:00:55. > :00:59.I hope you enjoyed the opening titles. I did. Here is the wonderful
:01:00. > :01:34.Paolo Nutini. # She's the bass, she's the beat.
:01:35. > :01:37.# She's the rhythm, she's the band. # Just funk my life up.
:01:38. > :01:45.# And the girl, so fine. # Makes you wanna scream Hallelujah.
:01:46. > :01:51.# Sly hands, spinning webs like silk.
:01:52. > :01:56.# Beats are dripping on me like spider milk.
:01:57. > :02:00.# And I never heard the warning when I woke up this morning.
:02:01. > :02:02.# With my sunshine on a drip. # She's my rock, she's my bud. She's
:02:03. > :02:11.tequila, she's a trip. # And that girl, so fine.
:02:12. > :02:19.# Makes you wanna scream Hallelujah. # How can I refuse? I'm not fit to
:02:20. > :02:24.chose. # Just funk my life up.
:02:25. > :02:27.# I said the only way I win is the way I lose.
:02:28. > :02:30.# Just funk my life up. # And I never got the script I
:02:31. > :02:32.unzipped. # Got a little bit wet up in my
:02:33. > :02:35.brain. # She's your church, she's your sin.
:02:36. > :02:43.She's atomic. # She's the... Oh, she's the rain.
:02:44. > :02:47.# And the girl, so fine you wanna scream.
:02:48. > :03:03.# Yeah, yeah. # She gets me silly. She's like a
:03:04. > :03:07.trick on me. # Hell, I don't even know her name
:03:08. > :03:09.but yet she sticks to me. # And in the climax she would scream
:03:10. > :03:13.with me. # Yeah, she sticks to me.
:03:14. > :03:17.# She gets me funny She doesn't want none of my money.
:03:18. > :03:19.# So I pour it over her like gasoline.
:03:20. > :03:22.# Light a match and then I'm back in my teens.
:03:23. > :03:24.# Me and super girl smoking my green.
:03:25. > :03:28.# Me and super girl smoking my green.
:03:29. > :03:31.# Unload, reload. Eyes back, swinging,.
:03:32. > :03:40.# Sweet thing, knows things Jeff Beck sings.
:03:41. > :03:46.# Roundhouse, Going Down, Let's go! # And the girl so fine makes you
:03:47. > :03:50.wanna scream Hallelujah. # Hallelujah.
:03:51. > :04:09.# Yeah, the girl, so fine You wanna scream... #. # Yeah, yeah, yeah. #
:04:10. > :04:25.APPLAUSE AND CHEERING. We love this record. Paolo Nutini.
:04:26. > :04:31.More from him later. We have a myriad of amazing artists. We will
:04:32. > :04:39.have Royal Blood. Delighted now to have in the studio, from Brooklyn,
:04:40. > :04:46.New York, Joan As Police Woman. A jazz star from Essex, we welcome
:04:47. > :04:53.Zara McFarlane. More people from Brooklyn. Her marvellous to have two
:04:54. > :04:56.lots of people from Brooklyn, in the form of Lucius. Welcoming back to
:04:57. > :05:15.the sure the wonderful man from New Zealand, yes, it is Neil Finn.
:05:16. > :05:24.# You must reveal your infinite sorrow.
:05:25. > :05:32.# Show what you're made of and what you're afraid of.
:05:33. > :05:41.# You'll have to leave the comfort of shadows.
:05:42. > :05:50.# The places you came from. The troubles you played on.
:05:51. > :05:57.# Out on the landing leaves are descending.
:05:58. > :06:07.# Summer is ending and daylight is blue.
:06:08. > :06:15.# Is that you rising up. # Flying in the face of love.
:06:16. > :06:23.# Now you set your mind to run. # In circles around everyone.
:06:24. > :06:37.# Flying in the face of love. # Thinking enough is enough.
:06:38. > :06:40.# Before you get too involved. # Like this isn't real. It's just a
:06:41. > :06:54.feeling. # That gets in the way sometimes.
:06:55. > :07:00.# Every distraction you can imagine. # Like a disclaimer it's turning
:07:01. > :07:06.off. # Always turning you off.
:07:07. > :07:13.# Flying in the face of love. # Now you've set your mind to run.
