WEBVTT

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I started "Only Boys Aloud"

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just coming up for two years ago,

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because I come from
the South Wales Valleys

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from a small community
called New Tradegar.

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And

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when I was growing up,

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it was a very proud part of the world,

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with a lot of industry,

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with a lot of ambition,

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with a sustainable economy.

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In the middle of the '80s,

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that was basically taken away

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when the industries collapsed
for a variety of reasons

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and left an enormous void

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in the middle of the part
of the world that I call home.

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Consequently,

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there are huge problems of unemployment

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in the South Wales Valleys,

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and all of the problems
that come with that also.

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The biggest, I think,
and the most destructive,

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is a lack of aspiration.

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And I wanted to use singing
to encourage lads from these area

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to aspire to be something.

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So our strapline is "inspiring to aspire."

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I believe most passionately

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in the transformative power
of community singing,

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because in our increasingly virtual world,

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we have fewer and fewer opportunities
of coming together physically,

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and interacting with fellow human beings.

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So "Only Boys Aloud"
is designed to encourage these lads

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to leave their Xboxes,

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to leave Facebook,

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and come together.

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Of course, Eric Whitacre has very famously
with his fabulous virtual choir

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done this online.

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But I passionately believe
that there is no substitute

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for getting together
and having a damn good sing.

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The tradition of male choir singing
is very prevalent in South Wales.

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We still have a proliferation
of male choirs,

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but they are getting older,

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and there is an argument

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that male choir singing
is irrelevant now.

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I completely disagree with all of this.

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I believe something that unifies anybody
as choral singing does

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is increasingly more needed
in our world today.

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"Why boys?" is something
I often get asked.

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Well, because of the very strong tradition
of male choirs in Wales.

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That's first and foremost.

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Also there is a huge disparity

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between the number of boys
who choose to sing

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and the number of girls
that choose to sing.

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And I think that's a problem generally,

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but in a very masculine
environment, like South Wales.

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Although I have to say,
in South Wales, ma'ams rule.

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It's a very matriarchal society,

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but at the same time, there are
lots of pressures on boys

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not to do something
that isn't seen as "macho."

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So with "Only Boys Aloud,"
we started 10 choirs,

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predominantly in rugby clubs,
around the South Wales area,

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covering a nine-hundred-square-mile area,

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where the idea is that no boy
is fewer than 15 or 20 minutes away

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from his local rehearsal.

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So these choirs enrich
their individual communities,

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but we also bring them together
to do large-scale events,

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and we have about half of them here today.

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Well, over 200 lads
between the ages of 14 and 19

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have engaged with "Only Boys Aloud"
in the last two years.

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And I'm delighted to say,

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with the support of the Welsh Government
and the Principality Building Society,

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back in Wales,

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we are able to look forward to a future

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where we've signed an agreement
for three years of sponsorship,

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because I believe this work
is absolutely fundamental,

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especially as young men are often blamed
for the problems in our society.

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I think the lads on stage here will prove

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that, far from problems,
there is so much good

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and there is something very beautiful

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about boys coming together
and just singing.

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I'd like to first introduce...

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It was supposed to be
a big surprise revealed

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when we lifted the curtain,

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and there were loads of them there.

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But you all saw the rehearsals
so that's gone out of the window.

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So just act shocked.

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Give me a nice big gust of air
when they come out, please.

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Can I introduce firstly our two soloists,
who are going to sing the first piece.

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One of the things we want to do
is we want to move the choir forward,

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but we also really respect our roots,
and where we come from.

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And that's why the first song
we've chosen to sing this afternoon

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is a song called "Calon Lan,"

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which really is a prayer for good heart,

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because the words say, "a good heart
can sing all day and all night."

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So this is "Calon Lan."

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Please give a warm welcome
to Gareth Evans and Yvonne Jenkin.

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(Applause)

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Oh!

