Transcript of Kate's Participation in the Kate Bush Convention

[Andrew B Marvick <abm4@cunixd.cc.columbia.edu>]

Hello, all Love-Hounds. 
   IED has finally finished transcribing Kate's part in the
festivities at the Kate Bush Convention which took place at 
Le Palais, London on November 17, 1990. IED need not say that
the forty-three minutes in which Kate was on stage were among
the most magical forty-three minutes in his life. He hopes this
transcription will reflect at least a little of that magic to
those of you who could not attend in person. Happy reading!

Kate Bush at Le Palais, London, November 17, 1990

   "You must be mad!"
   We are! 
   "More mad than me!"
   We are!
   "It's very nice to see you. I'm sorry that I can't talk to you all.
You're too many!" 
   Aww!
   "Um...I've brought some questions here from some of you. And, uh,
let's have a go at this, shall we? The first question is from Pauline
McKearney...Pauline McKearney..."
   (Dave Cross:) Where are you, Pauline? Down here.
   (Pauline:) (Inaudible.) 
   "I think um..."
   What? What?
   "The question is that uh, (laughs), why do I speak in interviews
about the first two albums less favourably?"
   Woah! Oh!
   "Well, I think there's a lot of reasons for that. Um, a lot of it's
to do with the fact that I didn't really feel that I had creative 
control over what I was doing for those first two albums. Although
I'd written the songs, I wasn't really, uh, taking overall control
and saying what should happen. I feel very much that the production
of the songs is as much to do the feeling as the words and the music.
And by the third album I was starting to take that kind of control.
I went into co-production, and actually felt that I was working in
a studio as someone that was in control of what they were doing.
   And also, I think that you feel, just naturally more fond of the
stuff that you do more recently. It's just a human factor. You don't
like to think that what you were doing ten years ago is better than
what you're doing now (laughs). So that's a factor as well."
   We love you anyway! (Cheering.)
   "Uh, this next one's from Marina Patterson."
   (Dave:) Marina?
   "Give us a wave, Marina!"
   (Dave:) Oh, uh, good.
   (Marina:) Uhm, uh, how did you like singing with Rowan Atkinson?
   (Laughter.)
   "Did you all hear the question?"
   Yeah.
   "Well, uh, I'm sure like most of you if not all of you, I'm a big
fan of the comedy that's happening in Britain today. I think we've 
always been a leading voice in comedy _and_ music, and, um, it's so
good to see young people actually charging us again with comedy
that's also very educational. And, um, I was very honoured to take
part in that whole Comic Relief event where Rowan Atkinson was
performing. And I really believe that comedy has a lot to offer
the world. It's very important. Sometimes you can say much heavier
things through comedy than you could ever say seriously. So, uh, 
I was knocked out to...to sing with Rowan and just to be involved in
anything that they were doing. Uh...thank you."  
   (Applause. Kate mutters something while looking at the next
question slip, and the audience cries out.)
   "I'd just want to say that uh, it's from Fiona Mitchell. Fiona?
Give us a wave?"
   (Dave:) Fiona? You'll have to read it out...Oh! Oh, Lisa's off!
   (Lisa, from balcony:) (Inaudible.)
   "Uh, I'll read it out. It says, 'Will you ever feature a solo sax,
such as "Saxophone Song" again?' Um, I don't know. (Laughs.)"
   (Laughter.)
   "The best I can say is that I think in some ways the Uileann pipe
is almost like a Celtic saxophone. And, so we've used them a bit.
   "Uh, the next one is from Emma Stace."
   (Emma:) Hello!
   "Hello!"
   (Dave:) You'll have to read that one out.
   "Uh...It's a lovely question, actually. It says, 'Does it comfort
you when you're a bit down to know that whatever you do for us we
will love and support you?'"
   (Massive cheering and applause, lasting twenty seconds.)
   "You've left me all afluster! Um...Particularly when I'm in
the middle of making albums, when I don't know when I'm going to
finish the project, and, uh, I don't know if I'm a songwriter or
a singer, or what I am; and I get the odd letter that says, you
know, 'We'll wait! (Laughs.) We'll wait for you till you've done
your time! (Laughs.) And you're out in the free world again.' Um,
it really means a lot, so thank you."
