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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 Tredegar.

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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 this 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.

168
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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 ♪

180
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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,

185
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and those in the cheap seats
at the top, as well.

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(Laughter)

187
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Shake your hand for me,
ladies and gentlemen, please.

188
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Give me a, "Brrrrr!"

189
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Audience: Brrrrr!

190
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TRE: That's better.

191
00:11:42,553 --> 00:11:45,219
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 -

195
00:11:49,972 --> 00:11:51,444
and let it go, "Ah!"

196
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You were very good at the gasp.
Thank you for that!

197
00:11:53,905 --> 00:11:54,944
(Laughter)

198
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And up!

199
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Wiggling fingers, wiggling knees.

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Make a noise, "Aaaaahhhhh!"

201
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Audience: "Aaaaahhhhh!"

202
00:12:00,962 --> 00:12:02,065
TRE: And release!

203
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I never thought

204
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the first time I stood on the stage
in Sadler's Wells I would be doing that.

205
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(Laughter)

206
00:12:07,639 --> 00:12:08,788
Now let's do that again.

207
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Stalls, ♪ Dum duh-duh-dum duh-duh-dum ♪

208
00:12:13,922 --> 00:12:19,102
♪ Duh-duh-dum duh-duh-dum duh-duh-dum... ♪

209
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And now, keep going, OK.

210
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Right, good, thank you.

211
00:12:22,027 --> 00:12:24,451
There's some very good
singing down here, well done!

212
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Let's get the middle
to do the middle part.

213
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Yours goes,

214
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♪ Duh-duh duh-duh duh-duh
duh-duh duh-duh duh-duh ♪

215
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♪ Duh-duh duh-duh duh-duh
duh-duh duh-duh duh-duh ♪

216
00:12:33,550 --> 00:12:35,870
(Lower tone) ♪ Duh-duh
duh-duh duh-duh duh-duh ♪

217
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Cases the last bar.

218
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Do you think you can
cope with that, middle row?

219
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Middles, a grand circle, "Mmmm!"

220
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(Speaking in Welsh)

221
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Oh, sorry, that was Welsh.
One, two, three, four.

222
00:12:44,821 --> 00:12:45,998
♪ Duh-duh duh-duh ♪

223
00:12:45,998 --> 00:12:52,127
Audience: ♪ Duh-duh duh-duh duh-duh
duh-duh duh-duh duh-duh duh-duh ♪

224
00:12:52,127 --> 00:12:55,854
TRE: ♪ Duh-duh duh-duh duh-duh duh-duh
duh-duh duh-duh duh-duh duh-duh ♪

225
00:12:55,854 --> 00:12:57,624
♪ Duh-duh duh-duh duh-duh duh-duh ♪

226
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(Lower tone) ♪ Duh-duh duh-duh duh-duh ♪

227
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Good. There are, in fact,
two distinct notes here.

228
00:13:02,735 --> 00:13:04,661
(Laughter)

229
00:13:05,847 --> 00:13:07,605
It'd be great if you could use them.

230
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OK.

231
00:13:08,608 --> 00:13:09,608
(Laughter)

232
00:13:09,608 --> 00:13:11,948
So, grand circle, you are on that note,

233
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unless put out of the bottom.

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♪ Dummmm... ♪

235
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One, two, three, four.

236
00:13:16,718 --> 00:13:18,022
♪ Dum... ♪

237
00:13:18,025 --> 00:13:19,830
Audience: ♪ Duh-duh-dum... ♪

238
00:13:19,830 --> 00:13:24,272
TRE: ♪ Duh-duh-dum
duh-duh-dum duh-duh... ♪

239
00:13:24,272 --> 00:13:26,518
♪ Duh-duh duh-duh duh-duh duh-duh duh... ♪

240
00:13:26,518 --> 00:13:27,515
Audience: ♪ Dum... ♪

241
00:13:27,515 --> 00:13:31,181
TRE: ♪ Duh-duh duh-duh duh-duh
duh-duh duh-duh duh-duh, duh... ♪

242
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Thank you.

243
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Top! You all the top part say, "Hoo!"

244
00:13:35,137 --> 00:13:37,453
That's what I like,
a lit bit of enthusiasm!

245
00:13:37,827 --> 00:13:39,105
OK, so we go,

246
00:13:39,105 --> 00:13:41,058
♪ Duh duh duh duh ♪

247
00:13:41,058 --> 00:13:43,024
(Higher tone) ♪ Duh duh duh duh ♪

248
00:13:43,024 --> 00:13:44,946
(Lower tone) ♪ Duh duh duh duh ♪

249
00:13:44,946 --> 00:13:46,922
(Even lower tone) ♪ Duh duh duh duh ♪

250
00:13:46,922 --> 00:13:48,853
(Higher tone) ♪ Duh duh duh duh ♪

251
00:13:48,853 --> 00:13:50,757
(Even higher tone) ♪ Duh duh duh duh ♪

252
00:13:50,763 --> 00:13:52,631
(Lower tone) ♪ Duh duh duh duh ♪

253
00:13:52,631 --> 00:13:53,631
♪ Duh duh duh duh ♪

254
00:13:53,631 --> 00:13:54,625
Again.

