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  I got his number, and when I eventually called him it was like talking to an old mate. I’m so in awe of these rockers, these iconic rock legends, and they’re just blokes that used to play bar-rooms. I asked him if he wanted to record Tim Buckley’s ‘Song to the Siren’ with me; the first time I’d heard it was the version Robert recorded on his Dreamland album. He asked me for a demo of my arrangement, so James Morgan and I got one together for him, and he called me a few days later when I was poking around in a drum shop. Didn’t recognise the number, just heard someone say, ‘Alfie! Robert here,’ I didn’t have a clue who it was. What can I do for you, mate? He said, ‘I’m in the States at the moment, I’m on tour with The Band of Joy . . .’ I fell against the cymbals, apologised, asked him how he was. ‘Yeah, I’m cool man, I’m just about to go out and get a bowl of porridge.’ I thought, Robert Plant eats porridge!

  The more he sang in the studio, the more his voice opened up. The thing I really admire about Robert is his consistency as an artist. He’s from the rock world but has done a number of different styles over the years and adapted them for himself without ever compromising the way he sings. He’s never changed his voice for the sake of a genre, and that’s my philosophy. I come from the classical world, but I don’t change the sound of my voice if I sing blues or rock, it will always be the voice that I use when I sing Puccini or Verdi. Although I do tend to channel people when I sing with them, I soak up their energy a bit. When I do ‘Song to the Siren’ on tour I feel like Robert’s there duetting with me.

  The Bring Him Home tour, my first official tour as a solo artist, brought me full-circle in many ways. Playing in the Blackpool Opera House was eerie. Going through the stage door into the back of the venue that afternoon gave me the jitters, knowing that I was there to perform on the stage I used to set up, going up to inhabit that dressing room I used to sit outside while The Everly Brothers and Duane Eddy were in there . . . an odd feeling of displacement. I’ve brushed that stage so many times. That was probably the one I was most nervous for, it was a homecoming gig of sorts, some of my family were in to see me, there was a different sort of pressure with that gig. I was very uncomfortable at first. I didn’t know if the audience would accept me. Yes they’d all paid to come and see me, but that doesn’t count for much until you’re out there and it’s going well. My old boss Duncan was still there, same job, same office. I said hi to him beforehand, and he was still as miserable as ever. An odd awkwardness there. So much has happened in the 20 years since I worked for him in that place. I mentioned him on stage, told the crowd I used to work there, I joked I was gonna smash his face in. One of his staff heard and called him out of his office to listen, apparently he wasn’t too impressed. My driver Jim was hanging around backstage – he said Duncan looked like his nuts had been nailed to the floor. He has a way with words, Jim. Preston was similar, playing in the Charter Theatre, where I did West Side Story when I was 19. That was electric, again – my family were there, I was really happy that night. A couple of songs in I mentioned that I’d performed that show there when I was 19, and a handful of people in the second row hollered – it was some of the guys who’d performed with me in that production. I was over the moon, really touched. In Bristol, a little girl who’d been in La Bohème for the ENO with me a couple of years earlier was there, she ran up to the stage at the end when we were doing ‘Jacob’s Ladder’, got up for a dance. That tour was full of moments like that – it was incredibly affecting. I ended the set every night on the drums, just how I started 25 years ago. Most of all, we had fun. I wanted everybody involved to have fun, no matter if they were sweeping the stage at the end of the night or wrapping up cables or pushing flight cases onto the trucks or cooking the food. Sarah and Grace unfortunately weren’t able to come on the tour because of the baby, because of Alfie, who was due in the halfway break, smack in the middle, New Year’s Day. So the team became my family, they looked after me so much, and I sometimes wonder if I deserve it.

