All language subtitles for BBC Amy Winehouse The Day She Came to Dingle Hdtv

# I go back to black

# Black

# Black

# Black

# Black

# Black

# Black

# I go back to

# I go back to

# We only said goodbye with words

# I died a hundred times

# You go back to her

# And I, I...

# We only said goodbye with words

# I died a hundred times

# You go back to her

# And I go back...

# To black. #

APPLAUSE AND CHEERING

Thank you.

This programme contains some strong language.

Five years ago, Amy Winehouse went to Dingle -

the westernmost town on the coast of County Kerry.

She had accepted an invitation to appear

at one of the world's most exclusive music festivals.

The Dingle Festival, set in a tiny church in the middle of the town,

provides the raw material for the Irish TV series, Other Voices.

Everyone who plays there wants to come back.

CHEERING AND APPLAUSE

Amy Winehouse arrived on a wild, stormy night,

ready to sing, and ready to talk, especially about her musical heroes.

Arena pays tribute to Other Voices, and together they joined forces

to present the whole of that performance,

and allow Amy Winehouse to tell the story of her music in her own words.

Amy appeared in the fifth series of Other Voices,

which we film every winter, here in Dingle.

As the crow flies, Dingle is about the same distance from London

as, say, Aberdeen.

But you can't get to Dingle by crow.

Whether you start your journey by plane, or by train,

you finish it by automobile, weather permitting.

You just don't go to Dingle by accident, it takes a commitment.

A commitment musicians have been making to Other Voices

for ten years now.

A commitment Amy made back in 2006.

The truth is, there's something very, very special about Dingle,

and there's something quite unique about Other Voices.

'Other Voices was never planned - it did just happen.

'Here, there are conditions that are special,

'and that are very conducive to great music.'

It's peripheral - people feel safe here.

Artists sense something here.

Over the years,

as we've asked people to come,

some say no, but many say yes.

And if you go down through the lists

of people who have come -

Irish artists, who begin their careers here,

great artists from all the world around,

whether it's The National,

whether it's Rufus Wainwright, his sister, Martha,

Ray Davies, Ryan Adams.

All these people come, and something special happens.

But something really special happened the day Amy came to Dingle.

MUSIC: "Another Green World" by Brian Eno

PARED DOWN INTRO TO "Back To Black"

It started off bit-by-bit. Not with rock concerts,

but there was a parishioner here, Steve Coulter -

he noticed that the church was only being used one day of the week,

and said, "This is a pity. I can do something for all the tourists

"visiting Dingle".

He was looking for a place to have music, that wasn't a pub.

So he started folk concerts here,

with the permission of the Select Vestry, the parish council,

to help him in his work,

but also to help the parish do a bit of fundraising.

The parish here would have been very badly hit over the years

with emigration,

It would have once been a thriving parish

Now, it's quite small in numbers,

so it's difficult for a small congregation

to keep a building like this up and running.

From that, somebody had the idea,

"Maybe if there are folk concerts here, we can have other things".

So Philip King approached Steve,

and they approached the Select Vestry

with the idea of maybe bringing other musicians in,

for wider variety.

Look at where we are. We're at the edge of the known world,

as it was, before we found out it was round.

We used to think that if you stood at the edge of the Dingle Peninsula

and looked west, and walked out there, you would fall off.

We were at the edge of the known world.

There is something about places that are at the edge.

Artists sense something when they come here,

of that I have no doubt,

and they make an effort to come,

and there's something in the effort of getting here

that makes the way that they perform different,

because the budget isn't big -

the production doesn't have

all of the clipboard people running around,

wondering if everything is all right.

There is something communal and collegiate about the place,

and people come here.

It's real, and they're cherished,

and they take to the stage,

and sometimes I think that when people go on stage in the church

they are a little bit wary of it, or almost put off by it,

or find it very difficult.

If you are Snow Patrol and you played to 40,000 people last night,

and you play to 80 people tonight,

you're smack up against it.

