high, 15,000 square feet of
:18:38. > :18:47.floor space, it is like being in a cathedral. It is enormous. It is an
:18:48. > :18:52.empty studio on the first day and it goes from empty to full in 12 days.
:18:53. > :18:57.70 people are putting in show in. It starts off with the rigging, scenic,
:18:58. > :19:01.lighting, cameras, visual effects. It has to be in the right order. The
:19:02. > :19:08.crew will work during the day. As they finish, another crew will come
:19:09. > :19:15.in and work overnight. The lighting on day one, loading all
:19:16. > :19:18.the lights on to the trusses. There are around 400 lights in the show.
:19:19. > :19:24.The power needed to run all the lights in the studio is about 400
:19:25. > :19:29.kilowatts, which is equivalent to 40,000 lightbulbs that you have in
:19:30. > :19:33.your living room. The set needs to offer different
:19:34. > :19:39.positions for the singer to sing from. We have the centre stage. We
:19:40. > :19:48.have two catwalks and we have the mezzanine. Anyone for tea?
:19:49. > :19:59.The floor on the centre of the stage is a video screen that you can walk
:20:00. > :20:04.on. There's 25 square metres of the LED floor. It has to be
:20:05. > :20:07.systematically put together, so you have to go one tile at a time and
:20:08. > :20:15.build it like you were building a brick wall. Today, we have got six
:20:16. > :20:18.full-time LED teches and four local crews lending a hand. It's a great
:20:19. > :20:22.screen. It is perfect for the show. They can sing, dance, do anything
:20:23. > :20:30.they like on it and it will be rocking.
:20:31. > :20:35.The two iconic parts of the set are the chairs and the two hands holding
:20:36. > :20:38.the microphones. They are two of the most difficult pieces to put in. The
:20:39. > :20:44.hands are very big and heavy. They are quite awkward and unwieldy. Well
:20:45. > :20:49.done, guys. That went very well. The chairs also are very delicate so
:20:50. > :20:54.we have to handle those carefully but also they are extremely heavy.
:20:55. > :20:59.They have got speakers inside of them, so the coaches can hear the
:21:00. > :21:03.vocals more clearly. They have LED lights inside of them and the buzzer
:21:04. > :21:08.mechanisms in as well. There are lots of electrics and we have three
:21:09. > :21:16.guys working on the chairs for four days solid to make sure they are up
:21:17. > :21:20.and running. It is a nice feeling to see the
:21:21. > :21:24.finished product when it goes out on TV knowing we were there from the
:21:25. > :21:28.start. After 30 years, I still get a great amount of satisfaction from
:21:29. > :21:32.doing the 12-day build for one of the biggest shows on telly. The
:21:33. > :21:36.clock started as something in your head, when you see it realised under
:21:37. > :21:40.all of the lights... It's a great sense of satisfaction.
:21:41. > :21:44.Clever gang! APPLAUSE
:21:45. > :21:48.And Star Wars! You may have noticed that there are various technical
:21:49. > :21:55.terms bandied around on a Saturday night here at The Voice. In case you
:21:56. > :22:03.wondered what some of them mean, allow Yvie and Ali to enlighten you.
:22:04. > :22:07."A" is for attack. We often hear the coaches talking about attack and
:22:08. > :22:11.what it means is how hard you come in on the note or how gently you
:22:12. > :22:16.place it. Think about the intention of the lyric and attack it
:22:17. > :22:21.accordingly. If you are singing an energetic song, you want that
:22:22. > :22:29.energetic, strong attack! If you are singing a beautiful
:22:30. > :22:53.ballad, you want, "Arrr." I miss Lee. As if you ever needed
:22:54. > :22:59.proof that she knows her stuff! Please welcome back Yvie!
:23:00. > :23:02.Nice shoes. Thank you. How impressed were you at the standard of all the
:23:03. > :23:07.performers in the semifinal on Saturday? Wasn't it incredible? The
:23:08. > :23:10.standard this year has been amazing. Everyone has said that. I think they
:23:11. > :23:14.pulled something extra out of the bag on Saturday night. We had so
:23:15. > :23:17.much diversity, so many different talents on display, the British
:23:18. > :23:21.public must have enjoyed watching it. It is nice to see different
:23:22. > :23:25.styles of music. You can make comparison as well. Let's have a
:23:26. > :23:30.closer inspection. Let's look at Sally from Team Tom. Here she is on
:23:31. > :23:34.Saturday. # You climbed up a ladder
:23:35. > :23:36.# And you know how it fes # To be too hard
:23:37. > :23:42.# Too far # Too soon
:23:43. > :23:46.# When... # She wanted to change it up,
:23:47. > :23:50.apparently. How did she do that with this performance? From the start,
:23:51. > :23:55.she said she wanted to be edgier, she wanted - she didn't want to wear
:23:56. > :24:00.a sequinned dress, she wanted her hair different, she said she was
:24:01. > :24:03.channelling Fearne Cotton. She will love that! I'm sure. Everything she
:24:04. > :24:07.did was to change it and make people see that she was a bit different.
