:01:14. > :01:24.Welcome to Later and welcome to # Time, it trickles
:01:24. > :01:31.
:01:31. > :01:40.# And time goes quicker # And oh, my love, don't forsake me
:01:40. > :01:50.# Lay me down Let the only sound be the overflow
:01:50. > :01:52.
:01:52. > :01:58.# Pockets full of stones
:01:58. > :02:01.# Lay me down Let the only sound be the overflow
:02:01. > :02:04.# And, oh, poor Atlas was a beast of a burden
:02:04. > :02:14.# You've been holding on a long time
:02:14. > :02:21.
:02:21. > :02:24.# And, oh, poor Atlas was a beast of a burden
:02:24. > :02:28.# You've been holding on a long time
:02:28. > :02:35.# And don't listen only
:02:35. > :02:37.# And the ships are left to rust
:02:37. > :02:41.# That's what the water gave us
:02:41. > :02:44.# So lay me down
:02:44. > :02:52.# Let the only sound be the overflow
:02:52. > :02:56.# Pockets full of stones
:02:56. > :03:06.# Lay me down Let the only sound be the overflow
:03:06. > :03:11.
:03:11. > :03:18.# Cos next will be your loved ones But return them in exchange for you
:03:18. > :03:23.# But would you have it any other way?
:03:23. > :03:28.# Would you have it any other way?
:03:28. > :03:30.# You couldn't have it any other way
:03:30. > :03:38.# Cos she's a cruel mistress and the bargain must be made
:03:38. > :03:48.# But oh, my love, don't forget me But I let the water take me
:03:48. > :03:48.
:03:48. > :03:58.# Lay me down Let the only sound be the overflow
:03:58. > :04:00.
:04:00. > :04:04.# Pockets full of stones
:04:04. > :04:10.# Lay me down Let the only sound be the overflow
:04:10. > :04:20.# Lay me down Let the only sound be the overflow
:04:20. > :04:35.
:04:35. > :04:42.# Yeah-ay, yeah-ay
:04:42. > :04:52.# Yeah-ay, yeah-ay
:04:52. > :05:00.
:05:00. > :05:00.Wonderful
:05:00. > :05:01.Wonderful to
:05:01. > :05:04.Wonderful to have
:05:04. > :05:08.Wonderful to have them back here, Florence and The Machine.
:05:08. > :05:15.We have an incredible selection of guests this evening. I'm delighted
:05:15. > :05:18.to say the legendary, from New York, Mary J Blige is here! Welcome back
:05:18. > :05:24.to the studio the talent that is Brett Anderson.
:05:24. > :05:34.Lovely to see you. An amazing new voice with an
:05:34. > :05:39.
:05:39. > :05:49.amazing guitar. We welcome Bombino. And one of the greats of all time.
:05:49. > :06:12.
:06:12. > :06:22.Pete Townshend. Now please welcome # First light this morning
:06:22. > :06:29.
:06:29. > :06:39.# Been looking back # First I was an ancient
:06:39. > :06:46.
:06:46. > :06:56.# Been holding out # Something to carry me over
:06:56. > :07:21.
:07:21. > :07:31.# First light this evening # Then I found it
:07:31. > :08:02.
:08:02. > :08:12.# My search, it was over # First light this morning
:08:12. > :08:12.
:08:12. > :09:19.Apology for the loss of subtitles for 67 seconds
:09:19. > :09:25.# First light this morning Thank you My Morning Jacket. The
:09:25. > :09:35.song was First Lite. Now we go into this corner and welcome superb
:09:35. > :09:35.
:09:35. > :13:24.Apology for the loss of subtitles for 67 seconds
:13:24. > :13:28.sounds from west Africa. Give it up CHEERING AND APPLAUSE. Bombino! So,
:13:28. > :13:33.Quadrophenia one of the great MoD opera and a fantastic piece of
:13:33. > :13:43.music is being rereleased. I'm delighted to say that Pete
:13:43. > :13:43.
:13:43. > :13:46.Townshend is here! Very good to see you. This is a fantastic work. Very
:13:46. > :13:52.fantastic work. Let me ask, steady, please be seated. It's all right.
:13:52. > :13:59.Good. Let me ask first of all, what inspired you to write faud row FINA
:13:59. > :14:04.in the first place? It's a bit of a long story -- Quadrophenia in the
:14:04. > :14:12.first place? It's a bit of a long story. The band was a bit lost.