You're sitting in the lap of the person in the front row.

So this is different - it is a different experience.

It was a bad evening, a terrible evening - very wet, windy and wet,

actually very windy and wet.

They gave me a name, but I hadn't a clue from Adam

who the lady was - not a clue, just got the name.

I remember going up to the airport, and writing it out

at the information desk,

getting the paper thing and writing her name on it,

and standing there with it.

I didn't have a clue who Amy Winehouse was.

I know the flight was late, and I was waiting there for a while,

and this girl came along, and a man with her,

and I was looking out for more people,

and I said to her, "Where's your mother?"

She said, "My mother's back in London".

She was laughing, and we were laughing in-between her.

I thought she was a child of Amy Winehouse's, to tell you the truth.

My first reaction of seeing her was that she was a child!

I remember it being a very long day,

getting here, and then going to the hotel to get ready,

and then coming to do the performance,

and then going straight back to the airport.

- And it was so long, it was a blur.
- HE LAUGHS

- Can I stick my phone in there?
- Sure - by all means.

We had a great time - we always did.

She loved coming to Ireland, actually.

We'd been a few times...

..and she always enjoyed herself a lot.

APPLAUSE AND CHEERING

The label - Chantal - was texting me,

"Is she there? Is she OK? Who's arrived, who's picked her up?

"Is everything OK?"

And I was like, "Everything is wonderful".

She marched up the stairs in Benners, into her room, and says,

"Can you give me a hand?" I said, "What?" and she said,

"Will you hold my hair while I backcomb it?"

I was like, "OK". I'm holding the back of her hair

and she's backcombing the front, and I was like,

"Can I get you something to eat?" She was like, "No, no, no -

"I'm late. I'm sure you're way behind schedule

"We've got work to do".

We are delighted to have here tonight Amy Winehouse.

CHEERING AND APPLAUSE

# All I can ever be to you is the darkness that we knew

# And this regret I got accustomed to

# Once it was so right When we were at our height

# Waiting for you in the hotel at night

# I knew I hadn't met my match But every moment we could snatch

# I don't know why I got so attached

# It's my responsibility You don't owe nothing to me

# But to walk away I have no capacity

# He walks away, the sun goes down

# He takes the day, but I'm grown

# And in your way

# In this blue shade

# My tears dry on their own

# I don't understand Why do I stress a man

# When there's so many bigger things ahead?

# We could have never had it all We had to hit a wall

# So this is inevitable withdrawal

# Even if I stop wanting you And perspective pushes through

# I'll be some next man's other woman soon

# I cannot play myself again I should just be my own best friend

# Not fuck myself in the head with stupid men

# He walks away, the sun goes down

# He takes the day, but I am grown

# And in your way In this blue shade

# My tears dry on their own

# So we are history Your shadow covers me

# The sky above ablaze

# He walks away, the sun goes down

# He takes the day, but I am grown

# And in your way In this blue shade

# My tears dry on...

# I wish I could say, "No regrets" No emotional debts

# Boy, as we kiss goodbye The sun sets

# So we are history

# Your shadow covers me

# The sky above ablaze That only lovers see

# He walks away The sun goes down

# He takes the day, but I am grown

# And in your way In this blue shade

# My tears dry on...

# He walks away, the sun goes down

# He takes the day, but I am grown

# And in your way In this blue shade

# My tears dry on their own

# He walks away, the sun goes down

# He takes the day, but I am grown

# And in your way In this blue shade

# My tears dry on their own. #

Thank you.

APPLAUSE AND CHEERING

Amy, you've just done a set which is clearly

"Amy Winehouse - soul singer".

We don't get to hear that kind of music in real life often,

but we do hear it on record.

Presumably, you heard this kind of music first on record, as well?

- Yes.
- So who was it?

When I was younger, I didn't really listen to a lot of soul,

but in the last year I got very into Motown girl groups,

and that kind of thing.