:07:14. > :07:26.# In circles around everyone. # Flying in the face of love.
:07:27. > :07:34.# And dreaming of the one you lost. # Wake up to barking dogs.
:07:35. > :07:40.# Were you thinking of her when you wrote that song.
:07:41. > :07:46.# Sing it to me. # Your mysterious life I'm reminded
:07:47. > :07:51.of. # Think about her.
:07:52. > :08:00.# And it feels like a new sensation Then it's gone.
:08:01. > :08:04.# Flying in the face of love. # How much longer will you run.
:08:05. > :08:16.# In circles around everyone. # Flying in the face of love.
:08:17. > :08:24.# Dreaming of the one you lost. # Wake up to barking dogs.
:08:25. > :08:50.# Flying in the face of love. # Flying in the face of love.
:08:51. > :09:00.# All the years are catching up. # How does it feel to be wrong? #.
:09:01. > :09:17.APPLAUSE AND CHEERING. Neil Finn, back in the room, from
:09:18. > :09:21.his Dizzy Heights LP. We will be hearing more of him before later.
:09:22. > :09:28.The next artist is an acclaimed instrumentalist, lots of people have
:09:29. > :09:31.loved her sound, she is now here performing something from her LP, it
:09:32. > :09:45.is Joan As Police Woman. # I didn't say anything that I
:09:46. > :09:49.wanted to say to you. # I got to talking and your eyes
:09:50. > :09:55.well, they blew me away, yeah. # Oh, this is how I start.
:09:56. > :10:00.# My love letter. # But I may have missed my mark.
:10:01. > :10:05.# My best seller. # Here it goes, my friend.
:10:06. > :10:12.# I need to see you again and then. # I'll show you what you do to me.
:10:13. > :10:18.# You're like finding the holy city. # Right there in front of my eyes.
:10:19. > :10:30.# Setting me free, yeah I'm ready. # To get up on your wailing wall.
:10:31. > :10:38.# After my confession, well, I. # I'm feeling free-er than the wind.
:10:39. > :10:40.# But then I start to shut it down fearing.
:10:41. > :10:43.# I'm wondering what it would have been.
:10:44. > :10:47.# If I had only, only I have no command.
:10:48. > :10:52.# Over tomorrow so I may as well be grand.
:10:53. > :10:56.# And shoot my arrow. # Cos the ocean's wide but I can
:10:57. > :10:59.swim it. # The tide is high Want to get in
:11:00. > :11:02.it. # I feel the fire Come on, let's fan
:11:03. > :11:07.it. # You ask me why cos every minute
:11:08. > :11:14.with you. # Is like finding the holy city.
:11:15. > :11:18.# Right there in front of my eyes. # Waiting for me, yeah, I'm ready.
:11:19. > :11:24.# Oh, oh, oh. # You're like finding the holy city.
:11:25. > :11:27.# Right there in from of my eyes. # Waiting for me, yeah I'm ready.
:11:28. > :11:50.# To get up on your wailing wall. # Oh, I can't feel it any more.
:11:51. > :12:15.# I can't, I can't I can't feel it any more.
:12:16. > :12:24.# You're like finding the holy city. # Right there in front of my eyes.
:12:25. > :12:29.# Setting me free, yeah, I'm ready. # Oh, oh, oh.
:12:30. > :12:35.# You're like finding the holy city. # Right there in from of my eyes.
:12:36. > :12:38.# Waiting for me, yeah I'm ready. # To get up on your wailing.
:12:39. > :12:43.# Up on your wailing. # Up on your wailing wall. #.
:12:44. > :13:01.APPLAUSE AND CHEERING. Thank you, Joan As Police Woman.
:13:02. > :13:05.Holy city, that was from her new album. A band that is so brand-new
:13:06. > :13:28.they don't even have a record yet, they are Royal Blood.
:13:29. > :13:38.# I'm on a train going nowhere. # I ran away to make you care.
:13:39. > :13:46.# This ain't my house. This ain't your home.
:13:47. > :13:50.# Not when I'm feeling this alone. # So come on over, yeah.
:13:51. > :13:57.# I've waited since you start believin'.