  I delivered Alfie in hospital in Salt Lake. The doctor was really cool, Dr Yamashiro, Hawaiian guy. He said, ‘How much do you wanna be involved?’ I said I wanted to be a support for Sarah and hold her arm, that sort of thing. And he said, ‘You’re gonna deliver this baby today, Alfie.’ What? ‘You’re gonna deliver it. We’ll cap and gown you. You’re gonna do it. My hands will be right by yours, I’ll guide you, I’ll tell you exactly what to do, but you’re gonna do it.’ I didn’t know what to expect. And the moment came when Sarah was ready, she needed to push, and she said to me, ‘Are you OK? You look like you’re gonna faint.’ The midwife said, ‘If you’re gonna faint, faint away from the table.’ I sat next to Dr Yamashiro on the bed and saw the top of the baby’s head. A few pushes, he was getting closer and closer. He said, ‘We need to do it in stages so we can check the umbilical cord isn’t wrapped around his neck.’ So I had my hand on top of Alfie’s head, and Sarah gave one big push and his head came out and I held it. And I could feel the force. Dr Yamashiro checked the cord and said, ‘Now put one hand underneath his head, and one hand on top of his head.’ Either side of his head. He said, ‘Now one big push, Sarah.’ And his arms came out. He said, ‘Now grab hold of his shoulders and pull him out.’ Then one more push and he was out. And I had my son in my arms. I can’t describe how incredible that felt, to actually deliver my son into the world. What a treat. It was lovely. I laid him on Sarah’s chest and cut the umbilical cord. He was screaming, definitely voicing his opinion. To have delivered my son and brought him into the world, and to be the first one to hold him – not a doctor, not a nurse, not a midwife – me, I was the first one to hold my son. It was like I’d said goodbye to my father and hello to my son. And they’re both called Alf. It’s magical for me, that. That’s my little world.

  We knew he’d be called Alfred, but we were trying to think of a middle name. We were thinking Aaron, Gabriel . . . and over Christmas, I thought, ‘I’ve said I’m naming my son after my dad. And if Dad’s full name was Alfred Robert . . . then that’s what I’ll call my son.’ Alfred Robert. I’m crying as I write this. Alfred Robert. My dad, my son. I was Skyping with him while I was on tour in February this year, a month after he was born, and he looked so much like Dad. Sarah picked him up and put him in front of the camera and I looked and I saw my dad. Even the little hair combed down flat on his head, his wide eyes . . . I really saw my dad, and it was wonderful to know that he lives on. That album’s named after both of them. When we christened him in Fleetwood in March, we toasted them both with some port that Dad had produced himself. We’d found a gallon of it when Dad died, enough for four bottles, one for each of his sons. I saved mine, and it was very emotional for me to share that with my family for the christening of my son. It was very special to bring a new Alfred Robert into the house that the last Alfred Robert died in. That time a few months before Dad died when he said I’d see him again, I thought I realised what he meant when I started recognising him more in myself. But he’s in my kids too, so much. Gracie’s got his spirit, she’s such a comic like he was, always larking about and pulling faces. So I do, I see him all the time. And the love I have for my father, for my family, and for my boy and my girl and my wife fills any concert hall, more than the music.

  ACKNOWLEDGEMENTS

  First, I’d like to thank Sarah, my wonderful wife, for giving me so much help and support during the writing of this book. Thanks hugely to Alex Godfrey for the months and months that went into these pages, for helping to tell my story. My gratitude to Rory Scarfe, Carly Cook and the editorial team at Simon & Schuster, and my literary agent Felicity Blunt, who were all so excited about this book, from the day we met and first talked about it through to now; it’s finally in your hands. For my dad and my mum – thanks Mum, you always encouraged me to pursue my dreams. Dad was always there for me – I miss you Dad. Thanks also to all my brothers, sisters and family.