:14:12. > :14:16.We'd had Tommy and then we'd had an album called Who's Next, based on a
:14:16. > :14:22.more ambitious idea, which had failed. I zooded -- decided to go
:14:22. > :14:27.back to our roots. Our roots were in west London and we started our
:14:27. > :14:32.first gigs in the Shepherd's Bush area. There was a big mod movement
:14:32. > :14:37.back then. I went back, in a sense, to reroute the band, reconnect with
:14:37. > :14:43.the past. In the end, it became a story about a boy and our audience
:14:43. > :14:47.really, who I called Jimmy. Very good name for it. It's a great
:14:47. > :14:52.story. It's a fantastic piece of music and a fantastic story as well.
:14:52. > :14:57.It's interesting how the two things developed. It's 40 years,
:14:57. > :15:02.unbelievably, 40 years since it was first released. Do you think it's
:15:02. > :15:05.still relevant, like it was when you did it? I don't know. I think
:15:05. > :15:09.what's interesting about it for me is that it's not just that it
:15:09. > :15:13.worked very well for me as a composer. I was happy with it. I
:15:13. > :15:18.had complete control of it. I managed to land it well. What I
:15:18. > :15:22.wanted to do was create a piece of music in which the listener could
:15:22. > :15:28.put themselves inside it and the vehicle that I chose for that
:15:28. > :15:31.journey that the listener would have was a boy who had a multiple
:15:31. > :15:36.personality disorder. So he had four aspects to his personality,
:15:36. > :15:42.which he recognised inside the four members of the band. In a sense, he
:15:42. > :15:48.was a nutter. What was delightful about it is that when the album
:15:48. > :15:53.came out was how so many people identified with this boy and I had
:15:53. > :15:57.all kinds of people, varied people, from Cabinet ministers even come
:15:57. > :16:01.and say, "I grew up with Quadrophenia. It helped me through
:16:01. > :16:06.a difficult part of my life." It's become a universal story. Every
:16:06. > :16:09.teenage boy goes through this stuff. When you think about The Who, what
:16:10. > :16:16.made them great? There was an interesting chemistry with the four
:16:16. > :16:20.members of the band. We were all very, very different. I came out of
:16:20. > :16:23.art school with a bit of a manifesto, which was an
:16:23. > :16:33.autoinstructive manifesto. It wasn't just about smashing guitars.
:16:33. > :16:34.
:16:34. > :16:42.There's a wonderful scene from Tony Palma's film, I say "The Who are a
:16:42. > :16:46.band and we're chopping away at our own legs." The idea was that we
:16:46. > :16:53.would explode and then I would become a painter. Unfortunately we
:16:53. > :16:58.got a hit and unfortunately I got a cheque, for having a hit. Van vas -
:16:58. > :17:02.- canvas in the bin. That's right. I was going to stay with the band
:17:02. > :17:06.until we came apart. We didn't come apart. We all had different needs.
:17:07. > :17:11.We all liked different music in a way. We had some common stuff but
:17:11. > :17:16.we were very different. I think that difference worked well for us
:17:16. > :17:26.in the long-term. We have some lovely footage of The Who. Let's
:17:26. > :17:31.
:17:31. > :17:35.have a look. Let's walk down memory # Inside, out
:17:35. > :17:45.# Leave me alone # Nowhere is home
:17:45. > :17:58.
:17:58. > :18:05.# Inside, outside APPLAUSE
:18:05. > :18:10.Marvellous, The Who! Was it true that you were banned from the BBC
:18:10. > :18:19.after that performance? I think we were, yeah. We kind of, I got very
:18:19. > :18:24.angry because it was a, it was a musician's union strike. We were
:18:24. > :18:28.called scabs because we performed live. I got very angry about that.
:18:28. > :18:34.Sir Jimmy Savile was on that. I remember him coming up to me after
:18:34. > :18:40.and saying, because I smashed up a guitar, I kind of Jimmy came up
:18:40. > :18:46.after and said "There's no need for that lad. No need for that. No need
:18:46. > :18:56.for that. Happy memories. What are you playing for us? I think I'm
:18:56. > :19:00.
