7.2.26

News & New In The Archive


2026 Songs & Stories Tour

The 49-date Songs & Stories Tour
starts on the 22nd of March

Book yours tickets HERE


Meteorite

A new memoir called Meteorite
was released in November

The book is accompanied by an exclusive 9-track CD
“Swipe Right, Paradise” of previously unreleased
demos curated by Toyah

There's also a Superluxe Edition which includes an Archive Scrapbook of images, doodles and handwritten materials across the decades and an exclusive 9-track vinyl

Order
Luxe Edition
Superluxe Edition
 


Ophelia's Shadow and Take The Leap!
Picture discs and CD's


2-Disc CD's and a limited edition picture discs of both Ophelia's Shadow and Take The Leap! are out now

Order

Ophelia's Shadow
Take The Leap!

For more information visit Official Toyah


Chameleon – The Very Best Of Toyah

Toyah's new compilation
Chameleon – The Very Best of Toyah
on Cherry Red Records is out now

For more information visit Official Toyah

Order

2CD Edition

3CD/Blu-ray Deluxe Edition

2LP Gatefold Gold Vinyl Edition

 
NEW INTERVIEWS

BBC RADIO SCOTLAND 11.1.2026
BBC RADIO 2 TRACKS OF MY YEARS 1.9.2025
BBC RADIO LONDON 13.9.2025
BBC RADIO 2 8.8.2025
BBC BREAKFAST AUGUST 2025
BBC RADIO 2, SOUNDS OF THE 80'S 19.7.2025
BBC RADIO SCOTLAND 13.2.2025
LOVE YOUR WEEKEND, ITV 23.11.2024
TOYAH TALKS LOVE IS THE LAW 2024
TOYAH TALKS THE CHANGELING 2023
E4 THE LATE EDITION 24.3.2005
BBC1 LIFE AND TIMES 2000
KENNY LIVE, RTÉ, IRELAND 12.11.1994
ITV THIS MORNING April 1994
ITV THIS MORNING September 1992
ITV HTV WEST RECOLLECTIONS October 1987
SUMMER SUNDAY ITV TV-AM 19.7.1987
PEPSI LIVE! April 1987
BBC BREAKFAST TIME 1.4.1987
BBC1 WOGAN With Sue Lawley 16.4.1986
BBC BREAKFAST TIME June 1985
BBC PEBBLE MILL AT ONE 29.4.1985
SKY TRAX April 1985
BBC BREAKFAST TIME September 1983
HARTY, BBC1 16.11.1983
BBC GET SET, TRAFFORD TANZI SPECIAL 23.4.1983
BBC 1 BREAKFAST TIME 28.3.1983
SOUNDCHECK Issue 1, 1983
GET SET FOR SUMMER, BBC1 July 1982  
COUNTDOWN AUSTRALIA 4.4.1982
SUOSIKKI, FINLAND December 1981
PARKINSON, BBC1 October 1981
TISWAS 26.9.1981
ATV TODAY May 1981
TISWAS 14.3.1981
BACK ISSUE FANZINE 1980

Check out all the new stuff on our sister page HERE 
TOYAH ON
BBC RADIO SCOTLAND
SUNDAY MORNING
WITH CATHY MACDONALD
11.1.2026



CATHY: Now, sharing her spiritual life with us this morning is punk icon, writer and cult actress of both stage and screen, Toyah Willcox. Toyah first came to prominence in Derek Jarman's punk film "Jubilee", a role in the iconic Brit flick "Quadrophenia" followed alongside roles opposite such legends as Katharine Hepburn and Sir Laurence Olivier

And it's no mystery why, over 40 years on, Toyah is still making music. 13 hit singles and 24 albums on the love of music, which began in church, no less, has never left her. We'll hear more about her new show, "Songs & Stories", which will be touring Scotland in June. But first, a very warm welcome to "Sunday Morning", Toyah. Hi!


TOYAH: Good morning to you. It's lovely to be with you today

CATHY: And it's a pleasure to have you join us. Faith has always played a part in your life, I believe, but it was through your school in Birmingham, as opposed to your family. What was it that appealed to young Toyah about religion?


