"Grasshopper gave me Lady in Satin for my 30th birthday. People were startled by the quality of Billie’s voice on this, her final album before she died, you can hear the years of her life in her voice. As a singer you’re always doing everything you can to imagine your voice being clear, non-crackly and not having any cobwebs, you’re doing everything you can to sing perfectly. “Yet here was someone singing imperfectly, but with all the vulnerability of a life well and certainly intensely lived. That changed everything for me, hearing the crackle in her voice, the years making their way out of her windpipe, almost by clawing their way out. “I’d read that Ray Ellis, who conducted and produced the album, cried when she first sang these songs, because he knew her as someone whose voice had a very full, rich-sounding tonal quality. Yet on this album you can hear the cobwebs, the lisping gasps of air between words. He cried because he thought this shouldn’t be Billie Holiday on record. It was only later that he thought it was her masterpiece. “It was the first time I began to see the connection between the singer, their voice and the listener, that it had nothing to do with the pureness of tone, being perfectly in tune or singing as loud as could be. It was all about the emotions that came out via the breath and the notes together that made the connection. “It changed everything, not only about my singing, but the way I began to understand what people appreciated in a singers’ voice. I could really understand and take some of the pressure off trying to be what I thought was a perfect singer, I know I’m not, but you always have it in mind that you’ve to belt it out and sing perfectly. “I finally began to accept that what comes out of me is my voice and no one else’s, this song and the album as a whole finally released that anxiety in me. The next record we made was Deserter’s Songs.”"