:19:00. > :19:06.playing a song called quad ra phone, which is -- Quadrophenia. I think
:19:06. > :19:12.it's called Drowned. Can I check, is he still banned? No, OK. The ban
:19:12. > :19:18.is over. Thank you very much, the wonderful, amazing, Pete Townshend.
:19:18. > :19:21.Now I'm delighted to welcome back into the studio a talented fellow
:19:21. > :19:31.indeed. He's here with a lovely new report, give it up for Brett
:19:31. > :19:41.
:19:41. > :19:51.# Give me your brittle heart # I'll give you carpet burns
:19:51. > :20:01.# And all that power and all that passion can be ours tonight
:20:01. > :20:03.
:20:03. > :20:13.# Give me your brittle heart and I'll light a fire
:20:13. > :20:13.
:20:13. > :20:23.# I'll make an effigy from a lock of your hair
:20:23. > :20:33.# And all those cinders and all those embers can be ours to share
:20:33. > :20:33.
:20:33. > :20:42.# And I'll take them all on and force down their doors
:20:42. > :20:45.# And I'll take them all on and walk through their walls
:20:45. > :20:49.# And I'll take them all on and crawl to your door
:20:49. > :20:56.# And crawl to your door
:20:57. > :21:06.# Give me your brittle heart and your orphan's eyes
:21:07. > :21:07.
:21:07. > :21:16.# I'll give you carpet burns and antiseptic skies
:21:16. > :21:25.# And all that power and all that passion can be ours tonight
:21:25. > :21:32.# And I'll take them all on and force down their doors
:21:32. > :21:37.# And I'll take them all on and walk through their walls
:21:37. > :21:42.# And I'll take them all on and crawl to your door
:21:42. > :21:52.# And crawl to your door
:21:52. > :22:01.
:22:01. > :22:03.# And I'll come to you like a ship to the shore
:22:03. > :22:08.# Like a paper plane that falls to the floor
:22:08. > :22:13.# And I'll take them all on and crawl to your door
:22:13. > :22:21.# And crawl to your door
:22:21. > :22:25.# Give me your brittle heart
:22:26. > :22:31.# Give me your brittle heart
:22:31. > :22:40.# Give me your brittle heart and I'll light a fire
:22:40. > :22:43.# Whoa, oh-oh-oh
:22:43. > :22:45.# Whoa, oh-oh-oh
:22:45. > :22:47.# Light a fire
:22:47. > :22:51.# Give me your brittle heart
:22:51. > :22:53.# Light a fire
:22:53. > :22:56.# Give me your brittle heart
:22:56. > :23:06.# Light a fire. #
:23:06. > :23:09.
:23:09. > :23:09.CHEERING
:23:09. > :23:10.CHEERING AND
:23:10. > :23:20.CHEERING AND APPLAUSE
:23:20. > :23:26.
:23:26. > :23:30.# There are men high up there fishing
:23:30. > :23:34.# Haven't seen quite enough of the world
:23:34. > :23:37.# Ain't seen a sign of my heroes
:23:37. > :23:42.# And I'm still diving down for pearls
:23:42. > :23:45.# Let me flow into the ocean
:23:45. > :23:49.# Let me get back to the sea
:23:49. > :23:52.# Let me be stormy and let me be calm
:23:52. > :23:54.# Let the tide in
:23:54. > :24:00.# I want it to rush over me
:24:00. > :24:08.# You know I wanna drown
:24:08. > :24:12.# I'm travelling over canyons
:24:12. > :24:17.# Then flying through the sky
:24:17. > :24:19.# I'm moving down cold metal
:24:19. > :24:23.# Just a tear in a baby's eye
:24:23. > :24:26.# Let me flow into the ocean
:24:26. > :24:30.# Let me get back to the sea
:24:31. > :24:34.# Let me be stormy and let me be calm
:24:34. > :24:36.# Let the tide in
:24:36. > :24:41.# I want it to rush over me
:24:41. > :24:50.# You know I wanna drown
:24:50. > :24:53.# I am not the actor
:24:53. > :24:57.# This can't be the scene
:24:57. > :25:00.# But I am in the water
:25:00. > :25:10.# As far as I can see
:25:10. > :25:28.