255
00:13:54,625 --> 00:13:56,381
Audience: ♪ Duh duh duh duh ♪

256
00:13:56,418 --> 00:13:58,203
♪ Duh duh duh duh ♪

257
00:13:58,241 --> 00:13:59,296
♪ Duh duh duh duh ♪

258
00:13:59,296 --> 00:14:02,128
TRE: Middle part, you're going
to join in noooooow.

259
00:14:02,130 --> 00:14:04,957
♪ Duh-duh duh-duh duh-duh
duh-duh duh-duh duh-duh ♪

260
00:14:04,957 --> 00:14:08,621
♪ Duh-duh duh-duh duh-duh duh-duh
duh-duh duh-duh duh-duh duh... ♪

261
00:14:08,621 --> 00:14:09,740
And bottom!

262
00:14:09,740 --> 00:14:14,802
Audience: ♪ Dum duh-duh-dum duh-duh-dum ♪

263
00:14:14,802 --> 00:14:17,422
♪ Duh-duh-dum duh-duh-dum ♪

264
00:14:17,422 --> 00:14:19,366
TRE: ♪ Duh duh duh duh ♪

265
00:14:19,366 --> 00:14:21,320
(Higher tone) ♪ Duh duh duh duh ♪

266
00:14:21,320 --> 00:14:23,266
♪ Duh duh duh duh ♪

267
00:14:23,266 --> 00:14:25,282
(Lower tone) ♪ Duh duh duh duh ♪

268
00:14:25,282 --> 00:14:26,424
Well done! Well done!

269
00:14:26,424 --> 00:14:28,001
We're getting somewhere.

270
00:14:29,089 --> 00:14:30,765
I'm going to make this quickly.

271
00:14:30,765 --> 00:14:34,384
I'm going to turn this four-bar phrase
into an eight-bar phrase that repeats.

272
00:14:34,384 --> 00:14:36,250
All we need to do, bottom, is we go,

273
00:14:36,250 --> 00:14:42,286
♪ Dum duh-duh-dum
duh-duh-dum duh-duh-dum... ♪

274
00:14:42,286 --> 00:14:43,431
Actually, no. Forget it.

275
00:14:43,431 --> 00:14:45,433
We'll just stick with the four-bar phrase.

276
00:14:45,433 --> 00:14:47,131
(Laughter)

277
00:14:47,953 --> 00:14:50,393
We're not in the land of song
anymore, boys.

278
00:14:50,393 --> 00:14:52,113
(Laughter)

279
00:14:52,113 --> 00:14:54,408
(Applause) (Cheers)

280
00:14:57,863 --> 00:14:58,863
Right. OK.

281
00:14:58,863 --> 00:15:00,385
(Music - "Don't Stop Believin'")

282
00:15:00,385 --> 00:15:01,959
Here we go. That's all. Be great.

283
00:15:02,938 --> 00:15:04,085
♪ Duh duh duh duh ♪

284
00:15:04,085 --> 00:15:09,003
♪ Duh-duh-dum duh-duh-dum duh-duh-dum ♪

285
00:15:09,003 --> 00:15:10,845
♪ Duh duh duh duh ♪

286
00:15:10,887 --> 00:15:12,188
♪ Duh duh duh duh ♪

287
00:15:12,188 --> 00:15:16,879
♪ Duh-duh-dum duh-duh-dum duh-duh-dum ♪

288
00:15:16,879 --> 00:15:18,899
♪ Duh duh duh duh ♪

289
00:15:18,938 --> 00:15:20,251
♪ Duh duh duh ♪

290
00:15:20,251 --> 00:15:23,353
♪ Just a small town girl ♪

291
00:15:23,823 --> 00:15:27,553
♪ Livin' in a lonely world ♪

292
00:15:28,061 --> 00:15:34,359
♪ She took the midnight train
goin' anywhere ♪

293
00:15:36,299 --> 00:15:39,612
♪ Just a city boy ♪

294
00:15:39,824 --> 00:15:43,581
♪ Born and raised in South Detroit ♪

295
00:15:44,127 --> 00:15:50,028
♪ He took the midnight train
goin' anywhere ♪

296
00:15:50,028 --> 00:15:51,032
TRE: Keep going!