TOYAH: I was very young. Obviously, I started school at the age of four and a half, and it was a Church of England School opposite a church. So going to church was a very regular part of my life. I loved the ornate grandeur of the church and the grandeur of the songs that we sang. They were very liberating as a child - to suddenly be in that environment where you focused on music and the voice and it meant a lot to me

I never queried or questioned it. I loved my religious education. We had scripture classes in my school, but we also were a very liberal school when it came to religion. Obviously, being in Birmingham, we had Hindu children - I don't remember Islamic children, but we always honored the families and the children and the religion that they were born into. I found it fascinating learning about Shintoism, learning about Buddhism, as well as Catholicism and Church of England

It just made so much sense to me. Not the literal meaning of it, but the wonder of it. I always found those lessons probably the most rewarding rather than being stuck in mass or stuck in history or stuck in geography. The ones I looked forward to were the ones that allowed my imagination to soar


CATHY: Well, it certainly wasn't a passing phase because when you were only 14 you decided to get baptised and confirmed. Was there anything specific that made you take that leap? And what meaning did it have for you?

TOYAH: I had a lot of meaning. I'm the youngest of three children and both my brother and sister were christened and I wasn't. My mother had a very tough life. She was very badly damaged as a child because her father murdered her mother. We didn't know this, but my mother was severely depressive and had no sense of joy. There was just nothing positive in what she had to say

She felt I wasn't her child. I was born at home. The midwife came to the house, helped my mother give birth to me and my mother said to the midwife, apparently, “this is not my child.” That summed up our relationship. So by the time I was 14 and very free willed. I mean, my goodness, nothing could stop me. I was determined to get to London to be an actress and be a singer

My mother felt that because I hadn't been christened, I was possessed. So I went into religious education in Birmingham every evening, just one on one with our vicar across the road from the school and I was christened. My history teacher, Mrs. Beard was my godmother because no one wanted anything to do with me at this point in time

My family are not believers at all. My parents were there. They were gobsmacked, and then I got confirmed and to be honest I was ridiculed for this decision. My family have no belief whatsoever but I was utterly determined not to be bullied into making a joke of religion. It was obviously so important to the world that we are here on this planet and we're capable of prayer and we're capable of belief. I was brought up, thankfully, by my school to respect all religions

CATHY: It's very interesting because we're going to be discussing in the second hour of the show that very subject - talking about bringing faith into the public arena, how comfortable people feel discussing their personal faith and how comfortable people feel listening to it - so that's very, very interesting

For you, clearly, hugely important on your own but in many senses within the family. I know you've spoken about your difficult relationship with your mom. Knowing what you do know now and you know her own traumatic childhood - do you think you were trying to repair that relationship in terms of being baptized because she felt that perhaps that would have been . . . – no?



TOYAH: I mean, if I knew what I know now I would have fought all my life to get my mother help but you're talking about the early 1970's where you couldn't really talk about mental health. If my mother said something she was a superior therefore she was right. If I could go back to that 14 year old self and know what she'd been through I'd have fought tooth and nail to get her help so she could talk about what happened to her. She never even told my dad

So we all believed we were living with someone who was completely irrational, which was true, but we couldn't help her. So by the time I was 14 I was so rebellious. I was running away from home. I just did not want to be in the same building as my mother. As soon as I was 16 I started working and by the time I was 18 I left home

It was a very damaged relationship but all the time there was love there and this is my connection with my Christianity. For me love is the greatest power every living thing has, including animals. We are all emotional, deep thinking, deeply tuned creatures, and love is the compass that brings everything together and helps us find everything

Even though my mother could not emotionally support me in any way or say anything positive to me, there was love there and that's the bond that held us together. It's the bond that kept us together right through her life but it was a very fractured and an incredibly difficult relationship which just drove me away. But I never stopped loving her and I believe in her way she was trying to love me

CATHY: That's very insightful. I know that faith is a part of your life. These days you attend church, but you also enjoy religious buildings in the sense that you believe they maybe hold memories or energy, perhaps. Sacred spaces are important to you