:25:28. > :25:31.# I wanna drown in your sweet, sweet love
:25:31. > :25:35.# I wanna drown in your sweet, sweet love
:25:35. > :25:37.# I wanna drown in your sweet, sweet love
:25:37. > :25:43.# I don't wanna die
:25:43. > :25:53.# Drown in it, drown in it
:25:53. > :26:10.
:26:10. > :26:14.# I'm remembering distant memories
:26:14. > :26:17.# Recalling other names
:26:17. > :26:20.# Rippling over canyons
:26:20. > :26:25.# And boiling in the train
:26:25. > :26:28.# Let me flow into the ocean
:26:28. > :26:32.# Let me get back to the sea
:26:32. > :26:36.# Let me be stormy and let me be calm
:26:36. > :26:38.# Let the tide in
:26:38. > :26:43.# I want it to rush over me
:26:43. > :26:52.# Cos you know I wanna drown
:26:52. > :26:56.# I wanna drown, drown, drown
:26:56. > :27:02.# Drown in your sweet, sweet love
:27:02. > :27:05.# I wanna
:27:05. > :27:08.# Drown in it, drown in it
:27:08. > :27:12.# Drown in it, drown in it
:27:12. > :27:22.# I wanna drown in your sweet, sweet love
:27:22. > :27:28.
:27:28. > :27:29.CHEERING
:27:29. > :27:30.CHEERING AND
:27:30. > :27:38.CHEERING AND APPLAUSE
:27:38. > :27:42.CHEERING AND APPLAUSE the amazing legend, the poet, Pete Townshend.
:27:42. > :27:49.The amazing work Quadrophenia. Before that we enjoyed Brett
:27:49. > :27:55.Anderson. That song was Britle Heart. His album is Black Rainbows.
:27:55. > :28:05.Let's hear it for him. Now we're delighted to welcome back into this
:28:05. > :28:05.
:28:05. > :28:48.Apology for the loss of subtitles for 67 seconds
:28:48. > :28:58.# It was always standing # Holding my hand
:28:58. > :28:58.
:28:58. > :29:40.Apology for the loss of subtitles for 67 seconds
:29:40. > :29:50.# It was something to be # Holding my hand
:29:50. > :29:50.
:29:50. > :32:11.Apology for the loss of subtitles for 67 seconds
:32:11. > :32:21.# I can see it # Play it safe
:32:21. > :32:24.
:32:24. > :32:34.# If you ever emote # You can't get yours
:32:34. > :32:42.
:32:42. > :32:52.# First you're up # One day you're in
:32:52. > :33:05.
:33:05. > :33:10.# Yeah, c'mon # Play it smart
:33:10. > :33:15.# How you react is what you'll get back
:33:15. > :33:19.# Cos that's the way we really see
:33:19. > :33:24.# I am "you're" and "you're" is me
:33:24. > :33:33.# C'mon, you know how we are
:33:33. > :33:38.# First you're up Up, down, down
:33:38. > :33:42.# One day you're in The next one you're out
:33:43. > :33:47.# You wanna freak out, c'mon
:33:47. > :33:51.# You wanna freak out, c'mon
:33:51. > :33:59.# Yeah, yeah
:33:59. > :34:09.# You wanna freak out, c'mon
:34:09. > :34:26.
:34:26. > :34:28.# You wanna freak out, c'mon
:34:28. > :34:33.# You wanna freak out, c'mon
:34:33. > :34:38.# You wanna freak out You wanna freak out
:34:38. > :34:42.# You wanna freak out You wanna freak out
:34:42. > :34:47.# You wanna freak out, c'mon
:34:47. > :34:57.# Yeah, c'mon. #
:34:57. > :35:04.
:35:04. > :35:04.CHEERING
:35:04. > :35:09.CHEERING AND
:35:09. > :35:16.CHEERING AND APPLAUSE
:35:16. > :35:19.CHEERING AND APPLAUSE Thank you My Morning Jacket. Before that, we
:35:19. > :35:20.love Florence and The Machine. Marvellous to have Florence and The
:35:20. > :35:24.Machine here, yes? APPLAUSE
:35:25. > :35:28.Yes. I'm delighted to say we're going to chat with somebody who is
:35:28. > :35:30.performing in the show. One of my favourites of all time actually.
:35:30. > :35:39.I'm delighted to welcome Mary J Blige.
:35:39. > :35:45.APPLAUSE You're here on a whirlwind tour.