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(Laughter)

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(Music)

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(Applause)

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(Welsh music - "Calon Lan")

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♪ Nid wy'n gofyn bywyd moethus ♪

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♪ Aur y byd na'I berlau mвn ♪

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♪ Gofyn wyf am galon hapus ♪

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♪ Calon onest, calon lвn ♪

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♪ Calon lвn yn llawn daioni ♪

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♪ Tecach yw na'r lili dlos ♪

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♪ Dim ond calon lвn all ganu ♪

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(Choir)

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♪ Canu'r dydd ♪

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♪ A chanu'r nos ♪

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(Piano music)

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♪ Pe dymunwn olud bydol ♪

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♪ Hedyn buan ganddo sydd ♪

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♪ Golud calon lвn, rinweddol ♪

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♪ Yn dwyn bythol elw fydd ♪

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♪ Calon lвn yn llawn daioni ♪

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♪ Tecach yw na'r lili dlos ♪

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♪ Dim ond calon lвn all ganu ♪

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♪ Canu'r dydd a chanu'r nos ♪

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♪ Hwyr a bore fy nymuniad ♪

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♪ Gwyd I'r nef ar adain cвn ♪

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♪ Ar I Dduw, er mwyn fy Ngheidwad ♪

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♪ Roddi I mi galon lвn ♪

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♪ Calon lвn yn llawn daioni ♪

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♪ Tecach yw na'r lili dlos ♪

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♪ Dim ond calon lвn all ganu ♪

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♪ Canu'r dydd a chanu'r nos ♪

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♪ Calon lвn yn llawn daioni ♪

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♪ Tecach yw na'r lili dlos ♪

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♪ Dim ond calon lвn all ganu ♪

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♪ Canu'r dydd ♪

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♪ A chanu'r nos ♪

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♪ Calon lвn ♪

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♪ Calon lвn ♪

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♪ Calon ♪

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♪ Lвn ♪

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(Applause) (Cheers)

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Thank you.

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(Applause)

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Thank you very much.

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Now one of the reasons

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that we've been asked
to finish this day off...

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That's the wrong words, completely.

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I'm not intending
on finishing anything off.

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But "il finale" for this day

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is because it's time for you to sing,
ladies and gentlemen.

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Oh, look at the enthusiasm there!

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Oh, it's amazing!

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One of the ways...

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Oh, people are running for the doors now.

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Lock the doors!

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We don't have any audition requirements
for "Only Boys Aloud."

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So it's fine for you all to just let go.

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Now, ladies and gentlemen,

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one of the things that you need
to try and do with "Only Boys Aloud"

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is think about choral singing,
and what's relevant to young people.

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So the first song we did -

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you might think it's a little bit cheesy -

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but I'd really love it

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if you just go with it for me,
ladies and gentlemen.

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I'm going to teach you, in three parts,
a little four-bar riff.

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If you're very good,
I'll make it an eight-bar riff.

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But we'll just start small,

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and we'll go on if we can.

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OK.

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I'd like people who enjoy singing low.

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Actually, no.

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Can I get you guys down here?

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As you're on the bottom,
you'll be the bass part for me, please.

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OK, so we're going to do this.

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And if anyone guesses what...

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There's an elaborate prize
for anyone who guesses what the piece is.

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OK, so we're going to do,

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♪ Dum duh-duh-dum duh-duh-dum ♪

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♪ Duh-duh-dum duh-duh-dum ♪

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Just that much, please;
this is the stalls.

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One, two, three, four.

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Audience: ♪ Dum duh-duh-dum duh-duh-dum ♪

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♪ Duh-duh-dum duh-duh-dum ♪

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TRE: Right, OK.

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Let's everyone on your feet, please,
because that was a bit rubbish.

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(Laughter)

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OK, can you shake out for me,
ladies and gentlemen?

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That includes you in the posh seats,

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and those in the cheap seats
at the top, as well.

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(Laughter)

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Shake your hand for me,
ladies and gentlemen, please.

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Give me a, "Brrrrr!"