:13:58. > :13:59.# Yeah, so come on over, yeah. # Well, there's no god and I don't
:14:00. > :14:15.really care. # Let's run away, get out of here.
:14:16. > :14:20.# I got no money and I don't care. # This ain't my house. This ain't
:14:21. > :14:25.your home. # Not when I'm feeling this alone.
:14:26. > :14:34.# So come on over, yeah. # I've waited since you start
:14:35. > :14:40.believin'. # Yeah, so come on over, yeah.
:14:41. > :14:46.# There's no god and I don't really care.
:14:47. > :15:03.# I'm on a train going nowhere. # I ran away to make you care.
:15:04. > :15:05.# This ain't my house This ain't your home.
:15:06. > :15:27.# Not when I'm feeling this alone. # So come on over, yeah.
:15:28. > :15:32.# I've waited since you start believin'.
:15:33. > :15:35.# Yeah, so come on over, yeah. # Well, there's no god and I don't
:15:36. > :16:23.really care. Royal Blood with Come On Over. Now,
:16:24. > :16:28.we heard him over there a moment ago, now let's chat to the one and
:16:29. > :16:32.only wonderful Neil Finn. Welcome back to the show, Neil.
:16:33. > :16:36.APPLAUSE It's nice that you are here solo.
:16:37. > :16:40.You have been here in the past with Crowded House who've had huge
:16:41. > :16:46.success. You have come here and you are solo again. What's led you to go
:16:47. > :16:50.solo again? I like the freedom of being solo. Also I like the desire
:16:51. > :16:55.to confuse the general public as much as I possibly can really. Yes,
:16:56. > :16:58.we like that here. Five or six different incarnations and it wasn't
:16:59. > :17:04.deliberate but it felt right, the songs were developing along non-
:17:05. > :17:11.Crowded House lines, so yes, we have a very nice young band here,
:17:12. > :17:14.including my wife Sharon on bass. Also am I right in thinking your
:17:15. > :17:19.children are on the record as well? They are. These are not my children.
:17:20. > :17:24.I'd be proud of any of them. Any of these? Not that I'm aware of, no.
:17:25. > :17:31.Someone's owning up there, yes. He's a nice lad. Not likely mine though.
:17:32. > :17:35.Is there something special about blood harmonies, is it something
:17:36. > :17:39.different, within the family? No doubt that there's an inherent
:17:40. > :17:44.understanding of when someone is going to do a curly bit or a leap
:17:45. > :17:48.into the Stratosphere, yes. It's the sound of the way the voices resonate
:17:49. > :17:53.together when your family, when you are blood, you can't get it any
:17:54. > :17:57.other way. I got it with my brother, I'm lucky enough to have it with my
:17:58. > :18:02.sons. With Sharon as well, although we are not blood related, there's
:18:03. > :18:06.something about couples, when they have lived together a long time,
:18:07. > :18:12.they can sing together as well. A tip. If you are having harmony
:18:13. > :18:17.problems, live with them for 30 years. It's interesting if you are
:18:18. > :18:22.looking for something new to do, hit the bass and drums and sing
:18:23. > :18:25.together, yes. You were at Split Ends with your brother Tim and
:18:26. > :18:32.inevitably, in a moment, we'll have a clip of that. From 1980. 34 years
:18:33. > :18:37.ago when you were first having great success, but paint a picture for us
:18:38. > :18:42.of what New Zealand was like? Well, they said it was like England in the
:18:43. > :18:47.'50s back in the '70s and it was probably true. A whole lot of bands
:18:48. > :18:53.wearing bell bottoms and playing bow hoe music and Split Ends came
:18:54. > :18:58.bursting out of the blocks, they had the most unusual songs I'd ever
:18:59. > :19:01.heard, I was 14 at the time. They had incredibly strange costumes.
:19:02. > :19:05.They were wilful and wanted to take over the world. It was pretty much
:19:06. > :19:11.fuel for me as a 14-year-old and gave me more spark than anything
:19:12. > :19:16.else really. Let's have a look at 34 years ago. It's going to be great.