:35:45. > :35:50.You have My Life Two record coming out. It's brilliant. I've heard a
:35:50. > :35:54.couple of things from it: Thank you. What your -- was your inspiration?
:35:54. > :35:58.The inspiration was the efluegs of the first one. The first My Life
:35:58. > :36:02.album, we were going through so much, going through so much pain
:36:02. > :36:06.and didn't understand what life was about. We've grown and evolved so
:36:06. > :36:12.much, there's eight albums in between. We've grown and evolved,
:36:12. > :36:17.so I wanted people to understand and remind them how far we've come.
:36:17. > :36:20.My Life One, in 1994, was your second LP. Things presumably have
:36:20. > :36:27.improved a great deal since then? Absolutely. Life was horrible
:36:27. > :36:30.during the first album. My fans and I, when I released that album, four
:36:30. > :36:35.million people, I didn't know four million people were hurting like I
:36:35. > :36:39.was hurting. They became my fans. We started a movement. We have been
:36:39. > :36:44.growing and evolving together ever since. I felt like it was important
:36:44. > :36:47.right now for them to know we've done a great deal of work on
:36:47. > :36:50.ourselves. We've come a long way. We understand that life is not life
:36:50. > :36:55.without trial. We cannot be strong if we're nol challenged with
:36:55. > :37:00.something in life. That's what the album consists of. It's great. It's
:37:00. > :37:05.a celebration, but at the same time it's very deep because life is
:37:05. > :37:08.still life, no matter how happy you are, you are going to be challenged.
:37:08. > :37:14.There's always something. Always. We're going to play something from
:37:14. > :37:19.your record in a mo.. Tell us about the song. This is called Need
:37:19. > :37:22.Someone to Love. It's like me singing to my younger self in so
:37:22. > :37:27.much pain. It's like I was looking in the mirror saying "You need
:37:27. > :37:31.someone to love you". It's a heart- felt song. It sucks the air out of
:37:31. > :37:35.the room. It's quiet. And you're playing with me. It's beautiful. I
:37:35. > :37:41.think everybody needs somebody to love them. You're absolutely right
:37:41. > :37:43.there. Thank you very much, Mary J Blige! We're going to see more of
:37:43. > :37:48.Mary J in a moment. APPLAUSE
:37:48. > :37:51.So now, over in the middle of the room, I'm delighted to welcome a
:37:51. > :38:01.brand new talent, somebody we haven't had on the show before.
:38:01. > :38:01.
:38:01. > :39:03.Apology for the loss of subtitles for 67 seconds
:39:03. > :39:13.# The ground is # With my last breath
:39:13. > :39:17.
:39:17. > :39:27.# With my last breath # With my last breath
:39:27. > :39:27.
:39:27. > :40:44.Apology for the loss of subtitles for 67 seconds
:40:44. > :40:48.# Where the ground is # With my last breath
:40:48. > :40:58.# With my last breath # When the ground is
:40:58. > :41:30.
:41:30. > :41:37.# Your face is armed # You stumble round like a figure
:41:37. > :41:45.# Step off of the brake You're a crash about to happen
:41:45. > :41:52.# Step into the page How you fascinate
:41:52. > :42:00.# Anaesthetised in a room of alterations
:42:00. > :42:07.# Politicised by the carvings and the blackbirds
:42:07. > :42:15.# Step off of the brake You're a crash about to happen
:42:15. > :42:21.# Step into the page How you fascinate
:42:21. > :42:31.# And I stop and I stare And I wait for it to happen
:42:31. > :42:36.
:42:36. > :42:44.# And I stop and I stare And I wait for it to happen
:42:44. > :42:52.# And I stop and I stare And I wait for it to happen
:42:52. > :42:58.# Only want you when you're breaking up
:42:58. > :43:06.# Why do they only want you when you're cracking up?
:43:06. > :43:13.# Step off of the brake You're a step away from falling
:43:13. > :43:20.# Step into the page How you fascinate
:43:20. > :43:27.# And I stop and I stare and I wait for it to happen
:43:27. > :43:34.# And I stop and I stare and I wait for it to happen
:43:34. > :43:35.# And I stop
:43:35. > :43:37.# Step off of the brake
:43:37. > :43:40.# And I stare and I wait for it to happen
:43:41. > :43:42.# And I stop
:43:43. > :43:44.# Step off of the brake
:43:44. > :43:49.# And I stare You're a crash about to happen
:43:49. > :43:52.# A crash about to happen
:43:52. > :43:55.# A crash about to happen
:43:55. > :44:05.# A crash about to happen. #
:44:05. > :44:25.
