0:00:28 > 0:00:31APPLAUSE
0:06:51 > 0:06:54The poems in Death Of A Naturalist and a number of other poems
0:06:54 > 0:06:55are a kind of, you might call,
0:06:55 > 0:06:58an archaeology of the imagination, you know, digging up the past.
0:11:03 > 0:11:05I point the snout of the car towards Derry
0:11:05 > 0:11:08The windscreen framing the Sperrins framing
0:11:08 > 0:11:11The high and low lands between us.
0:12:22 > 0:12:24Mid-Term Break.
0:12:24 > 0:12:27I sat all morning in the college sick bay
0:12:27 > 0:12:29Counting bells knelling classes to a close
0:12:29 > 0:12:32At two o'clock our neighbours drove me home
0:12:32 > 0:12:35In the porch I met my father crying -
0:12:35 > 0:12:36He had always taken funerals...
0:12:36 > 0:12:39Being a poet in the North, it's impossible to ignore
0:12:39 > 0:12:41Seamus Heaney, the great man, and his work.
0:12:41 > 0:12:45It's just this sheer technical application of his writing.
0:12:45 > 0:12:48Sometimes I just have to stop myself and really admire
0:12:48 > 0:12:51how a certain thing is structured or a particular rhyme-scheme.
0:12:51 > 0:12:55But obviously it ties me to this country that I love as well
0:12:55 > 0:12:56and the countryside.
0:12:56 > 0:12:58I live in Belfast now and I live right in the city, and
0:12:58 > 0:13:02I really miss the country and when I read Heaney I can just escape.
0:13:02 > 0:13:05It's sheer escapism for me.
0:13:06 > 0:13:10Cut from the green hedge a forked hazel stick
0:13:10 > 0:13:11That he held...
0:13:11 > 0:13:14'Each generation of poets and poetry lovers,
0:13:14 > 0:13:16'they'll discover Death Of A Naturalist.'
0:13:16 > 0:13:20And its power has not diminished over the years at all.
0:13:20 > 0:13:23People still celebrate it. That's why we're here today
0:13:23 > 0:13:25to recognise that, but I think it's still relevant
0:13:25 > 0:13:27and it's great that it holds up so much.
0:16:15 > 0:16:17- You're very welcome. - Thanks for having me.
0:16:17 > 0:16:20Well, tell me about this identity, Jealous of the Birds.
0:16:20 > 0:16:21How did you come up with that?
0:16:21 > 0:16:24I started out kind of unintentionally,
0:16:24 > 0:16:26just me at home recording music and songs,
0:16:26 > 0:16:30then I released an EP on Bandcamp and it got some attention up North.
0:16:30 > 0:16:33And then from there I started gigging and stuff like that.
0:16:33 > 0:16:35And even though you've only been at this for a very,
0:16:35 > 0:16:39very short period of time, you have a very definitive style already,
0:16:39 > 0:16:43layered vocals of very varying arrangements.
0:16:43 > 0:16:47How long has it taken you to come up with this approach?
0:16:47 > 0:16:49I think it comes mostly from
0:16:49 > 0:16:52just being a really attentive music listener.
0:16:52 > 0:16:55I love music a lot, so I think when I went into writing songs,
0:16:55 > 0:16:57I kind of brought the styles and genres
0:16:57 > 0:17:01and things that I like in music, and brought it into my own stuff.
0:17:01 > 0:17:02You mentioned Bandcamp there.
0:17:02 > 0:17:05Hot on the heels of your EP release came the album.
0:17:05 > 0:17:08How big a step or how big a jump was that for you?
0:17:08 > 0:17:11It felt like a huge step just because...in terms of production.
0:17:11 > 0:17:14The EP was all self-recorded at home.
0:17:14 > 0:17:17And the album, Parma Violets, was done at Big Space Studios in Newry
0:17:17 > 0:17:19with Declan Legge.
0:17:19 > 0:17:21So just in terms of being able to have
0:17:21 > 0:17:25so much more at your disposal, to record was great, yeah.
0:17:25 > 0:17:27That can be a good and a bad thing at times, though?
0:17:27 > 0:17:31Yeah, sometimes you get paralysed with the choice you have, but for me
0:17:31 > 0:17:35it was really freeing, just being able to get the sounds you wanted.
0:17:35 > 0:17:38Well, Naomi, you're very much at the beginning of your career.
0:17:38 > 0:17:42So the big bad future is out there. What do you think it holds for you?