:19:17. > :19:21.It does look good. Have you seen our opening titles. That's a mod Elled
:19:22. > :19:25.from about the same year? Exactly, that's right. Shipped in from New
:19:26. > :19:36.Zealand. # Something's wrong
:19:37. > :19:40.# I feel uneasy # Will you show me
:19:41. > :19:46.# Tell me you're not teasing # Known why sometimes I get
:19:47. > :19:56.frightened # You see my eyes
:19:57. > :20:08.# You can tell that I'm not lying... #
:20:09. > :20:15.Wow. APPLAUSE
:20:16. > :20:18.You did that to me last time you interviewed me about 15 years ago.
:20:19. > :20:24.You played that similar clip. Did we? You are obsessed with that clip.
:20:25. > :20:29.I'll talk to the producers of the show, I can't apologise enough.
:20:30. > :20:34.Happy to see myself looking so young and fanciable. You look very well.
:20:35. > :20:37.Thank you. You did something for the Hobbit, famously filmed in New
:20:38. > :20:43.Zealand? It is, yes. Did you read that book as a child? I did, as a
:20:44. > :20:46.teenager. In fact, I won Lord of the Rings as a history prize in sixth
:20:47. > :20:54.form so have a deep connection with that plot. Did you see it being
:20:55. > :20:59.filmed? I had a day, yes, but it's mostly on green screen. People run
:21:00. > :21:03.around with swords so it's not really like being there but ends up
:21:04. > :21:07.pretty amazing and they are wonderful people, Peter and Fran,
:21:08. > :21:12.very calm, much like the people on your own show. That's good. Did you
:21:13. > :21:16.see prince George the other day? No, we were here. In America in fact. I
:21:17. > :21:20.see. You are going to be performing recluse for us in a moment. We are
:21:21. > :21:23.looking forward to that very much. Thank you for joining us very much
:21:24. > :21:29.and it's great to see you again, Neil Finn!
:21:30. > :21:31.Marvellous Neil Finn. Now, a brand-new wonderful jazz singer from
:21:32. > :22:21.Essex. We welcome Zara McFarlane. # Police and thieves in the streets.
:22:22. > :22:24.# Scaring the nation with their guns and ammunition.
:22:25. > :22:26.# Police and thieves in the street. # Fighting the nation with their
:22:27. > :22:30.guns and ammunition. # From Genesis to Revelation.
:22:31. > :22:31.# The next generation will be hear me.
:22:32. > :22:35.# From Genesis to Revelation. # The next generation will be hear
:22:36. > :22:38.me. # And all the crowd comes in day by
:22:39. > :22:46.day. # No-one stops it in any way.
:22:47. > :22:54.# And all the peacemaker turn war officer.
:22:55. > :23:00.# Hear what I say. # Police and thieves in the streets.
:23:01. > :23:05.# Scaring the nation with their guns and ammunition.
:23:06. > :23:09.# Police and thieves in the street. # Fighting the nation with their
:23:10. > :23:19.guns and ammunition. # From Genesis to Revelation.
:23:20. > :23:30.# The next generation will be hear me.
:23:31. > :23:32.# From Genesis to Revelation. # The next generation will be hear
:23:33. > :24:14.me. # And all the crowd comes in day by
:24:15. > :24:18.day. # No-one stops it in any way.
:24:19. > :24:19.# And all the peacemaker turn war officer.
:24:20. > :24:36.# Hear what I say. # Police, police, police and
:24:37. > :24:47.thieves. # Police, police, police and
:24:48. > :24:55.thieves. # Fighting the nation with their
:24:56. > :25:03.guns and ammunition # Police And Thieves
:25:04. > :25:16.# Police And Thieves... # APPLAUSE
:25:17. > :26:20.AND CHEERING. # Drowning, in you
:26:21. > :26:23.# Asking, nothing. # Aching.
:26:24. > :26:28.# Do you believe # In fashion
:26:29. > :26:33.And romance? Needing to be within us # And around us
:26:34. > :26:37.# Diana. She loves me. # With no innocence or compromise
:26:38. > :26:44.# Diana, she loves me # The only way she knows.