- Just in the last year?
- Yeah - two, maybe... Year-and-a-half.

It seems like it's in your bones.

Yeah, I liked Otis Redding when I was younger.

Well, I've liked Otis Redding from when I was about 14 or 15,

but I listened to hip-hop and jazz for so many years

that it took me a while to...

That's pretty much it...

Soul comes in the middle -

it goes jazz, soul, Motown, then hip-hop.

You know,

obviously, I've gone in the middle of them two.

Just recently, I've been listening to a lot of gospel singers

like Mahalia Jackson and Aretha Franklin.

I love gospel singers, cos gospel is so truthful.

There's nothing... I'm not religious,

but there's nothing more pure than the relationship you have

with your God or what you believe in, your faith -

there's nothing stronger than that, apart from your love of music.

Gospel to me is very inspirational.

MUSIC: "Didn't It Rain" by Mahalia Jackson

VINYL CRACKLES

# My Lord, Oh Lord

# Mm, my Lord

# Rained 40 days and 40 nights without stopping

# Noah was glad when the rain stopped dropping

# Knock at the window Knock at the door

# Crying, "Brother Noah Can't you take on more?"

# No, I can't, no You're full of sin

# Lord's got the key and you can't get in

# Just listen, how sweet

# Just listen, how sweet

# All day, all night

# All night, all day

# Just listen, how it's raining

# Just listen, how it's raining

# Some crying, some praying

# Some running, some shouting

# Just listen, how it's raining

# Didn't it rain, children? Rain all night long

# Didn't it, didn't it, didn't it?

# Oh, my Lord

# Didn't it rain?

# Mmmm... #

It's our musicians and our artists

who are the prophets of today,

because a prophet,

biblically speaking, isn't a fortune teller.

A prophet is somebody

who tells it how it is, who can hopefully see things

the way God sees things -

so tell you how things really are, as opposed to the way

that people might think they are.

When you have people singing rock'n'roll songs, pop songs,

or whatever that is, that gives you a window into where society is.

The musicians don't create that, they just reflect it.

Sometimes you do get people writing

really insightful, beautiful pieces that they've brought here...

and it does feel nearly like, erm...

..an act of praise or an act of worship

to have them performed in this space.

This is the next single - this is out January 15th.

This is called I'm No Good.

BASS GUITAR

# Meet you downstairs in the bar and heard

# Your rolled-up sleeves and your skull T-shirt

# You say, "What did you do with him today?"

# And sniff me out like I was Tanqueray

# Cos you're my fellow, my guy

# Hand me your Stella and fly

# By the time I'm out the door

# You tear me down like Roger Moore

# I cheated myself

# Like I knew I would

# I told you I was trouble

# Yeah, you know that I'm no good

# Upstairs in bed with my ex-boy

# He's in the place But I can't get joy

# Thinking of you in the final throes

# This is where my buzzer blows

# Run out to meet you

# Chips in pitta

# You say, "When we're we married" Cos you're not bitter

# "There'll be none of him, no more"

# I cry for you on the kitchen floor

# I cheated myself

# Like I knew I would

# I told you I was trouble

# Yeah, you know that I'm no good

# Sweet reunion, Jamaica and Spain

# We're like how we were again

# I'm in the tub, and you on the seat

# Lick your lips as I soak my feet

# Then you notice little carpet burn

# My stomach drops, and my guts churn

# You shrug, and it's the worst

# Who truly stuck the knife in first?

# I cheated myself

# Like I knew I would

# I told you I was trouble

# Yeah, you know that I'm no good

# I cheated myself

# Like I knew I would

# I told you I was trouble

# Yeah, you know that I'm no good. #

GUITAR SOLO

APPLAUSE AND CHEERING

Thank you.

When you're a singer,

and you haven't heard someone like Mahalia Jackson

until later in life, that must make you reassess yourself as a singer.