   Thank you! (Massive cheering.)
   "Um...Jonathan Houghton, Houghton?"
   (Dave:) Jonathan!
   (Jonathan:) 'Breathing' now seems more pertinent than ever.
Has your view of human nature become more philosophical and
emotional over the past ten years, even though the Sensual World
still exists?
   Woah! 
   "Well, I think that my emotional feelings...are as strong, if
not stronger sometimes, but I think there is a philosophical side
that is growing alongside that, and um, there are a lot of things
about human beings that are extremely unpleasant. And, uh, perhaps
my view is more that there are--not that it's good and evil--but
there are opposites that have to exist, almost as a law of nature,
and that for every positive action there will probably be a negative
action somewhere else, and...I take great hope in the fact that
the more young people I meet, they're so attentive and so aware
of worldly issues. They care about the environment. It's uh, I
think it's very heartening. Although the world is very sick, I
think young people have a very healthy attitude. And, uh, that's
who's going to save the world, isn't it? Is young people?"
   (Applause.)
   "This is from Liz Wil--Wilding?"
   (Lisa finds Liz.)
   "A quick round of applause for Lisa, for all the work..."
   (Lisa:) Will you ever release your visual interpretation of the
concept piece, "The Ninth Wave"?
   "Did you all hear that?"
   (Yeah!)
   "Um...There was never a visual piece made to 'Then Ninth Wave',
unfortunately. Um, it was something that I'd hoped to do, and, the
um, the whole of that side had been made very much with a film in
mind. Uh, I was too exhausted, really, by the time it came to 
actually having a chance to make it, but I would very much like
to make a film of some kind, um, one day. If it takes me longer
than my albums I'm in big trouble, I think!" 
   (Laughter.)
   "But, uh, I just uh, love the combination of film and music. I
think when it works, it's so powerful. And uh, also it's nice working
with big groups of people because when I make an album it's quite
isolating, you really only deal with small numbers of people at a 
time, and when you're making a video there's maybe up to forty 
people, so it--it's very exciting for me. Uh, thank you.
   "Uh, this is from Neil Holbrook."
   (Dave:) Where's Neil?
   "Neil."
   (Dave:) (Inaudible.)
   (Neil:) "I find it really amazing that at such a young age, you
were practically a schoolgirl, that you could be so creative. Um,
I mean, looking back now, does that seem really odd to you?"
   "Yes."
   (Laughter.)
   "I mean..." (Inaudible.)
   "I'm sorry, say that last bit again?"
   (Inaudible.)    
   "I'm not really sure. At the time it didn't strike me as being odd
in any way at all. That was just what I had to do. This was it,
this was my mission in life. And, actually, the older I get, the more I
look back on it, I think how bizarre it was. Uh, I had such a feeling
of time being incredibly important--that I shouldn't waste any time
at all, and I was very impatient for the first album to be made and to
come out...And, uh, maybe I was psychic (laughing) and I knew that 
in ten years it would be taking me four years to make an album."
   (Laughter.)
   "But, I did have an incredible sense of just...needing to do it.
It was what I did. And I feel very lucky that I had something to
actually focus on at such a young age. It, um, well it changed my
life, eventually. I wouldn't be here today, now, if, you know. And,
you find yourself in situations that you would never have imagined.
You know, I think of myself back at school, and the first gig I
ever saw was The Who. And, uh, they completely blew me away. And
I could never have imagined that I would well, be here now. It's
ridiculous, really. It is, it's ridiculous! (Laughing.)"
   (Applause and cheering.)
   "Uh, this is uh, Tom--Tom DiCarlo."
   Sit down!
   "Yeah, sit down (laughing)!"
   (Inaudible.)
   "You're from France?"
   Yeah.
   "Well, hi! Thanks for coming!"
   (Laughter.)
   "Thanks for coming! Tom DiCarlo, are you here?"
   (Dave:) Tom?...She's over there, now. Lisa I think has become
Anneke Rice.
   (Laughter.)
   "She should use a spotlight!"
   (Dave:) Yeah! We haven't got any spots.
   (Tom:) I have a question about having you produce new artists.
I didn't know if you've already done any, or if you're planning to
or wanted to.