:26:45. > :26:50.# When your soul is in flight # You set your body free
:26:51. > :26:56.# And under your lightning glistens In all its fantasy
:26:57. > :27:13.# There's a shiver of velvet tension # From an astralised dimension
:27:14. > :27:18.# Emanating beneath our liberty # While for some love is whips and
:27:19. > :27:24.chains # And perpetual Parlour Games
:27:25. > :27:27.# I stand for you and You open up to me
:27:28. > :27:30.# She said she wants the lonelines to go
:27:31. > :27:36.# But she won't give up for nothing # Diana. She loves me.
:27:37. > :27:38.# With no innocence or compromise # Diana she loves me
:27:39. > :28:10.# The only way she knows... # # Diana.
:28:11. > :28:17.# She loves me # No innocence or compromise
:28:18. > :28:27.# Diana # She loves me
:28:28. > :28:40.# The only way she knows # Oh baby, baby, baby...
:28:41. > :28:50.# Ooh, baby # Baby, baby, baby
:28:51. > :29:07.# Baby... # CHEERING AND APPLAUSE
:29:08. > :29:17.Of The brilliant, no number one album, Caustic Love. Before that we
:29:18. > :29:23.enjoyed the Zara McFarlane and her marvellous band. In a moment I might
:29:24. > :29:29.be joined by her at the piano, but in the meantime, the next artist are
:29:30. > :29:32.making their British television debut. They have set New York on
:29:33. > :30:10.fire. Welcome the wonderful Lucius. # I'm your dolly.
:30:11. > :30:23.# Stuffed with extra baggage. # Lay me down to shut my eyes.
:30:24. > :30:36.# Beaded gazes. # Lead you nowhere anyways.
:30:37. > :30:49.# Press on my heart, I will say. # Press on my heart I will say.
:30:50. > :31:00.# I am lonely. # With a static smile.
:31:01. > :31:08.# I think my stitching's coming loose.
:31:09. > :31:30.# But completely soft inside. # I'm all wound up and still.
:31:31. > :31:35.# The only thing that I can say is. # I don't need you anyway.
:31:36. > :31:58.# I don't need you, go home. # I don't need you anyway.
:31:59. > :32:09.# I don't need you, go home. # Go home.
:32:10. > :32:19.# I'm your dolly. # Stuffed with extra baggage.
:32:20. > :32:39.# Lay me down to shut my eyes. # Beaded gazes.
:32:40. > :32:49.# Lead you nowhere anyways. # Press on my heart, I will say.
:32:50. > :32:55.# Press on my heart I will say. # I don't need you anyway.
:32:56. > :33:22.# I don't need you, go home. # I don't need you anyway.
:33:23. > :34:20.# I don't need you, go home. # Go home. #.
:34:21. > :34:24.APPLAUSE AND CHEERING. # When you're one of us.
:34:25. > :34:27.# You can stay here for the rest of your life.
:34:28. > :34:29.# I'll open windows when you want to look out.
:34:30. > :34:31.# At the transit of Venus 'cross the sun.
:34:32. > :34:33.# As you're gathering dust. # Ancient dragons and the cicadas
:34:34. > :34:37.come. # The edges jagged as you're coming
:34:38. > :34:43.undone. # On the white soft feathers of your
:34:44. > :34:50.bed. # Well, you know how hard I try.
:34:51. > :34:56.# But I won't get nowhere analysing your life.
:34:57. > :35:03.# And it's people that you lose. # When you become a recluse.
:35:04. > :35:10.# Turn away from us. # Days are darker when the winter
:35:11. > :35:15.comes. # Can't remove yourself from what
:35:16. > :35:21.you have done. # On the rack where your reputation
:35:22. > :35:27.lies. # Do you want to exist.
:35:28. > :35:31.# Between the lightning and the mental bliss.
:35:32. > :35:35.# Or needing nothing and with no-one to miss.
:35:36. > :35:43.# Like a stray dog kissing on a statue.
:35:44. > :35:49.# Solitude is hard to find. # And they're all too busy
:35:50. > :35:52.organising your life. # But it's people that you lose.
:35:53. > :36:05.# When you become a recluse. # Well, don't be so nervous now.
:36:06. > :36:12.# All I want is to be dancing round in your light.
:36:13. > :36:19.# With the colours that you choose. # When you become a recluse.
:36:20. > :36:35.# Ohh. # I make any excuse to stay home.
:36:36. > :36:42.# But I can't do that and I must come back.