You just kind of... There are a lot of singers who, if you are singing,

and you don't know certain people's work intimately, you give up.

Like Sarah Vaughan, Minnie Riperton is another singer like that.

Mahalia Jackson, Dinah Washington.

Kim Burrell is another one.

To see... For live performances, you have to see Carleen Anderson

at least three times in your life - you have to.

She's someone who I would sit around the venue all day

just to hear her sound check, all day.

She did a version of Don't Look Back in Anger,

and I was just crying. Oh!

# Take me to the place where you go

# Where nobody knows

# If it's night or day

# And please don't put your life in the hands

# Of a rock'n'roll band

# And throw it all away

# So I'll start a revolution from my bed

# Cos you said the brains I had weren't in my head

# Step outside, the summertime's in bloom

# Stand up beside the fireplace

# And take that look from off your face

# Cos you ain't ever

# Gonna burn my heart out

# All I do is wait

# I know it's too late

# As they're walking on by. #

These are very inspirational people,

but they're also very hard to emulate,

because they're so extraordinary, some of these people you talk about.

I admire both dex...

What's that word? Dexterity,

but also the way they stand out.

You know, you can't...

They're very...

Singers like Ella Fitzgerald,

I always say she was one of the greatest singers of all time.

She knew how to carry a tune. To me, really, she doesn't stand out.

She just sounded like a lot of other people. You can hear her, and go,

"That's Ella Fitzgerald". But it's not like she stood out.

Would you prefer Sarah Vaughan to Ella Fitzgerald?

Easily. Sarah Vaughan is one of my favourite singers of all time.

Sarah Vaughan was an instrument.

I've heard her on record humming - she does like, a humming solo.

She sounds like a reed instrument, a clarinet, or something. It's mad.

# ..is sentimental

# Not made

# Not made of wood

# I got it bad

# I got it bad

# I got it bad

# And that ain't good

# But when the weekend's over

# And Monday rolls around

# I end up like I started

# Just crying

# My poor heart out

# Lord, lord, lord, lord above me

# Make him love me

# The way he should

# I got it bad

# And that ain't good. #

When you started to sing, first of all,

was it singers like Sarah Vaughan you were trying to copy, or be?

No, I think I came to Sarah Vaughan a lot later, I was about 18.

But I'd started listening to Ella Fitzgerald,

then I was, like, my brother had all the good stuff, and my brother was like,

"Tsk-tsk, Dinah Washington".

I learnt to sing from Dinah Washington a lot.

But I learnt to sing from stuff like Monk, and a lot of soloists.

That's how I learned to sing, rather than just listening to singers.

Because I loved jazz - it wasn't really the vocal jazz,

I just loved jazz, so I learnt from everything, really.

And when you started to perform as a jazz singer,

what was the set-up?

Were you part of a band - were you invited to sit in with people?

I think I did one gig as a jazz singer

for the National Youth Jazz Orchestra,

which everyone has come through,

comes through or goes through at some point.

That was my first and last gig,

cos after that, my manager came to that gig and said,

"I'll give you loads of studio time - just go in and play guitar,

"and write songs". I was like, "Thanks, why?"

And he was like, "You're going to make an album,

"and then I'm going to get you signed and everything".

And I was like, "Really?"

It was cool.

But I did a lot of... I still did,

up until a couple of months ago,

I'd do a massive opening for a casino.

I'd go out with just my piano player, and we'd do jazz all night.

Or sometimes we'd get these Russian bankers

that really like me cos I'm Russian Jew.

They always book me if they're in town and we do jazz for them.

We don't do my stuff.

So I still sing jazz, but I do it in a duo context.