TOYAH: I think prayer is incredibly important because I think we are very unique in our ability to pray. I think it's part of the human condition. You can call it meditation. You can call it deep meditation. You could call it prayer. But if we are able to communicate with this remarkable existence on this remarkable plane, we are able to bring the future to us

I've always loved churches. I used to live in Menton on the Italian border, right up until the Covid lockdown. There was the most remarkable church in Menton, which is in France. I would just go there every day, and it wasn't so much to hear the scriptures. It was to be in the building and to feel what humanity had done to that building

I think when you've got places of worship, and even going back through history before Christianity, places of worship are very, very powerful and very rewarding and I believe the power of prayer can change things for the better


CATHY: Life after death for you is also something you believe is intrinsically linked to a changing relationship with time. Can you tell us more about this?


TOYAH: Yeah, the only people I get angry with is atheists who try to drum it into me that our energy doesn't continue. I just think it's blindingly obvious that we are divine sparks in human form, and that spark never dissipates. So I believe we're here to experience time. In eternity you can't experience time, but you can revisit when you've been here. This is a plane that vibrates at a certain level. You've got the fourth dimension, which is about time

For me, eternity is where time just doesn't travel. So to come here allows us to develop and become stronger, for that spark to become stronger. I do not believe that Toyah Willcox is going to live forever and I find huge comfort in that because I've been Toyah Willcox for long enough. This whole thing about moving on and experiencing new things is about the whole experience and energy of this universe and greater kind of solar system. So I just cannot fathom when people can't experience that we are more than the flesh

I felt that for a long, long time - even as a child I actually used to freak my mother out that I had this deep, deep belief of otherness and connection to her past and to my father's past. It's an ongoing bond and the greatest thing we can honor it with is love

I listened to your last speaker who was absolutely fascinating - that algorithms within social media are driving us apart. We cannot allow this to happen to us because the greatest thing we can give this world in our lives is love. And whatever you believe in, whatever you're born into, love is the greatest language we have

CATHY: Well, we're going to talk more to Toyah Willcox but we're going to pause for some music. You've chosen David Bowie's “Life On Mars” and you can tell me about why or why it's significant after we've heard it

The song plays


CATHY: Remembering David Bowie who died 10 years ago yesterday. Great track. Why is that particularly specific to you?

TOYAH: I think it means a lot to my generation. It's an astounding piece of music. I mean, musically it's just absolutely perfect, but the sentiment of it is dystopian and it's very, very broken. I remember hearing it and falling in love with the romanticism of it. Certainly fell madly in love with David Bowie and the fact that he was otherworldly and that you look up to the stars and wonder what experiences they are having, i.e is there life on Mars?

But for me that brokenness of seeing that everything around you is not working in your favor and giving you the strength to just walk away from it. That was very powerful to me. The song became a lucky charm as well. I sang it at my very first audition for a BBC Two drama called “Glitter” when I was 17. I got the part and I ended up at the National Theatre

Then I ended up working with (Derek) Jarman and Katharine Hepburn and I put it all down to the luck of that song. So it's very deeply embedded in me as a masterful, brilliant song but also something that has opened doors for me

CATHY: Marking a milestones in your life, because as you said you couldn't wait to leave home. You left Birmingham, you went to London and that would have been during very exciting years, because I think we're similar ages, to be honest

You were a teen hair model. You became a drama graduate and then of course all of this excitement with the National Theatre started. Tell me a little about your Mayhem warehouse years in the early 80's, as it was at the centre of the punk art scene, wasn't it? That must have been exciting!