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Audience: Brrrrr!

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TRE: That's better.

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Now shoulders back, please;
circulate them nice and back.

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Up!

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Really squeeze --

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You've been sat there all day
listening to people talk -

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and let it go, "Ah!"

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You were very good at the gasp.
Thank you for that!

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(Laughter)

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And up!

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Wiggling fingers, wiggling knees.

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Make a noise, "Aaaaahhhhh!"

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Audience: "Aaaaahhhhh!"

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TRE: And release!

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I never thought

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the first time I stood on the stage
in Sadler's Wells I would be doing that.

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(Laughter)

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Now let's do that again.

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Stalls, ♪ Dum duh-duh-dum duh-duh-dum ♪

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♪ Duh-duh-dum duh-duh-dum duh-duh-dum... ♪

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And now, keep going, OK.

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Right, good, thank you.

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There's some very good
singing down here, well done!

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Let's get the middle
to do the middle part.

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Yours goes,

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♪ Duh-duh duh-duh duh-duh
duh-duh duh-duh duh-duh ♪

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♪ Duh-duh duh-duh duh-duh
duh-duh duh-duh duh-duh ♪

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(Lower tone) ♪ Duh-duh
duh-duh duh-duh duh-duh ♪

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Cases the last bar.

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Do you think you can
cope with that, middle row?

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Middles, a grand circle, "Mmmm!"

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(Speaking in Welsh)

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Oh, sorry, that was Welsh.
One, two, three, four.

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♪ Duh-duh duh-duh ♪

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Audience: ♪ Duh-duh duh-duh duh-duh
duh-duh duh-duh duh-duh duh-duh ♪

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TRE: ♪ Duh-duh duh-duh duh-duh duh-duh
duh-duh duh-duh duh-duh duh-duh ♪

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♪ Duh-duh duh-duh duh-duh duh-duh ♪

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(Lower tone) ♪ Duh-duh duh-duh duh-duh ♪

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Good. There are, in fact,
two distinct notes here.

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(Laughter)

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It'd be great if you could use them.

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OK.

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(Laughter)

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So, grand circle, you are on that note,

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unless put out of the bottom.

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♪ Dummmm... ♪

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One, two, three, four.

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♪ Dum... ♪

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Audience: ♪ Duh-duh-dum... ♪

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TRE: ♪ Duh-duh-dum
duh-duh-dum duh-duh... ♪

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♪ Duh-duh duh-duh duh-duh duh-duh duh... ♪

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Audience: ♪ Dum... ♪

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TRE: ♪ Duh-duh duh-duh duh-duh
duh-duh duh-duh duh-duh, duh... ♪

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Thank you.

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Top! You all the top part say, "Hoo!"

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That's what I like,
a lit bit of enthusiasm!

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OK, so we go,

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♪ Duh duh duh duh ♪

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(Higher tone) ♪ Duh duh duh duh ♪

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(Lower tone) ♪ Duh duh duh duh ♪

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(Even lower tone) ♪ Duh duh duh duh ♪

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(Higher tone) ♪ Duh duh duh duh ♪

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(Even higher tone) ♪ Duh duh duh duh ♪

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(Lower tone) ♪ Duh duh duh duh ♪

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♪ Duh duh duh duh ♪

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Again.

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Audience: ♪ Duh duh duh duh ♪

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♪ Duh duh duh duh ♪

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♪ Duh duh duh duh ♪

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TRE: Middle part, you're going
to join in noooooow.

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♪ Duh-duh duh-duh duh-duh
duh-duh duh-duh duh-duh ♪

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♪ Duh-duh duh-duh duh-duh duh-duh
duh-duh duh-duh duh-duh duh... ♪

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And bottom!