  Please allow me a moment to thank so many wonderful people that have been so important in my life. My
close friends from home, John Ginley, Bob Mc’Creath, Michael Parkinson (not the presenter) Michael Gawne, Mike Rolands, Frank Salter, the people of Fleetwood and the player from the Cod Army. Friends in the business I’d like to thank: Robert Plant, Matt Lucas, Derren Brown, Melanie C, Tom Fletcher, Michael Ball, Michael Parkinson (this time the presenter), John Owen Edwards, Darren Henley, Simon Bates, Baz Luhrmann, David McVicar, James Morgan, Juliette Pochin, and all of you I’ve forgotten to mention, I do love you all. Everyone at Decca Records, Dickon Stainer, Mark Wilkinson, Tom Lewis, Emma Newman, Alex Cowan, Kieran Thurgood, Alex Johnson, Becky Allen, Jude Dexter-Smith, Molly Ladbrook-Hutt, Caroline Crick, Chloe Gillard, Sarah Bates, Emma Hurst, Nancy Coburn, Laura Monks, Karyn Hughes, Jackie Joseph, Dee Ryan, Liz Trafford-Owen, James Tornianen, Hass Choudhury, Paul Horner, Sarah Hutchinson, Marc Robinson and David Heath. My agents: Neil Warnock, Heulwen Keyte and Juliet Liddel at The Agency Group in London and Andrea Johnson in New York. Simon Moran and all at SJM, the promoters of my UK tours. My touring team, Helen Fitzgerald, Uncle Geoff Clennell, Chris ‘Freddie’ Andrews, the orchestra and crew (Paul Hatt & Tristram Mallet for sound, Sam Sutcliffe for lights, Mick Thornton for catering, Joe Neale for trucking and all the riggers and local crew). Sir Cameron Mackintosh, Trevor Jackson & co., and Claude-Michel Schönberg, Alain Boublil, Herbie Kretzmer – I can’t thank you enough. Helen Parker and her awesome team at NBC/Universal Pictures. Kirsty Young, whose Desert Island Discs caused so many people to want me to tell this story. Radio, TV & press friends who have supported me for so long. PBS for inviting me to join their illustrious family. Sarah Adams and Jodie Dunleavy, who battled against my old record company and every mistake imaginable. Tracey Bell for powering the fansite all these years. All in Glasgow at Linn Records. The team of supporters at Classic FM. Photographers I’ve had the good fortune to work with, especially Ray Burmiston and Paul Marc Mitchell. Shure microphones, Nicola Lange at Lufthansa and the crew at Firebrand Live. My team: Vick Shuttleworth; Nigel Jones; Mellissa Bradbury, assistant to my managers at Brilliant!; and my Brilliant! managers, Jilly and Neil Ferris.

  Finally, to you, my fans across the world – love to you all.

  Alfie x

  INDEX

  Abbey Road Studios, ref 1, ref 2, ref 3

  Agata, Chiara, ref 1

  Agata, Gennaro, ref 1

  Agata, Mamma, ref 1

  Albert Herring, ref 1, ref 2

  Alex (Sarah’s friend), ref 1

  Alexandra Theatre, ref 1

  Alfie, ref 1, ref 2

  Alice in Wulstanland, ref 1

  Allen, Tom, ref 1

  American Conservatory Theatre, ref 1, ref 2

  Andreas, Peter, ref 1

  Ángeles, Victoria de los, ref 1

  Apache Motel, John Wayne Suite, ref 1

  Askonas Holt, ref 1

  Atkinson, Mrs (teacher), ref 1

  Austin, Mrs (teacher), ref 1

  Ball, Michael, ref 1, ref 2, ref 3, ref 4

  Band of Joy, ref 1, ref 2

  Barks, Sam, ref 1

  Battle of the Bands, ref 1, ref 2

  BBC Proms, ref 1

  Bellini, Vincenzo, ref 1

  Bernstein, Leonard, ref 1

  Berry, John, ref 1, ref 2

  Big Daddy, ref 1

  Biscuit and Blues, ref 1

  Bizet, Georges, ref 1, ref 2, ref 3

  Björling, Jussi, ref 1

  Blackpool Central Working Men’s Club, ref 1

  Blackpool Illuminations, ref 1

  Blackpool Opera House (BOH), ref 1, ref 2, ref 3, ref 4

  Blackpool Pleasure Beach, ref 1

  Bob (French-horn player), ref 1, ref 2

  Bocelli, Andrea, ref 1, ref 2

  Boe, Alf (father), ref 1, ref 2, ref 3, ref 4, ref 5, ref 6, ref 7, ref 8, ref 9, ref 10, ref 11, ref 12, ref 13, ref 14, ref 15