   "Oh, what a nice accent. Is that Irish? Or American?"
   "No, it's California! I've been called Canadian before."
   "Oh, well there's always a first." (Neither Kate nor Tom 
could really hear each other well here, which explains their
odd exchange of words.)
   "Um, I haven't really produced any artists. It's something that
I think I'd be interested in, if the music was really something I 
felt that I could contribute to. It's a very personal vision, music.
And um, in some ways I pity the poor sod that had to put up with
me for three years (laughing with the audience), if it takes them
as long as it does me. I mean most people like their albums done
in six months. I don't know. I don't know, who knows? At the moment
it's more than I can handle just trying to look after myself. 
Thank you.
   "Um, now I'm going to leave this one till later. I'm not cheating,
right?"
   (Laughter.)
   "David Kyle?"
  (Dave Cross:) David? I've got him, Lisa.
  (David Kyle:) Have you got any new ideas about the next LP, 
any (inaudible), or any stories that you'd like to expose?
   "Uhm, I have started writing for the next album."
   (Massive, prolonged applause.)
   "Uh, and uh, I--I've kind of been taking the approach where
I go back to writing on the piano again, which was how I used
to work when I started. And, uh, it was quite shocking for me
to suddenly be left alone at the piano without all this 
equipment, you know, where I could just press a button and
I've suddenly got an orchestra...And I felt really, uh, really
odd about the whole thing. But, uh, in some ways I think I'm
trying to get back to a lot of things that were my roots. Uh,
I've started dancing again, which I never thought I'd manage."
   (Massive applause.)
   "And I think in some ways, um...Like we were saying earlier,
when I started it was all like a sense of a mission, it was 
something I had to do, I was, you know, working towards this.
It--I kind of lost that a bit, and just found myself making
album after album, and getting further away from the writing
process too, so I think maybe with this album I want to...I 
want to try and make it a little simpler, and hopefully...positive.
But we'll see, won't we? But I'm really pleased, that's a lovely
reaction, as I've only _started_ the album (laughing)!"
   (Laughter.)
   "And I bet, you know, half way, could you give me a lift?"
   (Laughter and applause.)
   "Thank you very much...really sweet...
   "Um...Robert Brown."
   (Dave:) Robert Brown.
   (Robert:) Hello, Kate.
   "Hello!"
   (Laughter.)
   (Robert:) Um, could you, um, give us some more details about
that very first session with Dave Gilmour in 1973, um, and (inaudible),
do you know the actual date (inaudible)...
   "Someone here would probably know that better than me..."
   (Laughter.)
   "I'm terrible with dates....1973, my God, isn't that a
long time ago? No wonder people think I'm like, nearly fifty."
   (Laughter.)
   "Well that was, uh, that was really the turning point, I suppose.
That was the first time I was putting tracks down professionally. Uh, 
Dave Gilmour at that time was trying to help a band called Unicorn,
who were putting out their first album, and he was good enough to
produce it. And uhm, we went to Dave's for a day, basically. And the
bassplayer and drummer from Unicorn sat down and we just kind of
put a few songs together. I remember it was the first time I'd
ever done an overdub with the keyboard--I put this little electric
piano thing down, and I remember thinking, 'Ooh! (laughing) I like
this!'"
   (Laughter.)
   "And, uh, well, I mean really it was because of those tracks that
um, I then went on to do _the_ tracks which were then used--two of
which were used to go on the first album. As far as I remember the
tracks we did with this session in '73...Uh, there was a track called
'Passing Through Air', which I think went on a b-side--"
   "Army Dreamers"!
   "No, I hadn't written 'Army Dreamers'..."
   B-side of "Army Dreamers"!
   "B-side...Oh--oh, was it?
   (Laughter.)
   "The other track was, um...It had a couple of titles..."
   "Maybe".
   "Yes, it was, 'Maybe'. There was an--'Humming', it was called,
as well. I see you've heard of all...But, I just can't believe how
long ago it was. My God! Um, Amanda Greenway?"
   (Amanda:) Um, have you ever thought of doing a cover version
of anybody's song at the moment, and if you did, whose would it be?
   "Oh, it's such a difficult question. There're so many good
songs written, and...Cover versions, it's uh...it's actually 
very difficult to try and do something that's better than the
original. Like re-makes of movies: they're very rarely better.