:24:08. > :24:13.And as far as the song was concerned, it had a beat. She moved
:24:14. > :24:18.with it. And she used the rhythm to emphasise it more and to get the
:24:19. > :24:21.edginess. How did you make that edgier, vocally? When you have a
:24:22. > :24:24.rhythm like that, you can do different things from when you have
:24:25. > :24:27.a ballad and you are standing there still. Her posture was different.
:24:28. > :24:31.Everything was different. The way she moved was different. She just
:24:32. > :24:35.enjoyed it more. Yes. She did. She was working it. Tom said the
:24:36. > :24:41.structure of the song was essentially a ballad. So, explain a
:24:42. > :24:45.bit more about that? A ballad is a story-telling song. Obviously, a
:24:46. > :24:49.song that's all about the story is driven by that. This had a beat as
:24:50. > :24:53.well. It was still all about the story. Not like an upbeat dance
:24:54. > :24:56.record where it is all about the beat and the story doesn't matter.
:24:57. > :25:04.Let's see something we have never seen before. This is Sally's first
:25:05. > :25:16.open audition for The Voice. # Didn't I make you feel
:25:17. > :25:20.# Like you were the only man # Didn't I give you nearly
:25:21. > :25:26.everything # A woman could possibly can. #
:25:27. > :25:31.Sally has sung before, and has toured. How has she changed? When I
:25:32. > :25:35.look at that, the voice is great and you still, you heard that then, how
:25:36. > :25:39.wonderful it was. But she was apologetic, she's crouching like
:25:40. > :25:44.this, hunching over her guitar, she had her eyes closed. Now the Sally
:25:45. > :25:48.we saw on Saturday night, with her eyes wide-open, performing and not
:25:49. > :25:54.apologising for being there, that's the difference in Sally. It does
:25:55. > :26:08.seem like a big change. Christina Marie, here she is.
:26:09. > :26:14.She looked like she didn't stop to take any kind of breath. How is that
:26:15. > :26:18.possible? That's the point. You are not meant to know. And that comes
:26:19. > :26:22.with planning. To be as flawless as that, to look flawless, so you don't
:26:23. > :26:27.look like you are taking breaths and you don't look scared, it is from
:26:28. > :26:30.planning. I always think of it like a pilot going down the runway, and
:26:31. > :26:33.he is about to take off, he has to do everything he's planned. He can't
:26:34. > :26:37.press a different button or do something that he didn't expect to
:26:38. > :26:46.do and it is the same when you are about to go into a big phrase like
:26:47. > :26:48.that. You have to do what you have practised. Everything's got to be
:26:49. > :26:52.the way we have mapped it out. You worked a lot with Christina Marie
:26:53. > :27:01.last week on breath control. We can see you working with her. Yes. Where
:27:02. > :27:08.are you taking that breath? So... Yes. It's got to be... From here.
:27:09. > :27:16.Don't even - we don't need to hear it. It's got to be... Right. Do the
:27:17. > :27:22.- open the back of your throat and use your diaphragm at the same time.
:27:23. > :27:41.# We both felt that we... # That is just - I want to clap that.
:27:42. > :27:46.That is just unbelievable! Yes. That is something she's worked on, isn't
:27:47. > :27:50.it? It is because I'm so scary! Yes, she has had to work on it to get it
:27:51. > :27:54.that good. She's been willing to do that. You know, that is what it is
:27:55. > :27:57.all about. Then, when you are up on the stage, the nerves go away
:27:58. > :28:01.because you know what you are doing, it is consistent. We can see
:28:02. > :28:06.Christina Marie's audition as well. Here she is.
:28:07. > :28:11.# Do you see # What we've done
:28:12. > :28:18.# Gonna make such fools # Of ourselves... #
:28:19. > :28:23.Very quickly, what are the changes in Christina Marie from that moment?
:28:24. > :28:29.There is a few snatched breaths like we saw in the VT. Now, she kind of
:28:30. > :28:33.doesn't do that so much. She's grown in confidence as well. I know. When
:28:34. > :28:41.you see her get out there and you get a view of her tonsils!
:28:42. > :28:45.Thank you, Yvie. You'll be back on Friday just before the final but for
:28:46. > :28:49.now, it's Yvie! That's all we have time for today. Join me here
:28:50. > :28:51.tomorrow when I'll be chatting to Ricky Wilson and his finalist
:28:52. > :28:55.Christina Marie. Plus, it's the moment you all may, or may not, have
:28:56. > :28:58.been waiting for. I'll finally be performing Unchained Melody! Lord
:28:59. > :29:01.help us! See you tomorrow. Good night.