:00:56. > :01:06.Welcome to tonight's magnificent line-up. We start with an
:01:07. > :01:07.extraordinary commemoration, but a mile, The Very Best, Beatenberg and
:01:08. > :01:37.Mumford and Sons! # In the cold light,
:01:38. > :01:48.I live to love and adore you # It's all that I am,
:01:49. > :01:51.it's all that I have # In the cold light,
:01:52. > :01:54.I live, I only live for you # It's all that I am,
:01:55. > :02:22.it's all that I have # I wandered round your
:02:23. > :02:58.darkened land all night # But I lift up my
:02:59. > :03:05.eyes to a new high # In the cold light,
:03:06. > :03:12.I live to love and adore you # It's all that I am,
:03:13. > :03:14.it's all that I have # In the cold light,
:03:15. > :03:17.I live, I only live for you # It's all that I am,
:03:18. > :03:21.it's all that I have # In the cold light,
:03:22. > :03:50.I live to love and adore you # It's all that I am,
:03:51. > :03:53.it's all that I have # In the cold light,
:03:54. > :03:56.I live, I only live for you # It's all that I am,
:03:57. > :04:00.it's all that I have # And in the cold light,
:04:01. > :04:42.I live to love and adore you # It's all that I am,
:04:43. > :04:44.it's all that I have # In the cold light,
:04:45. > :04:47.I live, I only live for you # It's all that I am,
:04:48. > :05:38.it's all that I have Thank you! Beatenberg, The Very
:05:39. > :05:43.Best, Baaba Maal, Mumford and Sons. An extraordinary collaboration. Who
:05:44. > :05:54.are our guests this evening? From France, the incredible Christine and
:05:55. > :06:05.the Queens. From Philadelphia, Son Little. From Sunderland, Field
:06:06. > :06:13.Music. Great new man of the folk music, from north London, it is Sam
:06:14. > :06:14.Lee. And now, from Bakersfield, California, the extraordinary voice
:06:15. > :06:20.of Mr Gregory Porter! # Sitting on the top of the roof,
:06:21. > :06:23.the bridge is all mine # Steam engines roll by, the bridges
:06:24. > :06:27.fall down and so do my dreams # Boy, you hear me calling your name
:06:28. > :06:30.The bridge is your time # And whoa, young man,
:06:31. > :07:02.I'm counting on you # And whoa, young man,
:07:03. > :07:20.I'm counting on you # And whoa, young man,
:07:21. > :07:54.I'm counting on you # And whoa, young man,
:07:55. > :09:09.I'm counting on you # Boy, don't you lose your head of
:09:10. > :09:17.dreams. # I'm counting on you now
:09:18. > :09:27.# Don't you lose your head of dreams, young man
:09:28. > :09:43.# Gregory Porter, from his new album
:09:44. > :09:49.with his exquisite band. More of them later. But now we welcome two
:09:50. > :09:52.brothers, Peter and David, from Sunderland who have formed this
:09:53. > :10:14.superb ensemble. Field Music! # And it seems you
:10:15. > :10:31.can't forgive them # But if you want me
:10:32. > :11:13.to be right every time # But if you need me
:11:14. > :11:26.to be everything # But if you want me
:11:27. > :12:20.to be right every time # But if you need me
:12:21. > :12:33.to be everything # If you want this to be more
:12:34. > :12:40.(If you want this to be more) # Then you've got to let
:12:41. > :12:42.me know (Let me know) # But if you want me
:12:43. > :13:11.to be right every time Thank you, Field Music! The song
:13:12. > :13:15.Disappointed from their album. Our next artist is a huge success in her
:13:16. > :13:18.native France and is being recognised all over the globe for
:13:19. > :13:21.the extraordinary talent that she is. Will you welcome, Christine and
:13:22. > :13:57.the Queens. # I will die
:13:58. > :14:01.before Methusalah # So I'll fight sleep
:14:02. > :14:06.with Ammonia # And every morning
:14:07. > :14:11.with eyes all red # I'll miss them for
:14:12. > :14:16.all the tears they shed # Trample over beauty
:14:17. > :15:04.while singing their thoughts # When they said "Je suis
:15:05. > :15:13.plus folle que toi" # Can't help it
:15:14. > :15:18.if we're tilted # Pire qu'une simple moitie
:15:19. > :15:39.on compte a demi-demi # Pile sur un des bas
:15:40. > :15:41.cotes comme des origamis # Le bras tendu parait casse tout
:15:42. > :15:44.n'est qu'epis et eclis # Et une creepy song
:15:45. > :17:25.en etendard qui fait APPLAUSE.