# For you, I was a flame

# Love is a losing game

# Five-storey fire as you came

# Love

# Is a losing game

# One I wish I'd never played

# Oh

# What a mess we made

# And now, the final frame

# Love

# Is a losing game

# Played out by the band

# Love is a losing hand

# And it was more than I could stand

# Love is a losing hand

# Self-professed, profound

# Till the chips were down

# Though you're a gambling man

# Love is a losing hand

# Though I battle blind

# Love is a fate resigned

# And my memories

# They mark my mind

# Love is a fate resigned

# Oh-ho-oh-oh

# Over futile odds

# And laughed at by the gods

# Now the final frame

# Love

# Is a losing game. #

Thank you. APPLAUSE AND CHEERING

The whole jazz thing has gone a bit strange,

because anybody who sings any kind of acoustic folk, even,

is called a "jazz singer".

Yet you grew up singing the real stuff.

- You were into Monk, and all of that.
- Yeah.

Is there a good jazz scene in England at the moment in London?

Yes, there is - not in London, necessarily,

but we have Dune Records.

My guitarist actually plays for them,

it's not really their house band, but they have a band.

There's a band signed to Dune Records called Jazz Jamaica -

they're amazing.

Saw them at Brecon.

It was a massive auditorium, and they were on quite early in the day,

cos not a lot of people know who they are.

We sat at the back of the auditorium, expecting it to fill up,

and there was probably about 30 people in there.

When I say "massive", I mean the size of 1,000-capacity,

and we were practically alone, it was amazing.

They were so cool.

Their stuff is literally like ska jazz, and they're wicked.

Then there's members of that...

Denys Baptiste is in there, and there's Abraham Wilson,

who's a great trumpet player - he's doing his own thing.

But I think my favourite jazz artist in England

is definitely Soweto Kinch.

- He's great.
- I love Soweto. I melt every time I see him.

I'm like, "Hi, have you still got a girlfriend?"

And he's like, "I'll chuck her for you".

The mission to excel is a solitary one.

Hours of dedicated practice every day,

for little or no financial reward.

Milkmen and paperboys have long finished their rounds,

schoolchildren are on their way,

and the ordinary bustle goes on around.

The jazz musician's quest goes on regardless

in this unlikely setting.

High above the drudgery of routine,

trying to climb the stratosphere,

and be heard.

Were you also listening - I presume you were, when you were at school,

all girls together - listening to Top of the Pops

and regular pop music, as well?

Yeah. When I was very young, only when I was very young.

I watched Top of the Pops because you do watch Top of the Pops,

until you're old enough to go out on a Friday night -

is it Friday night?

It was Thursday, I don't know when it is now.

- I don't even think there is Top of the Pops any more.
- No, there isn't!

But, um...

But I loved Kylie when I was about six.

Then, when I was... Yeah, I loved Kylie when I was about six,

then Madonna. I graduated to the church of Madonna.

I converted to the church of Madonna. I loved Madonna so much.

And, um...

And when I was ten, I got wind of Salt'n'Pepa, and my life changed.

- What A Man.
- Completely, my life changed -

and from then on it was like R&B only from about ten.

Then, when I was about 14, jazz.

MUSIC: "Rhythm-a-ning" by Thelonious Monk

She was heavily influenced with Thelonious Monk

and I'd spend time in the evenings with her, listening to Monk,

and her following everything note for note.

It was amazing, really, because it's such heavy music, anyway.

Yeah, she was very much into instrumentation

as well as the voice, really,

and it came out when she'd sing.

She had that ability to improvise phrases,

and her rhythm was phenomenal,

so she could just literally manipulate it

in the way she wanted to,

and every night when we'd go on stage,

she could sing the same song, but different every night

and she'd give her all.

Did you have help in finding this stuff?

Did your parents have these records, or did you have to look for them?

No, my brother had everything - all the R&B

and all that stuff that I came to, it was called "swing" at the time.

Stuff like that, I would buy.

At the time my brother was listening to a lot of,

like, Sonic Youth, and Pearl Jam and Therapy?,

"I-want-to-die" bands,

and I had a very brief flirtation with that,

but I must have been literally, like I said, nine,

and then I discovered Salt'n'Pepa and I was like,

"I've got my music now".