0:17:42 > 0:17:45Hopefully I'll be going on a short UK and Irish tour
0:17:45 > 0:17:48and writing more music, just writing and recording.
0:17:48 > 0:17:50So, yeah, it's exciting.
0:17:50 > 0:17:52- And performing lots as well, I presume?- Performing.
0:17:52 > 0:17:54Yeah, there's some gigs up.
0:17:54 > 0:17:57Big gig coming up right now, very soon as well.
0:17:57 > 0:18:00Thanks so much for being with us this evening.
0:18:30 > 0:18:33# Rock me, Mama, like a wagon wheel
0:18:33 > 0:18:38# Rock me, Mama, any way you feel
0:18:38 > 0:18:40# Hey... #
0:18:56 > 0:18:57We got the project up and running
0:18:57 > 0:19:00with 40 people with learning disabilities at the time.
0:19:00 > 0:19:02Doing loads of different creative arts,
0:19:02 > 0:19:06life skills programmes, and really trying to get young people
0:19:06 > 0:19:09involved in the creative arts with learning disabilities.
0:19:09 > 0:19:12- What sort of classes, then, take place here?- They would learn how to sing.
0:19:12 > 0:19:16Like what's going on behind us here. And then they'd go and perform.
0:19:16 > 0:19:18There would be life skills classes that go on,
0:19:18 > 0:19:21so they do a programme that involves learning to travel independently,
0:19:21 > 0:19:23working as part of a team, having healthy relationships.
0:19:23 > 0:19:26Really, we're just enriching and enhancing their lives
0:19:26 > 0:19:27through the use of the creative arts.
0:19:27 > 0:19:30People think that Tuned In's all about music and drama
0:19:30 > 0:19:32and dance and all that, it's not really.
0:19:32 > 0:19:35It's about giving young people with learning disabilities
0:19:35 > 0:19:38a better chance in life to better themselves.
0:19:38 > 0:19:41# My only sunshine
0:19:41 > 0:19:42# You make me happy... #
0:21:25 > 0:21:28What we're doing today at the old folks' home at Foyleville,
0:21:28 > 0:21:29we perform to the old folks there
0:21:29 > 0:21:32and the intergenerational work there is beautiful.
0:21:32 > 0:21:34You know, you get to see the students working with older people
0:21:34 > 0:21:37and talking to older people and involving them in that.
0:21:37 > 0:21:39# My only sunshine
0:21:39 > 0:21:42# You make me happy
0:21:42 > 0:21:45# When skies are grey... #
0:21:55 > 0:22:04# Please don't take my sunshine away. #
0:22:04 > 0:22:06APPLAUSE
0:23:28 > 0:23:30APPLAUSE
0:23:49 > 0:23:57# She said I'm blue as a robin's egg
0:23:57 > 0:24:05# I've done nothing to make me proud
0:24:05 > 0:24:13# I rehearse conversations in
0:24:13 > 0:24:21# The shower when I am home alone
0:24:22 > 0:24:29# No-one has ever bought me flowers
0:24:29 > 0:24:37# Or smoked a joint on my Persian rug
0:24:37 > 0:24:41# Go to Mexico
0:24:41 > 0:24:45# And lie under a mango tree
0:24:45 > 0:24:49# And watch a line of crows
0:24:49 > 0:24:54# Grace the Southern breeze but
0:24:54 > 0:24:57# You won't know where they go
0:24:57 > 0:25:02# Everything just scatters out like
0:25:02 > 0:25:06# Acorns in the snow
0:25:06 > 0:25:10# Or dust clouds in a drought
0:25:27 > 0:25:34# She said I care too much these days
0:25:34 > 0:25:42# About my place in this ball of yarn
0:25:42 > 0:25:50# There's not a lot that I can boast
0:25:50 > 0:25:58# I water plants and make French toast
0:25:58 > 0:26:06# And muse like some old misanthrope
0:26:06 > 0:26:14# Afraid to sow all my wild oats
0:26:14 > 0:26:18# Read Walt Whitman poems
0:26:18 > 0:26:22# Drink a bottle of champagne
0:26:22 > 0:26:27# And sing some Leonard Cohen
0:26:27 > 0:26:30# I love it when you speak so plain
0:26:30 > 0:26:34# The way you often do
0:26:34 > 0:26:38# When I am crying after midnight
0:26:38 > 0:26:42# Just between us two
0:26:42 > 0:26:49# It makes me smile to know you're all right. #
0:26:49 > 0:26:51SHE HUMS
0:27:25 > 0:27:27APPLAUSE