:17:26. > :17:35.Fantastic dance. Really wonderful. Christine and The Queens. So, in
:17:36. > :17:40.this area here is one of the most incredible collaborations I have
:17:41. > :17:51.seen. We have Marcus Mumford, Baaba Maal and Matt from Beatenberg.
:17:52. > :18:00.Welcome. Great album. There is a lot of stuff. A collaboration often
:18:01. > :18:07.means two people. How does it start? It probably starts with Johann from
:18:08. > :18:12.The Very Best. Friends of ours. We met in Australia and ended up
:18:13. > :18:17.drinking quite a few beers together. Started talking about collaborating.
:18:18. > :18:23.He introduced us to Baaba Maal. We made a song together in a studio in
:18:24. > :18:28.London a year and a half ago. When it came to going to South Africa for
:18:29. > :18:31.the first time, we wanted to put together a tour that we could
:18:32. > :18:36.record. We called Beatenberg and asked them to come and play at a
:18:37. > :18:47.festival in Scotland and hang out. Did not look back. You made it sound
:18:48. > :18:52.very simple. But there are a four artist altogether. When were you
:18:53. > :19:00.aware of these other artists? I first met them when they came to
:19:01. > :19:05.Senegal. He was talking about how travelling is nourishing for
:19:06. > :19:10.musicians. They were planning to go to Africa. We said the first step to
:19:11. > :19:17.go in Africa was South Africa because they speak English. They
:19:18. > :19:23.know Mumford Sons very well. It was an opportunity for me to work
:19:24. > :19:29.with these guys. It was really good. There are a lot of strong artists.
:19:30. > :19:35.How does it work? Did you all argue? We sent a lot of nice e-mails. Not
:19:36. > :19:43.speaking under any circumstances! Everybody wanted to be generous with
:19:44. > :19:47.their energy. Becoming the servant of the song, which is what musicians
:19:48. > :19:53.do. Marcus, it must be different for you to have this many people on
:19:54. > :20:00.stage with you. Yes, although when we started as a band, there were 13,
:20:01. > :20:05.and we got rid of the others! We definitely grew up as a band
:20:06. > :20:10.collaborating. We get a lot of stimulation from being around
:20:11. > :20:14.different musicians. We sounded really inspiring. We gave ourselves
:20:15. > :20:22.a limited amount of time to record. We had to make fast decisions. Two
:20:23. > :20:31.days. That is short. That is like a record from 1931. It gives it an
:20:32. > :20:36.urgency. Tell us why Baaba Maal is so special? He can, grow to the
:20:37. > :20:45.studio and sleep for the first 12 hours! -- Eakin come. He appears to
:20:46. > :20:48.be asleep. Then he will wake up, drink a bottle of wine and smash at
:20:49. > :20:54.the greatest take you have ever heard. We wake up the next morning
:20:55. > :21:03.and think, Diaz done this amazing thing. We have two follow that. Will
:21:04. > :21:05.you be going on tour with this? Yes. It is an extraordinary
:21:06. > :21:12.collaboration. We will hear more Later.
:21:13. > :21:18.APPLAUSE. Thank you Marcus Mumford, Baaba Maal and Matt from Beatenberg.
:21:19. > :21:28.We sauntered to this side of the studio to enjoy Son Little.
:21:29. > :21:50.# For once, baby, won't you lay, lay down
:21:51. > :22:23.# Let me, let me ease your worried mind
:22:24. > :22:38.# Let's not waste anymore of our precious time
:22:39. > :23:01.# For once, baby, won't you lay, lay down
:23:02. > :23:22.# Let your hair down and pull the curtain
:23:23. > :23:32.# Let me see, let me see you in the light
:23:33. > :23:38.# Just lay down, mere words are worthless
:23:39. > :23:47.# Let me hold, let me hold you through the night
:23:48. > :23:52.# Said, baby, won't you lay, lay down
:23:53. > :24:08.# For once, baby, won't you lay, lay down
:24:09. > :24:23.# Said, baby, won't you lay, lay down
:24:24. > :24:43.# For once, baby, won't you lay, lay down
:24:44. > :25:04.# Let the others run, run, run, run, run around.#
:25:05. > :25:06.# Said, baby, won't you lay, lay down
:25:07. > :25:15.# For once, baby, won't you lay, lay down
:25:16. > :25:59.# Let the others run, run, run, run, run around.#
:26:00. > :26:28.# My downtown head and high-rise eyes
:26:29. > :26:56.# Does it matter my heart is so suddenly useless?
:26:57. > :27:52.# With your down-hold heart and skirt undone
:27:53. > :27:59.# Stand by the man that you call home
:28:00. > :28:13.# Does it matter my heart is so suddenly useless?