He started listening to jazz when he was about 18,

and I was 14, and I just remember the first time I ever heard

Round Midnight, through the wall.

I was just like...

- Was it Monk or Miles playing it?
- Monk.

I was just like, "What is that?!"

I'll never forget that.

Yeah, I still remember hearing it.

Ella sings it, too - a great version of it.

Oh, really? Oh, yeah - of course.

I remember the first time I heard Ray Charles, ever.

It was Unchain My Heart.

And, um... Yeah, it was Unchain My Heart.

I remember walking into my brother's room,

and I opened the door... I always used to knock -

I opened the door and I was just like that...

and he goes "What?"

He looked at me like I was about to go, "Mum's dead",

or something like that. Touch wood.

He goes, "What's wrong?" I went, "Who is this?"

And he went, "It's Ray Charles." I was like, "(Ray Charles)".

From then on, I think I just listened to Ray Charles

for three months, exclusively. I was just like, "(Oh, my God)"

- # Unchain my heart
- Unchain my heart

- # Baby, let me go
- Unchain my heart

- # Unchain my heart
- Unchain my heart

- # Cos you don't love me no more
- Unchain my heart

# Every time I call you on the phone

# Some fella tells me that you're not at home

# So unchain my heart Oh, please, set me free. #

99% of all the songs, I start with the lyrics.

The lyrics must tell me a nice story - I must get some feeling.

It must be some kind of way

I can identify with that song,

and then it's like being a good actor or actress -

how you do a part on the stage where people become so involved with you,

they forget that you're just playing a part that somebody written,

and they getting mad at you,

or if you're funny, they laugh.

It's that kind of a thing.

If it's sad, they'll cry - because you do what you're doing

so well that you get the people involved

in the feeling of what you're doing.

And it's the same thing with singing a song,

and that's what I try to do.

I find songs that I feel I put myself into, and make you believe

in what I am singing about must have happened to me,

and you too, maybe.

She talked about music in a really beautiful way -

in a way that a real singer does.

And there's something about singers.

Um...

They're sort of...

They're odd - they carry songs with them.

How many songs is any singer singing at one time?

How many songs are in a singer's head, for example?

If you talk to a great jazz singer they'll say,

"I know 500 songs, but I'm singing 30 of them at the minute".

With Amy, even one so young,

who was only 22, on the edge of what became a truly brilliant career...

..that ended in tragedy.

When she was here, I felt she was really happy in some way.

That she...

Certainly, the way that she sang that night, she sang the blues away,

if you know what I mean.

She used her gift

to still her trembling soul.

She used her gift as a way to explain herself to herself,

to entertain people, sure.

But to sing the blues, and to give herself some relief.

INTRO: "Back To Black"

# He left no time to regret

# Kept his dick wet

# With his same old safe bet

# Me

# And my head high

# And my tears dry

# Get on without my guy

# You went back to what you know

# So far removed

# From all that we went through

# And I tread a troubled track

# My odds are stacked

# I'll go back to black

# We only said goodbye with words

# I died a hundred times

# You go back to her

# And I go back to...

# I go back to us

# I love you much

# It's not enough

# You love blow and I love puff

# And life, life is like a pipe

# And I'm a tiny penny

# Rolling up the walls inside

# We only said goodbye with words

# I died a hundred times

# You go back to her

# And I go back to...

# We only said goodbye with words

# I died a hundred times

# You go back to her

# And I go back to...

# I go back to...

# Black

# Black

# Black

# Black

# Black

# Black

# Black

# I go back to...

# I go back to...

# We only said goodbye with words

# I died a hundred times

# You go back to her

# And I...

# I

# We only said goodbye with words

# I died a hundred times

# You go back to her

# And I go back

# To black. #

APPLAUSE

Thank you.

The reference points on the new album, however,

in terms of soul music,

very often they're on the pop/soul end of things,

the girl groups, the Shangri-Las and those sorts of people.