:44:25. > :44:25.CHEERING
:44:25. > :44:25.CHEERING AND
:44:25. > :44:29.CHEERING AND APPLAUSE.
:44:29. > :44:29.CHEERING AND APPLAUSE. Brett
:44:30. > :44:34.Brett Anderson.
:44:34. > :44:36.Brett Anderson. Crash
:44:36. > :44:38.Brett Anderson. Crash About
:44:38. > :44:41.Brett Anderson. Crash About To Happen from black rainbow. Before
:44:41. > :44:50.that, the wonderful voice of Cold Specks.
:44:50. > :44:54.APPLAUSE Now, the person we met earlier,
:44:54. > :45:04.Need Someone, a beautiful song. I'm delighted to welcome at the piano,
:45:04. > :45:14.
:45:14. > :45:24.# From where you stand # No way to make it make sense
:45:24. > :45:24.
:45:24. > :46:43.Apology for the loss of subtitles for 67 seconds
:46:43. > :46:53.# You need someone # But you
:46:53. > :46:53.
:46:53. > :47:59.Apology for the loss of subtitles for 67 seconds
:47:59. > :48:09.# You need someone to hold you # But you
:48:09. > :48:09.
:48:09. > :48:57.Apology for the loss of subtitles for 67 seconds
:48:57. > :49:07.# You need someone to tell you CHEERING AND APPLAUSE
:49:07. > :49:07.
:49:07. > :52:32.Apology for the loss of subtitles for 67 seconds
:52:32. > :52:41.CHEERING AND APPLAUSE. What a handsome boogie woo, from Bombino.
:52:41. > :52:47.That's from their new album. Before that, the amazing, almost had me in
:52:47. > :52:57.tears, the amazing, Mary J Blige. Now let's keep moving. Here's My
:52:57. > :53:21.
:53:21. > :53:30.# Oh, woah, woah, woah # Yeah, yeah, yeah, yeah
:53:30. > :53:35.# But it don't belong # Distortion finds its place
:53:35. > :53:39.# Coming into life you need its grind
:53:39. > :53:43.# But at a point you gotta let it go
:53:43. > :53:48.# Or it will cross the permanent threshold
:53:48. > :53:52.# You know you gotta find it out in something else good
:53:52. > :53:59.# Oh, black metal You so misunderstood
:53:59. > :54:02.# Holding on to black metal
:54:02. > :54:05.# Black metal
:54:05. > :54:09.# Holding on to black metal
:54:09. > :54:11.# Black metal
:54:11. > :54:14.# Black metal, you been holding
:54:14. > :54:19.# Oh, black metal, so misunderstood
:54:19. > :54:23.# Deep black service under Lucifer's hood
:54:23. > :54:27.# Black metal steals souls young Enough's enough
:54:27. > :54:32.# 32oz refill out of Lucifer's cup
:54:32. > :54:36.# Black metal need to be unlearned You teenage pup
:54:36. > :54:43.# Look at you, starchild You all grown up
:54:43. > :54:46.# Still holding on to black metal
:54:47. > :54:49.# Black metal
:54:49. > :54:53.# Still holding onto black metal
:54:53. > :54:56.# Black metal
:54:56. > :54:59.# You been holding on too long...
:55:00. > :55:09.# Oh, woah, woah, woah Oh, woah, woah
:55:10. > :55:10.
:55:10. > :55:20.# Yeah, yeah, yeah, yeah Oh...
:55:20. > :55:56.
:55:56. > :56:00.# Catching waves on Lucifer's beach
:56:00. > :56:04.# Taking shade underneath Lucifer's trees
:56:04. > :56:09.# Getting sustenance from Lucifer's peach
:56:09. > :56:16.# Oh, black metal, it's affecting all your speech
:56:16. > :56:19.# Still holding on to black metal
:56:19. > :56:22.# Black metal
:56:22. > :56:25.# Still holding on to black metal
:56:25. > :56:29.# Black metal
:56:29. > :56:39.# You been holding on too long...