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Audience: ♪ Dum duh-duh-dum duh-duh-dum ♪

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♪ Duh-duh-dum duh-duh-dum ♪

00:14:17.422 --> 00:14:19.366
TRE: ♪ Duh duh duh duh ♪

00:14:19.366 --> 00:14:21.320
(Higher tone) ♪ Duh duh duh duh ♪

00:14:21.320 --> 00:14:23.266
♪ Duh duh duh duh ♪

00:14:23.266 --> 00:14:25.282
(Lower tone) ♪ Duh duh duh duh ♪

00:14:25.282 --> 00:14:26.424
Well done! Well done!

00:14:26.424 --> 00:14:28.001
We're getting somewhere.

00:14:29.089 --> 00:14:30.765
I'm going to make this quickly.

00:14:30.765 --> 00:14:34.384
I'm going to turn this four-bar phrase
into an eight-bar phrase that repeats.

00:14:34.384 --> 00:14:36.250
All we need to do, bottom, is we go,

00:14:36.250 --> 00:14:42.286
♪ Dum duh-duh-dum
duh-duh-dum duh-duh-dum... ♪

00:14:42.286 --> 00:14:43.431
Actually, no. Forget it.

00:14:43.431 --> 00:14:45.433
We'll just stick with the four-bar phrase.

00:14:45.433 --> 00:14:47.131
(Laughter)

00:14:47.953 --> 00:14:50.393
We're not in the land of song
anymore, boys.

00:14:50.393 --> 00:14:52.113
(Laughter)

00:14:52.113 --> 00:14:54.408
(Applause) (Cheers)

00:14:57.863 --> 00:14:58.863
Right. OK.

00:14:58.863 --> 00:15:00.385
(Music - "Don't Stop Believin'")

00:15:00.385 --> 00:15:01.959
Here we go. That's all. Be great.

00:15:02.938 --> 00:15:04.085
♪ Duh duh duh duh ♪

00:15:04.085 --> 00:15:09.003
♪ Duh-duh-dum duh-duh-dum duh-duh-dum ♪

00:15:09.003 --> 00:15:10.845
♪ Duh duh duh duh ♪

00:15:10.887 --> 00:15:12.188
♪ Duh duh duh duh ♪

00:15:12.188 --> 00:15:16.879
♪ Duh-duh-dum duh-duh-dum duh-duh-dum ♪

00:15:16.879 --> 00:15:18.899
♪ Duh duh duh duh ♪

00:15:18.938 --> 00:15:20.251
♪ Duh duh duh ♪

00:15:20.251 --> 00:15:23.353
♪ Just a small town girl ♪

00:15:23.823 --> 00:15:27.553
♪ Livin' in a lonely world ♪

00:15:28.061 --> 00:15:34.359
♪ She took the midnight train
goin' anywhere ♪

00:15:36.299 --> 00:15:39.612
♪ Just a city boy ♪

00:15:39.824 --> 00:15:43.581
♪ Born and raised in South Detroit ♪

00:15:44.127 --> 00:15:50.028
♪ He took the midnight train
goin' anywhere ♪

00:15:50.028 --> 00:15:51.032
TRE: Keep going!

00:15:51.032 --> 00:15:52.415
Audience: ♪ Duh duh duh duh ♪

00:15:52.415 --> 00:15:56.873
♪ Duh-duh-dum duh-duh-dum duh-duh-dum ♪

00:15:56.873 --> 00:15:58.880
♪ Duh duh duh duh duh duh duh duh ♪

00:15:58.880 --> 00:16:02.844
♪ Dum duh-duh-dum duh-duh-dum ♪

00:16:02.844 --> 00:16:04.094
♪ Duh duh duh duh ♪

00:16:04.094 --> 00:16:06.859
♪ Duh-duh-dum duh-duh-dum ♪

00:16:07.729 --> 00:16:11.456
♪ A singer in a smoky room ♪

00:16:11.633 --> 00:16:15.164
♪ A smell of wine and cheap perfume ♪

00:16:15.349 --> 00:16:18.107
♪ For a smile they can share the night ♪

00:16:18.107 --> 00:16:22.741
♪ It goes on and on, and on, and on ♪

00:16:22.741 --> 00:16:27.010
♪ Strangers waiting ♪

00:16:27.884 --> 00:16:30.392
♪ Up and down the boulevard ♪

00:16:30.392 --> 00:16:37.018
♪ Their shadows searching in the night ♪

00:16:38.659 --> 00:16:42.927
♪ Streetlights, people ♪

00:16:43.800 --> 00:16:46.807
♪ Living just to find emotion ♪

00:16:46.807 --> 00:16:53.806
♪ Hiding somewhere in the night ♪

00:16:54.842 --> 00:16:56.841
(Music)