What appeals to you in those groups, because they are so...some of them,

over the top, you know, melodrama by the bucket load?

Yeah, I love the drama, I love the atmosphere, I love the sound effects.

People will know Leader Of The Pack and things like that,

but there's so many of them, Sophisticated Boom Boom...

Yeah, and they write the most depressing songs ever

like I Can Never Go Home Any More.

When me and my boyfriend finished,

I used to listen to that song on repeat.

I listened to that song for two weeks just sitting on my kitchen floor,

with a bottle of Jack Daniels,

drinking the Jack Daniels and pass out, wake up and just do it again.

My flatmate used to come in, leave me bags of KFC and just leave.

She'd come in and see me,

and be like, "There's your dinner, I'm going out."

Listening to I Can Never Go Home Anymore...

Yeah. On repeat, like that.

# I'm gonna hide if she don't leave me alone

That's the saddest song in the world,

that is the most depressing song. It's like, "Mum, I'm in love."

She's like, "You're too young, you can't be."

"Well, Mum, I'm leaving." First of all she's like,

"I've got nothing in my life, I just go to school." And then, a miracle.

- The angels came.
- A boy. Her mum dies of grief because she never goes home.

And when she leaves home, she's like, "I don't love him anyway."

It's like, so depressing.

What's that line? "The angels came and took her for a friend."

Yeah, "She grew so lonely in the end,

"that the angels took her for their friend

"and I can never go home anymore and that's sad."

# Never

# Go home anymore... #

There is this sense in our culture of the suffering artist

or that art come out of a sense of things not being right.

And it's that struggle, the struggle of suffering,

or people being really extreme

and being on the edge

and that is where great art comes from,

and with Amy there is this sense that, yes,

there was this wonderful art, this wonderful music that came out

and to a certain extent came out from her living a life on the edge

but I think there is sort of, like a category mistake.

It's not, it doesn't have to stay on the edge, you know,

it's maybe the great art comes out of the resolution between

being on the edge and then coming to a comfortable, safe place.

Sort of a more whole place for a person.

I find that any time I listen to any of Amy's music,

it is tinged with that touch of sadness -

that she never got the resolution, it seems so very tragic.

This is my first single. Before I go on,

I'd like to introduce my band to you.

We've got Robin Banerjee on the guitar.

And Dale Davis on the bass.

APPLAUSE AND CHEERING

He's got his on fan club, you know.

All right, this is called Rehab.

You boys going to count me in?

One, two, one, two, three.

# They tried to make me go to rehab

# I said no, no, no

# Yes, I've been black But when I come back

# You'll know, know, know

# I ain't got the time

# And if my daddy thinks I'm fine

# Just try to make me go to rehab

# I won't go, go, go

# I'd rather be

# At home with Ray

# I ain't got 70 days

# Cos there's nothing

# There's nothing you can teach me

# That I can't learn

# From Mr Hathaway

# I didn't get a lot in class

# But I know it don't come

# In a shot glass

# They tried to make me go to rehab

# I said no, no, no

# Yes, I been black

# But when I come back you'll know, know, know

# I ain't got the time

# And if my daddy thinks I'm fine

# Just try to make me go to rehab

# I won't go, go, go

# The man said "Why you think you here?"

# I said, "I got no idea"

# I said, "I'm gonna, I'm gonna lose my baby

# "So I always keep a bottle near here"

# He said

# "I just think you're depressed"

# Just me

# Yeah, baby

# And the rest

# They tried to make me go to rehab

# I said no, no, no

# Yes, I've been black

# But when I come back

# You'll know, know, know

# I don't never want to drink again

# I just

# I just need a friend

# I'm not going to spend ten weeks

# Have everyone think

# I'm on the mend

# It's not just my pride

# It's just till

# These tears have dried

# They tried to make me go to rehab

# I said no, no, no

# Yes, I've been black but when I come back

# You'll know, know, know

# I ain't got the time

# And if my daddy thinks I'm fine

# Just try to make me go to rehab

# I won't go, go, go. #

APPLAUSE

Thank you very much.