(Pause.) I have actually done a cover version that might 
be out in a couple of years as a song. Uhmm..."
   (Interrupted by laughter. The audience apparently took this
to mean that Kate would be working on the cover version for 'a
couple of years'. Actually, she means that it's been in the can
for a while but that the project has been delayed by a record 
company.)
   "I don't know when it will be out. It's actually beyond my
control. It's going through another project. But that's an
Elton John song."
   "Rocket Man".
   "And uh...Well that was one of my favourite songs. And there's
a good example of me never imagining when I was about twelve
or thirteen--I was so into Elton John, he was just like the 
biggest hero ever. And 'Rocket Man' was one of my favourite songs,
it was just wonderful. So I never imagined that--how many years later?
Don't mention it! (laughing)--I'd actually get the opportunity to
record it. Brillian, isn't it? Big circle. It's wonderful. Uh, Mark
Gibson..."
   (Mark:) Hello, Kate.
   "Hello!"
   Did the KT Bush Band ever play at the King's Head or the Half Moon
in Putney?
   (Laughter.)
   "I, uh, think we played at the Half Moon..."
   Yep.
   "And uh...Well if you know why're you asking? (laughing) Now 
that's a long time ago, too. And um, that was a lot of fun, that
was actually my first performance ever, really, apart from a 
school play..."
   (Laughter, perhaps because some fans even know the details
of the school play, through unofficial biographies.)
   "It was wonderful. We used to do all these cover versions of
things like 'Honky Tonk Woman' and, uh, 'Heard it Through the 
Grapevine'. And, uh, I used to...(Turning to Del and Paddy)
What was the song? The um, the song that was the instrumental...
that (name inaudible) used to play--the free track? 'Stee'--no,
that--'Steeler'. And uh, I used to go up into this dance routine
about how many people (inaudible) into the audience, like this--"
(waves her arms in parody of Kate Bush dance movements.)
   (Laughter.) 
"--doing all these things. And um, one night I met a friend of
mine. And she said, 'Oh, hello, Kate!' And it was right in the
middle of (waves her arms again)..."
   (Laughter.)
   "And I was--(laughs)--I was so ashamed of being such a poser,
you know, that I--I stopped to have a chat with her."
   (Laughter.)
   "And I suddenly realized it was time for me to get back on
stage, so I had to say to her, 'Oh, bye, then!' and (waves her
arms again)..."
   (Laughter and applause. Someone near the front of the 
audience hands some framed artwork to Kate.)
   "That's lovely, oh, that's really beautiful. Did you do that?
Isn't that lovely?"
   (Applause.)
   "Thank you...Ooh, another one!"
   (Pause, while another picture is handed up by the fan, who 
has produced these things from a bag. Laughter, as Kate puts
these objects by her side on the couch.)
   "This is a Mary Poppins bag, isn't it? Goes up onto
the stage and gets out a giraffe..."
   (Laughter.)
   "Did you do these?"
   (Inaudible from fan.)
   "Oh, they're lovely."
   (Applause.)
   "Very nice! Caren--Caaren?--from Brazil."
   (Caren--a man--stands up holding an enormous Brazilian flag. Laughter.)
   "Hello!"
   (Caren:) Sorry...
   "What for?"
   "It's just...I get too emotional."
   Aww!!
   "Don't get too emotional!"
   Uh...I'm glad to share with you um, something, uh, this woman that's
very important to us both at the same time. (Apparently this is addressed
to the fans.) And just a short question...Have you been to Brazil yet?
   "No."
   (Laughter.)
   "I haven't. I've never been. But, uh, it must be a very beautiful
place. I hope I do go."
   (Caren:) Can I ask you another question. I just forgot to uh, write
it down.
   "Oh, yeah!" (In a doubting, wary but amused tone.)
   (Laughter.)
   (Caren:) It's um, just eh, 'Walking Straight Down the Middle'--the
noises you made, the bird noises. Was that a bird from Brazil? Because
we have a bird in Brazil that makes the same kind of noise. And I was
just curious about it?
   "Well, we had quite a...a nice incident with that, um...I don't
know if I can do it: (Makes loud bird noise a la 'Walking Straight
Down the Middle'.)"