  accidents involving, ref 1, ref 2

  Action Man-like abilities of, ref 1, ref 2

  Alfie in awe of, ref 1, ref 2

  Alfie’s scholarships and, ref 1

  Alfie’s singing career supported by, ref 1, ref 2, ref 3, ref 4

  comical nature of, ref 1

  dancing skills of, ref 1, ref 2, ref 3

  death of, ref 1, ref 2, ref 3, ref 4, ref 5, ref 6, ref 7, ref 8, ref 9

  Desert Island Discs mention of, ref 1

  DIY skills of, ref 1, ref 2, ref 3, ref 4

  funeral of, ref 1

  grandchildren of, ref 1

  ICI job of, ref 1, ref 2

  ill health of, ref 1, ref 2, ref 3, ref 4, ref 5

  last Christmas of, ref 1

  love of music by, ref 1

  Pat marries, ref 1

  Pat meets, ref 1, ref 2, ref 3

  popularity of, ref 1

  retirement of, ref 1, ref 2

  toy-making skills of, ref 1, ref 2

  Boe, Alfred Giovanni Roncalli (‘Alfie’), ref 1

  accidents involving, ref 1, ref 2

  A-list celebrities and, ref 1, ref 2, ref 3

  amateur operatics attended by, ref 1

  American cuisine and, ref 1, ref 2

  Amsterdam gig of, ref 1, ref 2, ref 3

  Anne godmother to, ref 1

  awards/prizes won by, ref 1, ref 2, ref 3, ref 4, ref 5

  bands joined by, ref 1, ref 2, ref 3, ref 4

  Battle of the Bands and, ref 1, ref 2

  birth of, ref 1, ref 2, ref 3, ref 4

  breakdancing skills of, ref 1

  camping/hiking/trekking by, ref 1, ref 2, ref 3, ref 4, ref 5

  career grinds to halt, ref 1

  career takes off, ref 1, ref 2

  Carson gives advice to, ref 1

  charitable benefactors and, ref 1

  childhood of, ref 1, ref 2, ref 3

  church attended by, ref 1, ref 2

  clogs owned by, ref 1, ref 2, ref 3

  college and, tough times at, ref 1, ref 2, ref 3

  college gigs undertaken by, ref 1

  colleges enrolled in, ref 1

  comical nature of, ref 1, ref 2

  confrontational nature of, ref 1

  connection with audiences felt by, ref 1

  considers giving up career, ref 1

  cooking skills of, ref 1

  dad’s ill health, death and, ref 1, ref 2, ref 3, ref 4

  dancing and, ref 1

  debt and, ref 1

  delayed honeymoon of, ref 1

  demo recordings of, ref 1, ref 2, ref 3

  depression suffered by, ref 1, ref 2, ref 3

  on Desert Island Discs, ref 1, ref 2

  diminished expectations of, ref 1

  DIY skills of, ref 1

  D’Oyly Carte audition of, ref 1

  drugs and, ref 1

  drumming ambitions of, ref 1, ref 2, ref 3

  EMI signs, ref 1

  EMI’s five-album deal with, ref 1, ref 2

  ENO run-in with, ref 1

  exhaustion suffered by, ref 1

  faith and, ref 1, ref 2

  family holidays of, ref 1

  fans of, ref 1, ref 2, ref 3

  film writing and, ref 1

  first Christmas with Sarah, ref 1

  first drum kit of, ref 1, ref 2

  first-ever recording of, ref 1

  first official tour of, ref 1, ref 2, ref 3, ref 4, ref 5

  first public appearances of, ref 1, ref 2

  folk band joined by, ref 1

  40th birthday of, ref 1

  fly-fishing and, ref 1

  friends’ deaths impact on, ref 1

  GCSEs failed by, ref 1

  gigs of, ref 1, ref 2, ref 3

  girlfriends of, ref 1, ref 2, ref 3, ref 4, ref 5, ref 6

  groupies and, ref 1

  Harley owned by, ref 1

  hash cakes eaten by, ref 1

  ill health of, ref 1, ref 2, ref 3, ref 4, ref 5

  importance of family to, ref 1

  in-laws of, ref 1, ref 2, ref 3, ref 4, ref 5, ref 6

  John Christie award w
on by, ref 1

  karaoke and, ref 1

  kickboxing and, ref 1

  lack of confidence of, ref 1

  languages studied by, ref 1

  learning by ear and, ref 1

  learns to read music/rhythm, ref 1

  leaves school, ref 1

  life on the road of, ref 1

  love of music of, ref 1, ref 2

  Macau ordeal of, ref 1

  master in operatics taken by, ref 1

  Morley College attended by, ref 1

  movie ambitions of, ref 1

  music college attended by, ref 1

  Nana Boe’s death and, ref 1

  near-drowning incident of, ref 1, ref 2, ref 3

  1977 flooding and, ref 1

  opera career begins, ref 1

  ‘Opera Dude’ title of, ref 1, ref 2

  opera politics and, ref 1, ref 2, ref 3, ref 4

  Outward Bound course taken by, ref 1, ref 2

  overdrinking habits of, ref 1, ref 2, ref 3

  part-time/temporary jobs of, ref 1, ref 2, ref 3, ref 4, ref 5, ref 6, ref 7

  performance psychologist seen by, ref 1

  pool-playing skills of, ref 1

  Pope’s name given to, ref 1

  press and, ref 1, ref 2, ref 3, ref 4, ref 5, ref 6, ref 7, ref 8