In any sense was this album, in any way at all,

moving you away from the jazz tag,

- did you want to get away from that at all?
- No. Not at all.

I'm a jazz singer. I can do jazz,

I can do hip-hop and I was just not listening to that any more.

And what I listen to influences what I write. Very much so.

I'm going to do my third album now,

just get it out...not get it out the way, not like, knock it out.

I'm just gonna...

I'm just... I'm just taking every opportunity.

Like, I've got two week off over Christmas, I'm going to work.

I'm not going to sit around and eat chocolates and drink brandy,

I'm not going to do stuff like that.

I'm going to have Christmas Eve with my boyfriend,

I'm going to break him into Christmas.

We're going to watch Bad Santa, Elf and It's A Wonderful Life,

I'm going to cook dinner, and if he doesn't cry, I'm going to leave him.

- If that doesn't work, get rid of him.
- I'm going to leave him!

Bad Santa, Elf, It's A Wonderful Life

and then me packing my bags. Literally.

And then Christmas Day at my mum's, at my auntie's,

Boxing Day at his mum's and then back to work.

It was literally a few week after the album took off in America

and she'd won loads of awards and then that was it, you know.

We just went off and promoted the record

and I think the demand for her was so great then

that she probably didn't have a chance

to sit down and write that next album, really.

She burnt so brightly, you know.

I have no idea what to do now.

What?

- 'Do you miss her?
- Absolutely, I think about her.

'When she was alive I used to think about her all the time, every day,

'and now she's gone, you know, I always think about her.

'It's a big loss.

'It's life but it's a big loss, you know, really.'

Yeah, OK. This is called Me And Mr Jones.

I don't need the pre-chord! Thank you.

# Nobody stands in between me and my man

# It's me and Mr Jones

# What kind of fuckery is this?

# You made me miss the Slick Rick gig

# You thought I didn't love you when I did

# Can't believe you played me out like that

# No, you ain't worth guest list

# Plus one of all them girls you kissed

# You can't keep lying to yourself like this

# Can't believe you played yourself

# Like this

# Slick Rick's one thing

# But come Brixton

# Nobody stands in between me and my man

# Cos it's me and Mr Jones

# Me and Mr Jones

# What kind of fuckery are we?

# Nowadays you don't mean dick to me

# But I might let you make it up to me

# Yeah, yeah, baby

# Who's playing Saturday?

# What kind of fuckery are you?

# 'Side from Sammy You're my best black Jew

# I thought I could swear that we were through

# I still wonder 'bout the things you do

# Mr Destiny, nine and 14

# Nobody stands in between me and my man

# Cos it's me and Mr Jones

# Yeah

# Yeah

# Yeah... #

APPLAUSE Thank you.

Thank you very much.

When Amy Winehouse sang, she let us in,

if we have the ears to hear

and the eyes to see into the heart

of what she really was as a person and as an artist.

She touched all of us that year

because she was so "un"

what she had been represented as in the tabloids.

And we didn't care about any of that,

we weren't interested in any of that and still aren't.

It was just brilliant that she came with her spindly little legs

and her mental hair and sang her heart out in Kerry for us.

Brilliant, absolutely brilliant.

Thanks for talking to us.

Thanks for making this trip, I know it was a long journey.

Actually, having heard what some of you had to do to get here,

mine was a walk in the park, to be honest.

All we did was have a two-hour drive from another airport,

at least we got a flight.

You got here and you did the business in there tonight.

- Thanks, Amy, thanks.
- Thank you.
- Cheers.

- Sorry I went off on one of my chats.
- I went off on one, too.

I don't get to talk to people very often.

- Oh, my God!
- Wow!

Thank you so much.