:28:14. > :28:33.# Usandiyese, usanditole, ooh usandinyoze
:28:34. > :28:39.# Usandiyese, usanditole, ooh usandinyoze
:28:40. > :28:46.# Usandiyese, usanditole, ooh usandinyoze
:28:47. > :28:52.# Usandiyese, usanditole, ooh usandinyoze
:28:53. > :29:38.The Very Best, Beatenberg, Mumford and Sons. Before that, we enjoyed
:29:39. > :29:43.Son Little. Now, an amazing artist who often will go around collecting
:29:44. > :29:47.folk songs from all over the strangest and most wonderful places.
:29:48. > :29:52.He has returned triumphant from the radio to folk awards. We welcome Sam
:29:53. > :29:57.Lee! From the radio 2 folk awards. # Where the Mavis
:29:58. > :31:56.and the turtle doves # Where the Mavis
:31:57. > :33:55.and the turtle doves # When the Mavis
:33:56. > :39:01.and the turtle doves # By royal decree, listen to me
:39:02. > :39:15.# Rest here in my garden # Rest here in my garden
:39:16. > :39:35.# Rest here in my garden will. Without question one of the greatest
:39:36. > :39:44.voices of the 21st century, Gregory Porter! The song, Take Me To The
:39:45. > :39:52.Alley. Before that, we enjoy Sam Lee. Great to have you here. He was
:39:53. > :40:01.great, wasn't he? That music, how old was that song? Hundreds. What
:40:02. > :40:06.period? We think 400, 500 years. That is properly doing an old song.
:40:07. > :40:11.You collect old songs and you have gone and listened to birdsong. Is
:40:12. > :40:16.that what you do in the woods? This time of year, for at least six
:40:17. > :40:21.weeks, the nightingales singing in the south, and I spent many nights
:40:22. > :40:25.singing with them and inviting guest musicians to come with a very small
:40:26. > :40:33.audience. This is right up my street. In your piano! Sing with the
:40:34. > :40:38.birds, it works, you have to wait and leave a space. Thank you for
:40:39. > :40:44.joining us, Sam Lee, one of the great new voices of British folk
:40:45. > :40:50.music. A great collector of songs. Lovely, diverse show this evening.
:40:51. > :40:57.We welcome back, from France, the marvellous Christine and the Queens.
:40:58. > :41:05.# I lost my voice, I think I'm cursed
:41:06. > :41:17.# So that your eyes could get brighter
:41:18. > :41:25.# I'll share it with the wind I tamed
:41:26. > :41:59.# Narcissus is back from under water and kisses his lips again
:42:00. > :42:14.# And has his whole lips to drink
:42:15. > :42:34.# The water, water is so cold
:42:35. > :42:46.# Now watch, here's everything you miss
:42:47. > :43:44.# And has his whole lips to drink
:43:45. > :44:37.APPLAUSE. Christine and The Queens. Now a wonderful new artist from
:44:38. > :44:48.Philadelphia, it is Son Little. # When my heart aches I'm
:44:49. > :44:56.drowning, pain won't go away # And in my cups brown
:44:57. > :45:02.fills my brain, won't go away # These five yellow girls
:45:03. > :45:08.all on parade asphyxiate # Still stuck in a cage tryna
:45:09. > :45:16.ply my trade, won't go away # And I'm afraid your
:45:17. > :45:23.love will blow me away # Am I dumb, all cos
:45:24. > :45:28.I numb the pain? # When shadows creep
:45:29. > :45:43.across my floor, won't go away # You've had enough but still want
:45:44. > :45:49.more, won't go away # My engine gunning thunderbirds
:45:50. > :45:56.Asphalt wanna race? # Still trapped in a box tryna
:45:57. > :46:00.clear my name, won't go away # And I'm afraid, your
:46:01. > :46:09.love will blow me away # Am I done, all cos
:46:10. > :46:16.I numb the pain? # This Afghan kush we're
:46:17. > :46:42.bubbling won't burn away # My moon, my queen been gone
:46:43. > :46:48.since May, so I lie awake # My easy death in ecstasy,
:46:49. > :46:57.my hands still shake # When my heart aches I'm
:46:58. > :47:04.drowning pain, won't go away # And I'm afraid your
:47:05. > :47:11.love will blow me away # Am I done, all cos
:47:12. > :47:17.I numb the pain? # And I'm afraid your
:47:18. > :47:25.love will blow me away # Am I done, all cos
:47:26. > :47:32.I numb the pain? # "Hey, it's time
:47:33. > :47:59.to get smart" # If you could only
:48:00. > :48:08.last for the night # Why don't you get to bed
:48:09. > :49:04.like everybody else? # (Shh!)