00:16:58.841 --> 00:17:02.941
♪ Duh duh duh duh duh duh duh duh ♪

00:17:03.251 --> 00:17:07.184
♪ Working hard to get my fill ♪

00:17:07.807 --> 00:17:11.349
♪ Everybody wants a thrill ♪

00:17:11.349 --> 00:17:14.560
♪ Payin' anything to roll the dice ♪

00:17:14.560 --> 00:17:18.809
♪ Just one more time ♪

00:17:19.140 --> 00:17:23.666
♪ Some will win, some will lose ♪

00:17:23.666 --> 00:17:27.134
♪ Some were born to sing the blues ♪

00:17:27.134 --> 00:17:30.090
♪ Oh, the movie never ends ♪

00:17:30.090 --> 00:17:34.718
♪ It goes on and on, and on, and on ♪

00:17:34.718 --> 00:17:38.763
♪ Strangers waiting ♪

00:17:39.848 --> 00:17:42.372
♪ Up and down the boulevard ♪

00:17:42.372 --> 00:17:49.159
♪ Their shadows searching in the night ♪

00:17:50.735 --> 00:17:54.857
♪ Streetlights, people ♪

00:17:55.829 --> 00:17:58.816
♪ Living just to find emotion ♪

00:17:58.819 --> 00:18:05.815
♪ Hiding somewhere in the night ♪

00:18:06.835 --> 00:18:10.116
♪ Duh duh duh duh duh duh duh duh ♪

00:18:10.116 --> 00:18:14.876
♪ Duh-duh-dum duh-duh-dum duh-duh-dum ♪

00:18:14.876 --> 00:18:18.100
♪ Duh duh duh duh duh duh duh duh ♪

00:18:18.100 --> 00:18:22.840
♪ Duh-duh-dum duh-duh-dum duh-duh-dum ♪

00:18:22.840 --> 00:18:26.717
♪ Don't stop believin' ♪

00:18:27.806 --> 00:18:30.762
♪ Hold on to the feelin' ♪

00:18:30.762 --> 00:18:37.763
♪ Streetlights, people ♪

00:18:38.857 --> 00:18:42.647
♪ Don't stop believin' ♪

00:18:43.765 --> 00:18:46.609
♪ Hold on to the feelin' ♪

00:18:46.609 --> 00:18:53.610
♪ Streetlights, people ♪

00:18:54.875 --> 00:18:58.662
♪ Don't stop believin' ♪

00:18:59.794 --> 00:19:02.676
♪ Hold on to the feelin' ♪

00:19:02.676 --> 00:19:09.677
♪ Streetlights, people ♪

00:19:10.815 --> 00:19:14.742
♪ Don't stop believin' ♪

00:19:15.810 --> 00:19:18.734
♪ Hold on to the feelin' ♪

00:19:18.734 --> 00:19:25.728
♪ Streetlights, people ♪

00:19:26.850 --> 00:19:28.525
♪ Don't stop ♪

00:19:28.838 --> 00:19:31.135
(Cheers)

00:19:31.135 --> 00:19:33.439
(Applause)

00:19:38.096 --> 00:19:39.292
TRE: Thank you very much.

00:19:39.292 --> 00:19:40.532
Thank you.

00:19:40.532 --> 00:19:41.828
(Cheers)

00:19:41.828 --> 00:19:44.131
(Applause)