:36:43. > :36:51.# People that stay at home. # Watching A Game of Thrones.
:36:52. > :36:57.# And wondering what comes next. # Well, you can't do that and you
:36:58. > :36:58.must come back. # Pictures of geese fly around us
:36:59. > :37:08.and this leads to that. # Take us everywhere and bring us
:37:09. > :37:10.back. # Well, I dreamt that Jesus had a
:37:11. > :37:19.gun. # Sure it's getting cold outside.
:37:20. > :37:25.# And they're all to busy organising your life.
:37:26. > :37:47.# But it's people that lose when you become a recluse. Don't be so
:37:48. > :37:53.nervous now. All I want is to be dancing round in your life. Ike the
:37:54. > :38:03.colours you choose when you become a recluse.
:38:04. > :38:18.Neil Finn. Marvellous. The record, Dizzy Heights. For that, the
:38:19. > :38:19.beautiful vocalisations of Lucius. Now, we welcomed Joan As Police
:38:20. > :38:43.Woman. # There's a story that's been in my
:38:44. > :38:46.life. # And I've taken it as gospel sure
:38:47. > :38:50.as the day. # But now I'm starting to see that
:38:51. > :38:55.it's just an invention. # That really wasn't about me.
:38:56. > :38:57.# And I'd like to kick it to the corner.
:38:58. > :39:01.# But it's hard to eject a tape that's played forever so.
:39:02. > :39:03.# I need to be the witness to stop this crime.
:39:04. > :39:07.# Cos the criminal inside me has lost her mind.
:39:08. > :39:11.# All the things she tells me Well, they're all lies.
:39:12. > :39:19.# So I gotta be the witness to cut this evil vine.
:39:20. > :39:26.# Gotta be the witness. # Gotta be the witness.
:39:27. > :39:29.# Gotta be. # I've been playing the part of a
:39:30. > :39:32.prisoner. # In a fable created by none other
:39:33. > :39:35.than me. # And my mind, well She's more than
:39:36. > :39:39.just dirty. # She's a rascal who's set on
:39:40. > :39:42.setting fire to all. # That I've learned.
:39:43. > :39:44.# I've earned the wisdom of this story.
:39:45. > :39:48.# Too many times. # I'm starting to get angry so.
:39:49. > :39:50.# I need to be the witness to stop this crime.
:39:51. > :39:53.# Cos the criminal inside me has lost her mind.
:39:54. > :39:57.# All the things she tells me Well, they're all lies.
:39:58. > :40:09.# So I gotta be the witness to cut this evil vine.
:40:10. > :40:17.# The war is over. # There is nothing left to say.
:40:18. > :40:24.# The pile driver's got to quit. # And it's gonna happen today.
:40:25. > :40:29.# I will crack the motor. # Jam my stiletto into that machine.
:40:30. > :40:31.# Yeah, I took the power. # Got to kick myself out of the
:40:32. > :40:39.dream. # I need to be the witness to stop
:40:40. > :40:42.this crime. # Cos the criminal inside me has
:40:43. > :40:45.lost her mind. # All the things she tells me Well,
:40:46. > :40:49.they're all lies. # So I gotta be the witness to stop
:40:50. > :40:52.this evil. # Gotta to be the witness to stop
:40:53. > :40:55.this crime. # Cos the criminal inside me has
:40:56. > :40:58.lost her mind. # All the things she tells me Well,
:40:59. > :41:01.they're all lies. # So I gotta be the witness to cut
:41:02. > :41:33.this evil vine. # Gotta be the witness.
:41:34. > :41:36.# Gotta be. # Gotta be the witness.
:41:37. > :41:52.# Gotta be. #. APPLAUSE AND CHEERING.
:41:53. > :42:05.Thank you, Joan As Police Woman. Earlier on, we saw a fabulous new
:42:06. > :42:12.jazz singer, Zara McFarlane. Good to have you here. Where did you first
:42:13. > :42:17.start singing? When I was about 11, I started writing songs for the fun
:42:18. > :42:22.of it, and later on, I started to put myself into competitions, tried
:42:23. > :42:26.to Ascot School of I could sing for concerts, then things started to
:42:27. > :42:32.develop. -- I asked at school. I like improvising. I was going to
:42:33. > :42:37.think it would be interesting for the people at home who don't know
:42:38. > :42:41.what it is, a bit like me, to go for it, but rather than use words I
:42:42. > :43:02.thought it would be easier to do it with notes. I will give it a try.