297
00:15:51,032 --> 00:15:52,415
Audience: ♪ Duh duh duh duh ♪

298
00:15:52,415 --> 00:15:56,873
♪ Duh-duh-dum duh-duh-dum duh-duh-dum ♪

299
00:15:56,873 --> 00:15:58,880
♪ Duh duh duh duh duh duh duh duh ♪

300
00:15:58,880 --> 00:16:02,844
♪ Dum duh-duh-dum duh-duh-dum ♪

301
00:16:02,844 --> 00:16:04,094
♪ Duh duh duh duh ♪

302
00:16:04,094 --> 00:16:06,859
♪ Duh-duh-dum duh-duh-dum ♪

303
00:16:07,729 --> 00:16:11,456
♪ A singer in a smoky room ♪

304
00:16:11,633 --> 00:16:15,164
♪ A smell of wine and cheap perfume ♪

305
00:16:15,349 --> 00:16:18,107
♪ For a smile they can share the night ♪

306
00:16:18,107 --> 00:16:22,741
♪ It goes on and on, and on, and on ♪

307
00:16:22,741 --> 00:16:27,010
♪ Strangers waiting ♪

308
00:16:27,884 --> 00:16:30,392
♪ Up and down the boulevard ♪

309
00:16:30,392 --> 00:16:37,018
♪ Their shadows searching in the night ♪

310
00:16:38,659 --> 00:16:42,927
♪ Streetlights, people ♪

311
00:16:43,800 --> 00:16:46,807
♪ Living just to find emotion ♪

312
00:16:46,807 --> 00:16:53,806
♪ Hiding somewhere in the night ♪

313
00:16:54,842 --> 00:16:56,841
(Music)

314
00:16:58,841 --> 00:17:02,941
♪ Duh duh duh duh duh duh duh duh ♪

315
00:17:03,251 --> 00:17:07,184
♪ Working hard to get my fill ♪

316
00:17:07,807 --> 00:17:11,349
♪ Everybody wants a thrill ♪

317
00:17:11,349 --> 00:17:14,560
♪ Payin' anything to roll the dice ♪

318
00:17:14,560 --> 00:17:18,809
♪ Just one more time ♪

319
00:17:19,140 --> 00:17:23,666
♪ Some will win, some will lose ♪

320
00:17:23,666 --> 00:17:27,134
♪ Some were born to sing the blues ♪

321
00:17:27,134 --> 00:17:30,090
♪ Oh, the movie never ends ♪

322
00:17:30,090 --> 00:17:34,718
♪ It goes on and on, and on, and on ♪

323
00:17:34,718 --> 00:17:38,763
♪ Strangers waiting ♪

324
00:17:39,848 --> 00:17:42,372
♪ Up and down the boulevard ♪

325
00:17:42,372 --> 00:17:49,159
♪ Their shadows searching in the night ♪

326
00:17:50,735 --> 00:17:54,857
♪ Streetlights, people ♪

327
00:17:55,829 --> 00:17:58,816
♪ Living just to find emotion ♪

328
00:17:58,819 --> 00:18:05,815
♪ Hiding somewhere in the night ♪

329
00:18:06,835 --> 00:18:10,116
♪ Duh duh duh duh duh duh duh duh ♪

330
00:18:10,116 --> 00:18:14,876
♪ Duh-duh-dum duh-duh-dum duh-duh-dum ♪

331
00:18:14,876 --> 00:18:18,100
♪ Duh duh duh duh duh duh duh duh ♪

332
00:18:18,100 --> 00:18:22,840
♪ Duh-duh-dum duh-duh-dum duh-duh-dum ♪

333
00:18:22,840 --> 00:18:26,717
♪ Don't stop believin' ♪

334
00:18:27,806 --> 00:18:30,762
♪ Hold on to the feelin' ♪

335
00:18:30,762 --> 00:18:37,763
♪ Streetlights, people ♪

336
00:18:38,857 --> 00:18:42,647
♪ Don't stop believin' ♪

337
00:18:43,765 --> 00:18:46,609
♪ Hold on to the feelin' ♪

338
00:18:46,609 --> 00:18:53,610
♪ Streetlights, people ♪

339
00:18:54,875 --> 00:18:58,662
♪ Don't stop believin' ♪

340
00:18:59,794 --> 00:19:02,676
♪ Hold on to the feelin' ♪

341
00:19:02,676 --> 00:19:09,677
♪ Streetlights, people ♪

342
00:19:10,815 --> 00:19:14,742
♪ Don't stop believin' ♪

343
00:19:15,810 --> 00:19:18,734
♪ Hold on to the feelin' ♪

344
00:19:18,734 --> 00:19:25,728
♪ Streetlights, people ♪

345
00:19:26,850 --> 00:19:28,525
♪ Don't stop ♪

346
00:19:28,838 --> 00:19:31,135
(Cheers)

347
00:19:31,135 --> 00:19:33,439
(Applause)

348
00:19:38,096 --> 00:19:39,292
TRE: Thank you very much.

349
00:19:39,292 --> 00:19:40,532
Thank you.

350
00:19:40,532 --> 00:19:41,828
(Cheers)

351
00:19:41,828 --> 00:19:44,131
(Applause)