(Music)
(Singing) I was walking down the line,
trying to find some peace of mind.
Then I saw you.
You were takin' it slow and walkin' it one step at a time.
I said, "Listen, stranger,
I'm feeling low now.
I don't know which way to go."
I said, "If you're lost now,
maybe I could help you along and sing you a song,
and move you on and on and on."
Singing down the line.
Where shall we go? Where shall we go?
She said, "I'm looking for a kind of shelter.
A place for me to call my own.
I've been walking all night long,
but I don't know where to call my home."
"The only way to find that place
is close to where my heart is.
I know I'm gonna get there,
but I've got to keep on walking down the line."
Down the line.
Thank you so much.
(Applause)
How's everybody feeling today? You feeling good?
(Cheers)
Fantastic. Would everybody mind singing with me for just one second?
Could you sing something? Could you sing a D?
Sing "Ooh."
(Audience hums)
Oh -- louder for me, louder for me.
(Singing) Oh.
Now, please, if you could sing,
"Oh oh oh."
Audience: Oh oh oh.
Jacob Collier: Whoa oh oh.
Audience: Whoa oh oh.
JC: Sing, "Whoa oh."
Audience: Whoa oh.
JC: Oh oh oh.
Audience: Oh oh oh.
JC: Sing, "Whoa oh oh."
Audience: Whoa oh oh.
JC: Sing, "Whoa oh oh."
Audience: Whoa oh oh.
JC: Whoa oh oh.
Audience: Whoa oh oh.
JC: Sing, "Whoa oh oh."
Audience: Whoa oh oh.
Thank you so much. That's beautiful. Thank you.
(Applause)
Thank you.
So do you feel that motion?
Do you feel yourself as part of that motion,
things moving underneath the surface?
So the language of musical harmony is an absolutely extraordinary one.
It's a way of navigating one's emotional frameworks,
but without the need to put things into words,
and I think that, as with many other languages,
it doesn't matter how much you know about a language.
It doesn't matter how many words you can say,
how many phrases you know.
What matters is the emotional choices you make with this language.
So I encourage us to embrace this idea as a community,
which is the thing which in time may grow us towards
as opposed to away from our own humanity.
Thank you so much.
(Applause)
(Music)
(Singing) Take me
anywhere you want to go.
You know that my love is strong.
In my hideaway.
Softly,
like the calm that follows storms,
Find what I've been searching for all along.
In my hideaway.
Even when I close my eyes,
darling, if you've gone astray, I'm on my way to my hideaway.
Touch me
like I've never loved before,
in the place that I adore,
in my hideaway.
I know
whichever way the wind may blow,
there will be a place for me to go
in my hideaway.
My hideaway.
Sticks and stones
I won't hide from you no more.
And in time
I find what I've been searching for.
Heard your voice
calling out to me.
I'm on my way
to where I can be free.
And if she won't wait for me, do it right, don't look back,
keep my heart on the future.
On the soles of my shoes all the places I've been
that I've known since I knew her.
'Cause it's you, don't you know that you're making me guess
that you're the one for me.
That it's you that I guess that I wanted to know all along.
Girl, it's you that I want, that makes me complete,
cause you're the one for me.
It's thanks to you that I guess that I want you to know I belong.
One, two, three, four, five.
(Applause)
Thank you so much. Thank you.
(Applause)
Thank you.
Thanks so much. Thank you guys.
Kelly Stoetzel: OK, Jacob. Wow.
OK, we have some questions. JC: OK.
KS: That was spectacular.
JC: Thank you, Kelly. Thank you.
KS: Those visualizations we just saw,
those were happening in real time, yeah?
JC: Yeah, so everything visual
takes cues from things which are audial, or something, if that's a word,
and so everything is real time.
I cue the loops, I play the instruments
and then the tree, for example, that you saw grow,
grows in such a way that it takes low long notes
and grows thick long branches,
and it takes high, quiet notes, whatever, and then it grows thin, small branches.
And then my singing voice
sort of blows wind against the tree.
KS: So you're 22 years old. JC: Yes, indeed.
Moderator: You played all of that by yourself.
How did you get started and how did this all evolve?
JC: I have this magical room in my house
in North London, which is, like, over there.
(Cheers)
Thank you. Represent North London.
And this room -- I mean, this is my family home.
I grew up in this room filled with musical instruments,
but most importantly, I had a family
who encouraged me to invest in my own imagination,
and so things I created, things I built were good things to be building
just because I was making them, and I think that's such an important idea.
But this room was my paradise, essentially,
and when I came to tour my album, which is called "In My Room,"
I thought I'd try and tour the room on the road,
and that's quite a strange idea,
but it's something that I've been working on for a couple of years,
and it's quite exciting to be inside the circle.
KS: So this is really like the setup in your room, here.
JC: It kind of is. It's similar to the room
in the sense that I can generate things on the spot
and I can be spontaneous,
which is what I think both music and all of the best ideas are all about.
KS: So you won two Grammys
for a record that you made in your room by yourself.
And how is that even possible? We couldn't have done that,
that couldn't have happened five years ago even.
JC: It's a brand new world.
The power is now in the hands of the creator,
as I'm sure you guys would agree,
as opposed to the big record company executive
or the big man or something like that.
It's somebody with a good idea.
Here I am at TED saying this to you guys who know this already,
but it's somebody with a good idea who can sow that seed.
That's the person who carries the torch into the world.
And yeah, I made this album completely on my own
and I didn't wait for somebody to say,
"Hey Jacob, you should make an album on your own."
I just went ahead and made it and I didn't mind what people thought,
and two Grammys is a massive bonus.
(Applause)
KS: Thank you so much, Jacob. JC: Thanks, Kelly. Thanks so much.
(Applause)