:43:03. > :43:48.Regretting instead of somebody else. Unless that someone is you. I intend
:43:49. > :43:52.to be independently blue. I want your love, don't want to borrow,
:43:53. > :43:54.give back tomorrow. Your love is my love, there is no love for nobody
:43:55. > :44:20.else. There's been no one unless that
:44:21. > :44:27.someone is you, I intend to be independently blue. I want your
:44:28. > :44:34.love, today, give back tomorrow. Your love is my love, there is no
:44:35. > :44:39.love for nobody else. Your love is my love, there is no love for nobody
:44:40. > :44:42.else. Your love is my love, there is no love for nobody else. My love for
:44:43. > :44:52.nobody else. No love for nobody else.
:44:53. > :45:30.APPLAUSE. The wonderful Sara McFarlane!
:45:31. > :46:10.What a joy to be here. The fabulous duo now, it's Royal Blood!
:46:11. > :46:15.# How did it feel when it came alive and took you.
:46:16. > :46:18.# Out of the black. # It broke your skin and shook
:46:19. > :46:21.through. # Every part of me Every part of
:46:22. > :46:29.you. # You made a fool out of me.
:46:30. > :46:32.# And took the skin off my back running.
:46:33. > :46:41.# So don't breathe when I talk. # Cos you haven't been spoken to.
:46:42. > :46:44.# I got a gun for a mouth and a bullet with your name on it.
:46:45. > :46:56.# But a sliver for a heart beating blood from an empty pocket.
:46:57. > :47:00.# I never wondered why. # And you didn't care when.
:47:01. > :47:08.# You closed every day. # I washed away your sin.
:47:09. > :47:13.# And I promised you. # Like you promised me.
:47:14. > :47:35.# That those vows we made. # We locked them up for free.
:47:36. > :47:38.# You made a fool out of me. # And took the skin off my back
:47:39. > :47:41.running. # So don't breathe when I talk.
:47:42. > :47:46.# Cos you haven't been spoken to. # I got a gun for a mouth and a
:47:47. > :47:48.bullet with your name on it. # But a sliver for a heart beating
:47:49. > :48:24.blood from an empty pocket. INSTRUMENTAL #
:48:25. > :48:27.You made a fool out of me. # And took the skin off my back
:48:28. > :48:34.running. # So don't breathe when I talk.
:48:35. > :48:39.# Cos you haven't been spoken to. # I got a gun for a mouth and a
:48:40. > :48:41.bullet with your name on it. # But a sliver for a heart beating
:48:42. > :49:00.blood from an empty pocket. # And it's hard, this world.
:49:01. > :49:08.# Never lets you go. # Deals your cards right here. #.
:49:09. > :50:01.APPLAUSE AND CHEERING. # Fairy lights like the stars.
:50:02. > :50:10.# You could be lost but here you are.
:50:11. > :50:17.# It's Halloween, on the street. # You came looking for me.
:50:18. > :50:24.# I'm sealed in tight through the double glass.
:50:25. > :50:35.# Come inside, take off your mask. # All the zombies in town.
:50:36. > :50:41.# They're all dead to us now. # And we can't hear the song they're
:50:42. > :50:48.playing. # Smoke drifting up.
:50:49. > :50:52.# To the dizzy heights. # Where the elevator won't come
:50:53. > :51:00.down. # And the ceiling cracks like a
:51:01. > :51:02.treasure map. # The mosquito's buzzing round,
:51:03. > :51:10.round, round. # Help me make up a new sound.
:51:11. > :51:14.# It's all right in my room. # The world's moving at a different
:51:15. > :51:22.pace. # Ah, the buzz, it never stops.
:51:23. > :51:32.# If you don't like the groove Well, call the cops.
:51:33. > :51:43.# On Halloween, it's Halloween. # And they don't make a sound.
:51:44. > :51:51.# Cos I don't like the song they're playing.
:51:52. > :51:56.# Smoke drifting up to the dizzy heights.