   (Applause.)
   "And, uh, when we were doing that, a friend of ours thought 
there was a peacock...so, thank you very much. Giselle Minns?"
   (Dave Cross:) Here we go.
   (Giselle:) As a performer, how do you cope with your nerves?
   "Well, as you all know, I don't do very much performing--"
   (Cries from audience.)
   "--and uh, I do get incredibly nervous. And, I think a lot of
that has to do with the insecurities I've felt as a performer.
Each time I performed I would be very nervous. I'd feel I wasn't
very good, and it would build up more and more. I don't know, I
think in a way it's just something you have to--you almost have
to take it by the hand like a person, your nerves, and, um, try
to get it to sit down and stop running around the place! 'Cause
that's what you're doing inside, you know? Um, and I just admire
performers so much that can go up in front of really big crowds
and deal with it."
   Are you nervous now?
   "Um...Actually, I don't feel as nervous as I thought I would 
at all. I was very nervous before I came on, but, uh, no, I feel
okay, thanks!"
   (Laughter.)
   "I'll let you know...I'll keep you, uh, keep you posted. Uh...Nick...
Nick...Nau...?"
   (Nick:) Hello, Kate.
   "Hello, Nick."
   (Nick:) I wanted to know what you do when you go shopping.
   (Laughter.)
   (Nick:) Whether people come up to you and sort of disturb you, 
or if you just want to stay in.
   "Um...Shopping is one of those facts of life, right? You, you
have to do shopping. I find supermarkets really difficult. They're
like...What's the room in '1984'? What's it--1-0-?"
   101.
   "101...That's kind of my room 101. I'm all right if they're 
empty. But, uh, big supermarkets, they freak me out. Actually I
found out I'm not alone in this. I have a friend who uh, completely
freaks out every time he goes to the checkout counter, and leaves
this huge basket of shopping just at, you know--and goes off, because
he can't handle it!"
   (Laughter.)
   "It made me feel really good!"
   (Laughter.)
   "But, uh, I must say, generally people are just so nice with me,
and, uh, the problem I have with them is, is in here (points to her
head). You know, if I'm feeling a bit vulnerable and tired, I--I feel
vulnerable and tired. But people are generally just really nice to me.
I'm very grateful for that. I know some people that have a very hard
time, and uh, you're very kind to me. Thank you...Um, Gary Smith."
   (Gary:) Hello. I wonder if 'The Fog' off 'The Sensual World'--was
that originally written for 'The Ninth Wave'? Because I feel there
is a similarity between that and 'The Ninth Wave'?
   "Yes, I think you're very right. It does sound like a song that's
come from that side. It wasn't written as part of 'The Ninth Wave',
but it was probably one of the first songs that I wrote for 'The
Sensual World' album. And it's when you hit moments like that that
you think, 'Well, I haven't quite found where this next album is
meant to be.' Because I--I worry if it's sounding like the last
album. In a way there's a natural sense for you to want to just
carry on writing in the same style of writing that you did before.
And uh, I really feel each album should be somehow a new expression
of something. But yes, I thought that, too."
   (Gary:) I don't think it sounds anything like 'The Ninth Wave', 
it's just theme of the girl trying to swim...
   "It is, it's a lot of water imagery again. Uh, I felt that, when
I was writing it, that it was...And I think in some ways I
haven't really let go of 'The Ninth Wave'. Maybe this is it. The
song is about letting go, so..."
   (Gary:) Maybe that will continue on through your career and
eventually there will be songs that will...It will become a bigger
concept, maybe?
   "Oh, that's a nice idea, isn't it?"
   (Gary:) Thank you very much, Kate.
   "Thank you! Thanks very much. Paul Thomas, from Bournemouth. Hello!"
   (Paul:) This is one of those rumours, which keeps appearing. It's
about the Ken Russell film, the re-make of "Wuthering Heights". And,
is it true you were offered the lead part as Cathy Earnshaw?
   "Uh, I've heard this as a rumour as well."
   (Laughter.)
   "Uh, a few people have said to me, 'Is it true?' I've not heard
anything about this, and so, I don't know. But we'll see, won't we?
if there's any truth in it, I presume they'll ask me! (laughing)"
    (Laughter.)