:56:39. > :56:40.
:56:40. > :56:44.# Oh, woah, woah, woah Oh, woah, woah
:56:44. > :56:47.# Oh, yeah, yeah, yeah Oh...
:56:47. > :56:51.# Black metal
:56:52. > :56:54.# Black metal
:56:54. > :56:56.# Bring it to me
:56:56. > :56:58.# Black metal
:56:58. > :57:00.# Bring it to me
:57:00. > :57:02.# Black metal
:57:02. > :57:10.# You been holding on too long. #
:57:10. > :57:10.CHEERING
:57:10. > :57:10.CHEERING AND
:57:10. > :57:13.CHEERING AND APPLAUSE
:57:13. > :57:13.CHEERING AND APPLAUSE My
:57:13. > :57:14.My Morning
:57:14. > :57:16.My Morning Jacket.
:57:16. > :57:22.My Morning Jacket. Thank
:57:23. > :57:27.My Morning Jacket. Thank you. Thank you to all of our guests. Thank you
:57:27. > :57:36.to Brett Anderson. Beautiful to have him back in this room. Thank
:57:36. > :57:44.you to Cold Specks. Thank you to the one and only amazing, Mary J
:57:44. > :57:48.Blige. The legendary, one and only, Pete
:57:48. > :57:58.Townshend. What a beautiful sight at the piano to behold those two
:57:58. > :58:02.
:58:02. > :58:06.people. Thank you Bombino! Oh, yes. Next week, me tall ka, Steve
:58:06. > :58:15.Metallica, Steve, Earl and now we finish with Florence and The
:58:16. > :58:23.# You are the hole in my head # You are the silence in between
:58:23. > :58:30.# You are the night-time fear You are the morning when it's clear
:58:30. > :58:34.# When it's over You're the start
:58:34. > :58:41.# You're my head and you're my heart
:58:41. > :58:45.# No light, no light in your bright-blue eyes
:58:45. > :58:49.# I never knew daylight could be so violent
:58:49. > :58:52.# Revelation in the light of day
:58:53. > :58:57.# You can't choose what stays and what fades away
:58:57. > :59:01.# And I'd do anything to make you stay
:59:01. > :59:03.# Oooh, ah, ah
:59:03. > :59:07.# No light, no light, no light
:59:07. > :59:12.# Tell me what you want me to say
:59:12. > :59:18.# Through the crowd I was crying out
:59:18. > :59:25.# And in your place there were a thousand other faces
:59:25. > :59:32.# I was disappearing in the play inside
:59:32. > :59:40.# Heaven help me I need to make it right
:59:40. > :59:44.# You are the revelation You want to get right
:59:44. > :59:47.# And it's a conversation I just can't have tonight
:59:47. > :59:51.# You want a revelation Some kind of resolution
:59:51. > :59:54.# You want a revelation
:59:54. > :59:58.# No light, no light in your bright-blue eyes
:59:58. > :00:02.# I never knew daylight could be so violent
:00:02. > :00:06.# Revelation in the light of day
:00:06. > :00:09.# You can't choose what stays and what fades away
:00:09. > :00:16.# And I'd do anything to make you stay
:00:16. > :00:19.# No light, no light, no light
:00:19. > :00:24.# Tell me what you want me to say
:00:24. > :00:34.# Would you leave me if I told you what I'd done?
:00:34. > :00:34.
:00:34. > :00:44.# But it's so hard, my love, to say it to you out loud
:00:44. > :00:51.
:00:51. > :00:54.# No light, no light in your bright-blue eyes
:00:54. > :00:58.# I never knew daylight could be so violent
:00:58. > :01:02.# Revelation in the light of day
:01:02. > :01:06.# You can't choose what stays and what fades away
:01:06. > :01:12.# And I'd do anything to make you stay
:01:12. > :01:16.# No light, no light, no light
:01:16. > :01:21.# Tell me what you want me to say
:01:21. > :01:24.# You want a revelation You want to get it right
:01:24. > :01:28.# But it's a conversation I just can't have tonight
:01:28. > :01:31.# You want a revelation Some kind of resolution
:01:31. > :01:32.# You want a revelation
:01:33. > :01:38.# You want a revelation You want to get right
:01:38. > :01:44.# Let me what you want me to say. #
:01:44. > :01:44.CHEERING