:51:57. > :52:00.# Where the elevator won't come down.
:52:01. > :52:06.# And the ceiling cracks like a treasure map.
:52:07. > :52:10.# Every destination pulls you in, turns you back.
:52:11. > :52:17.# The mosquitos buzzing round, round, round.
:52:18. > :52:39.# I'm gonna take you up to the dizzy heights.
:52:40. > :52:42.# There's a lot more going on. # I will take you up to the dizzy
:52:43. > :53:08.heights. # I'm better off that way.
:53:09. > :53:10.# I will take you up to the dizzy y heights
:53:11. > :53:19.I love what's going on # I will take you up to the dizzy
:53:20. > :53:24.heights... # APPLAUSE
:53:25. > :53:29.AND CHEERING. Dizzy Heights, Neil Finn. I like
:53:30. > :53:33.that song. Royal Blood before that. Now, we finish off with the
:53:34. > :54:14.wonderful Paulao Nutini! # We are proud individuals.
:54:15. > :54:24.# Living for the city. # But the flames.
:54:25. > :54:28.# Couldn't go much higher. # We find God and religions.
:54:29. > :54:55.# To bait us with salvation. # But no-one, no nobody.
:54:56. > :55:00.# Can give you the power. # To rise.
:55:01. > :55:08.# Over love. # Over hate.
:55:09. > :55:19.# Through this iron sky that's fast becoming our mind.
:55:20. > :55:33.# Over fear and into freedom. # Oh, that's life.
:55:34. > :55:41.# That's dripping down the walls. # Of a dream that cannot breathe.
:55:42. > :55:45.# In this harsh reality. # Mass confusion spoon fed to the
:55:46. > :55:52.blind. # Serves now to define our cold
:55:53. > :55:58.society. # From which we'll rise.
:55:59. > :56:02.# Over love. # Over hate.
:56:03. > :56:17.# Through this iron sky that's fast becoming our mind.
:56:18. > :56:36.# Over fear and into freedom. # You've just got to hold on.
:56:37. > :57:00.To those who can hear me, I say - do not despair..
:57:01. > :57:06.The misery that is now upon us is but the passing of greed.
:57:07. > :57:09.The bitterness of men who fear the way of human progress.
:57:10. > :57:11.The hate of men will pass, and dictators die.
:57:12. > :57:15.And the power they took from the people will return to the people.
:57:16. > :57:17.And so long as men die, liberty will never perish.
:57:18. > :57:22.Don't give yourselves to these unnatural men.
:57:23. > :57:26.Machine men with machine minds and machine hearts.
:57:27. > :57:30.You are not machines! You are not cattle! You are men.
:57:31. > :57:34.You, the people, have the power to make this life free and beautiful.
:57:35. > :57:38.To make this life a wonderful adventure.
:57:39. > :57:40.Let us use that power - let us all unite.
:57:41. > :57:43.# And we'll rise. # Over love.
:57:44. > :57:51.# Over hate. # Through this iron sky that's fast
:57:52. > :58:02.becoming our mind. # Over fear and into freedom.
:58:03. > :58:06.# Into freedom. # From which we'll rise.
:58:07. > :58:08.# Over love. # Over hate.
:58:09. > :58:22.# Through this iron sky that's fast becoming our mind.
:58:23. > :58:37.# Over fear and into freedom. # Freedom, freedom.
:58:38. > :59:12.# Oh, rain on me. # Rain on me. #.
:59:13. > :59:45.APPLAUSE AND CHEERING. Thank you Paolo Nutini. You can see
:59:46. > :59:51.more of him on the website. We'll be back on Tuesday at 10 o'clock with
:59:52. > :59:58.Coldplay. Much more too. Thanks to all of our
:59:59. > :00:02.guests. Just join in as you see fit, because we don't have a lot of time.
:00:03. > :00:11.The two cords wove got this evening are these two!
:00:12. > :00:14.Yeah... So thank you. Just join in,
:00:15. > :00:21.everybody. It will be beautiful. Thank you to Paolo Nutini, Royal
:00:22. > :00:25.Blood. Joan as policewoman, variety McFarlane, Lucius and Neil Finn! See
:00:26. > :00:27.you again very soon.