   "Unless they've got something else planned (laughing.) Well, I
don't know. What do you think?"
   (Cries of 'Yeah!')
   "D'you think it would be a good idea?"
   (Louder cries of 'Yeah!')
   "D'you really? I find that very interesting--"
   (Laughter.)
   "--that you do. Well, I will seriously consider it now, if
I'm asked. It's very nice. If it's true, it's very nice. Um, Dennis
Johnson."
   (Dennis:) Hello.
   "Hello."
   (Dennis:) The question is, what song did you find most difficult
to write, and why?
   "Well, I suppose there's a few. There's a few songs that have been
difficult to write. I think the most frustrating and difficult to write
was the song, 'The Sensual World.' Uh, you've probably heard some of
the story, that originally it was written to the lyrics at the end
of 'Ulysses', and uh, I just couldn't believe how the whole thing 
came together, it was so...It was just like it was meant to be. We
had this sort of instrumental piece, and uh, I had this idea for like
a rhythmic melody, and I just thought of the book, and went and got
it, and the words fitted--they just _fitted_, the whole thing fitted,
it was ridiculous. You know the song was saying, 'Yes! Yes!'"
   (Laughter.)
   "And when I asked for permission, you know, they said, 'No! No!'"
   (Lots of laughter.)
   "That was one of the hardest things for me to swallow. I can't tell
you how annoyed I was that, um, I wasn't allowed to have access to this
great piece of work that I thought was public. And in fact I really 
didn't think you had to get permission but that you would just pay
a royalty. So I was _really_, really frustrated about it. And, um...
kind of rewrote the words, trying to keep the same--same rhythm and
sounds. And, um, eventually, through rewriting the words we also 
changed the piece of music that now happens in the choruses, so if
they hadn't obstructed the song, it would have been a very different
song. So, to look at it positively, although it was very difficult,
in the end, I think it was, it was probably worth all the trouble.
Thank you very much."
   (Applause.)
   "Oh, here, this is nice. Jeff Shipp."
   (Jeff:) Hello, Kate.
   "Hello."
   (Jeff:) You never mention painters in your work, at all. 
Have you any favourite painter...?
   "Yes, I--I think, um, paintings are phenomenal. I would love to
be able to paint. Particularly in oils. I think, uh, it just must
be so fantastic to stand there and--paint a picture. And I think, um, 
they've been quite influential on my work. Um, when I was very young
I was into Millais pictures, and I used to find, um--Do you know 
'The Huguenots'? Do you know that? Beautiful painting, I just--In fact,
I wrote a song that was kind of inspired by the painting. I got a 
painting years ago that I couldn't afford to buy at all, but, um, 
that inspired a lot of my work, as well. (This is a reference to
'The Hogsmill Ophelia'.) And I think one of my favourite painters 
is Brueghel. I think his work is just so extraordinary. The sense
of detail, and, um, and colours, it's so alive. I would love to be
able to uh, to do something like that. So uh, vive les painters, eh?"
   (Laughter.)
   "Gordon So-peh-dia?"
   (Gordon:) Are going to do more acting in TV or films in the future.
And if you're not, would you like to?
   "Um--um, the only real bit of acting I've done is with 'The Comic
Strip' just last year--wait, this year, isn't it? And, um, I did
enjoy it. But I have to be totally honest, I really missed having 
control over--(laughs)--over the whole thing. I'm obviously such
a megalomaniac. And, uh, it was incredible working with those
people, it was a lot of fun. Very different pace. Very interesting...
very interesting stuff. I did enjoy it very much. But I think I
enjoy putting the videos together so much, where I'm actually 
directing. It's like--it's like writing a song visually. I find
that so exciting that um...That--that's what grabs me. And um, 
although I would love to do some acting, if it was something very
very interesting and I felt I could actually do it, um, I'm kind of
happier to pursue the idea of, someday, making a little film. Uh, 
so..."
   (Applause.)
   "Thank you very much. Uh, Jackie Bezzie?"
   (Jackie:) (Inaudible.)
   "Thank you. Uh...There--there's a film called 'She's Having a
Baby'. And um, John Hughes, the director, phoned up and said that
he had a sequence in the film and that he really wanted a song written."