:49:05. > :49:07.# You asked me # And I can take
:49:08. > :49:17.what's coming to me" # But, "We're
:49:18. > :49:24.all getting on # And something's
:49:25. > :49:32.going to get us before too long" # Nooooo
:49:33. > :49:56.# The noisy days are over # Why don't you get to bed
:49:57. > :50:09.like everybody else? # The noisy days are over
:50:10. > :50:17.# And here we are instead # Why don't you take
:50:18. > :51:49.the break like everybody APPLAUSE.
:51:50. > :51:55.Field Music. From there new album. Before that we enjoyed Son Little.
:51:56. > :52:04.But now I am going to talk to the man with the great talent. Gregory
:52:05. > :52:13.Porter! You are sounding great. For your opening track, take me to the
:52:14. > :52:22.alley, what inspired that song? My mother and my hair energy. -- her
:52:23. > :52:27.energy. We would drive around the streets and look for people in need,
:52:28. > :52:31.hungry people, people addicted to something, she would take them, try
:52:32. > :52:38.to elevate them and bring them up. Her energy stays with me while I am
:52:39. > :52:44.writing. I spoke to the other day. You said you had just got out of the
:52:45. > :52:50.Jacuzzi. I said, James Bond lifestyle. You said, not really, my
:52:51. > :52:55.three-year-old son is on my head! Yes, it is cool having my family
:52:56. > :53:00.with me on tour. My son's energy and inspiration is definitely in the
:53:01. > :53:11.music. We wrote a song together. What inspired you? What I do with my
:53:12. > :53:14.writing. A little bit of old and something new. Sweet country love
:53:15. > :53:42.song. You know what I mean? # Sweet country love song.
:53:43. > :53:55.# From you to me. # Sweet country love song.
:53:56. > :54:07.# A soothing melody. # From your country love song.
:54:08. > :54:23.From you to me. # I've got that old feeling.
:54:24. > :54:31.# Staring inside. # It comes with the music.
:54:32. > :54:48.# And it fills me with pride. # From your sweet country love song.
:54:49. > :55:00.# From you to me. # Won't somebody need me.
:55:01. > :55:13.# Damn that old country road. # I want to go back.
:55:14. > :55:29.# To the stories of old. # Stories of love.
:55:30. > :55:45.# That bring me to sing. # Souls of friendship.
:55:46. > :55:59.# I hear the voices. # Calling me.
:56:00. > :56:10.# Oh and music. # Of your sweet melody.
:56:11. > :56:39.# From your sweet country love song. # From you to me. As to. -- #.
:56:40. > :56:57.The wonderful Gregory Porter! Sadly we have come to the end of the show.
:56:58. > :57:00.We can hear one more number with Beatenberg, The Very Best, Baaba
:57:01. > :57:25.Maal with Mumford Sons. # I don't want to turn away this
:57:26. > :57:28.time. # Why don't you take
:57:29. > :57:30.a different line # You don't have to
:57:31. > :57:36.suffer for your art # You don't want to
:57:37. > :57:40.vivisect your heart # But I won't deny
:57:41. > :58:15.I love you helpless # You don't want to say
:58:16. > :58:37.what you don't mean # You still want to play the silver
:58:38. > :58:40.screen. # You cast your
:58:41. > :58:43.shadows on the screen # You don't want to sing
:58:44. > :58:46.what you can't sing # No, that's quite
:58:47. > :58:54.a hard game to play # Where there is
:58:55. > :59:00.a will there is a way # In the donning light I saw you
:59:01. > :59:09.breaking. # But I won't deny
:59:10. > :59:35.I love you helpless # In the dawning
:59:36. > :00:05.light, I saw you pray # But I won't deny
:00:06. > :00:46.I love you helpless Mumford Sons, bubbly mall, The
:00:47. > :00:55.Very Best and Beatenberg. -- Baaba Maal. If you go to the BBC website,
:00:56. > :01:00.it is a week since we lost Prince. There are a load of Prince covers on
:01:01. > :01:04.the BBC. We are back on Tuesday with guests including Beverley Knight.
:01:05. > :01:14.Can we have a little bit of that page?
:01:15. > :01:23.-- beat. Thank you for joining us. Thank you to Gregory Porter! Thank
:01:24. > :01:33.you Field Music. Thank you Son Little. Thank you Sam
:01:34. > :01:44.Lee. Thank you Christine and The Queens.
:01:45. > :01:46.Thank you Mumford Sons, bubbly mall, Beatenberg in The Very Best.
:01:47. > :01:52.-- Baaba Maal. One, two... I've got a track, actually,
:01:53. > :01:55.stuck in me head.