   (Section missing from IED's tape--this was about thirty seconds
when IED was trying to get closer to the stage to hand Love-Hounds's
bouquet of thirty white roses to Kate...)
   "...and in a way, there was a sense that the whole film built up
to this moment. And um, it was a very easy song to write. It was very
quick. And just kind of came, like a lot of songs do. Even if you struggle
for months, in the end, they just kind of come boom! You know, (laughs).
So that was uh, and that was the first song that I wrote for 'The
Sensual World' album. In fact at the time we weren't even sure whether
to put it on the album or not. And I must say that Del was very 
instrumental in saying that I should put it on the album, and I'm 
very glad I did. Because I had the most fantastic response--in some
ways, maybe the greatest response--to this song. And I was really--I
was absolutely thrilled, that, um, that you felt that way about it...
(To herself, looking at more questions:) No, that's the same, that's
talking about the film, 'She's Having a Baby'..."
   (Dave Cross, who has just seen IED and his flowers, motioned to
him to get up on stage (in the wings), and give him the bouquet:)
Kate...
   "Yes."
   (Dave:) Before you do, this--
   "Ooh!" (Seeing the flowers which Dave is crossing the stage to present
to her) 
   (Dave:) This is from all the Love-Hounds, who are all the American
fans--
   "Oh, they're just lovely!"
   (Dave:) --Andrew Marvick just sent them up to the stage."
   "They're lovely! Oh!"
   (Applause and cheering.)
   "Absolutely beautiful...Thank you very much. (About one minute
is inaudible here, as IED fiddled with his camera and microphone. 
Kate says the name of the person who wrote the question she had
set aside earlier, and this person then reads the question, which
is, basically, "Are you ever going to tour again?")
   "Well, I have to say that, if circumstances allow--if things go
well--we are hoping very much to do some shows at the end of next year."
   (Deafening applause lasting forty seconds, while Kate basically 
says "Oh!" several times.)
   "What a lovely response!"
   (Cries from audience.)
   "I know it's been such a long time. All I can say is I just--in
many ways, I just haven't been ready for it. And also I think at
the time, (inaudible) that first tour. I think those of you who were
there, you know how much I did enjoy touring, it's not that I didn't
enjoy it, which a lot of uh, I've seen some interview things...It's
not true, I did enjoy it very much. And, I would very much like to
at least do some shows again, if not a big tour. So, we're thinking
about it now, and although it's not definite, I would have thought
if things go ahead it would be announced in January. And, uh, I
just really wanted to let you know first--"
   (Massive applause.)
   "What a lovely reaction! Thank you so much!"
   (More applause.)
   "It's so lovely seeing you all today. It really is great, and um, 
I--I think you're lovely...I'd like to say--Would you please give, uh,
a hand to all the organizers of this event--"
   (Continuous applause here.)
   "To Peter and Krys, to Dave Cross, and to Lisa, where are you? Take
a bow (laughing)!"
   "Thank you very much! Now, I meant to--would you mind if we just had
a, um--for Alan Murphy, and Gary Hurst, who, as you know, are no longer
with us. And I think they would be thrilled to think that we might be
touring again. And I believe this event is in their honour, and I'm 
_sure_ that they feel it. So thank you very much." 
   (While saying this, Kate has taken out a slip of paper from 
her boot, and this has some lyrics on it. The house at this point
is breathlessly quiet. She sings the following, a cappella, to the
tune of 'My Lagan Love':)

          "I'd like to thank you,
           One and all,
           For so many things you give me.
           It means so much to
           Be with you here,
           And to see your smiling faces.
          
              To see you all 
              Here in this hall,
              It fills my heart with joy!
            
           God Bless you all.
           Goodbye for now,
           Until we meet again."

   (Ecstatic applause.)
   (Dave:) Kate, before you go, we've got a little surprise for you. We
did this to you last time. And I'd like to ask Steve Davis, who is the
Marketing Manager for EMI--this is the man that looks after Kate at EMI--
he says he's got a present for you. Steve? This is the platinum disk
for "The Sensual World".
   "That's really nice. Thank you! Thank you all!"
   (Dave:) Let's hear it for Kate!
   (Applause follows Kate as she leaves the stage.)
   

-- Andrew Marvick