TOYAH: I moved into this warehouse. It was actually about 1976 - it could have been '77. It's a long time ago! It was just an empty warehouse and it had really thick, almost two inch thick glass panes everywhere because it was used to make acid. So we used those panes as flooring. But very quickly this became the hottest place in London

We had people like Iggy Pop rehearse there, John Cale of the Velvet Underground, Hazel O'Connor formulated the music for the movie “Breaking Glass” there. It was the hot spot. I remember we used to rent it out to Steve Strange (above with Toyah) every weekend or every other weekend and he'd have four day parties from Friday to Monday. They were 24 hour parties. Every cycle of the day he'd be in there making music. I can remember seeing Boy George in the audience, (and) Leigh Bowery

It was in intensely crazy. I cannot tell you. We would have up to 450 people in this very small area. Spandau Ballet gave their first ever live performance there. It was a really uncomfortable place to be. It had one toilet, no door on the bathroom (Cathy laughs) Yet people loved being there

They found it inspiring and it attracted a community that went on to create the new wave movement, the New Romantic movement and the kind of real glamorous rock and roll that started to develop in the early 80's. It all kind of happened in this building (Toyah at Mayhem, below) which had no heating and one tap


CATHY: Yeah, but art will find art. It must have been exciting. The names you've just listed off there are so well known and but at the time, clearly, very young and waiting for their break. You met your husband, a musician and founder member of King Crimson, Robert Fripp when you were both stars, but your love story is quite an unusual one, isn't it?

TOYAH: It's very unusual. I don't think it could ever happen again. He had a premonition. My husband has dreams that become very real. He had a premonition that his diary wasn't filling for this three week period. It was about 1984 or '85. He was living in New York and he thought “there's a reason for this. I'm going to go back to England”

He spent time with his mum. He felt that he was going to meet his wife so he came back to England. We were both sharing a taxi - this is pure coincidence - with our management going to a Nordoff Robbins music event. It's a music charity in London. And he realised I was his wife (Cathy laughs) and he proposed. It was just like out of the blue. I said, “well, can I get to know you first?” And he said, “well, you can, but I know you're my wife.” So he proposed in the first week we met each other

CATHY: That's incredible. What did you say? I mean, obviously you said "yes" (laughs)

TOYAH: Well, it's a really complex thing, because we made an album together. We did a charity album ("The Lady Or The Tiger", 1986) together to raise money for a children's school in Washington DC. We did very quickly fall in love with each other and by the end of that album he said, “I absolutely know you're my wife. We're together for life. Will you marry me?” And I said, “well, I still would like to get to know you.” So within nine months we were married

CATHY: Oh, that's amazing. That's wonderful. And so hopeful for anyone listening out there - at the beginning of a new year you never know what's around the corner. We must talk about your your UK tour. 49 dates, "Stories & Songs". You're heading to Scotland in June. Tell me a little about it?


TOYAH: Well, I'm really looking forward to coming to Scotland with this because Scotland has always been incredibly good to me and I can't wait to be with these particular audiences. This is a show that has two acts. There's music, there's very much the hits. And I tell stories that I don't otherwise get the chance to tell. So I've written a book called “Meteorite”, which is a visual autobiography of my life going behind the scenes

So within the very intimate settings of these venues that I'm going to be doing in Scotland and and the rest of the UK I want to be able to tell you stories that have developed me as a person but I've never had the luxury of time to tell. Like working with David Bowie – David Bailey, the photographer. I will talk about experiences with David Bowie. They're very few, but very powerful

I just want to go right behind the scenes and be really insightful. I find that with my shows a lot of daughters bring their mothers or vice versa. It's one of these shows that is inspirational. I very rarely talk about this in the press but I'm a child of disability, which was very problematic for my mother, who was a very beautiful dancer when she was young

So the fact that I was so rebellious was because I was not going to be pigeonholed into someone that could not move forward through life because I was physically disabled. So it's very inspirational, very open, very truthful. And also very funny, because there's stories like when I was 18 I got arrested in Trafalgar Square for busking on Christmas Day

I'm telling these stories about always being in trouble and always being in the wrong yet being in the right place at the right time. So that's what it's going to be about. Lots and lots of laughter, lots of insightful stories and brilliant music  

CATHY: Absolutely and people are looking forward to it. I know I am, certainly after hearing this. Toyah, it's been a joy talking to you this morning. Thank you for sharing your spiritual life with us

TOYAH: Thank you, Cathy

Listen to the interview



25.10.25

TOYAH ON
BBC RADIO 2
TRACKS OF MY YEARS
WITH VERNON KAY
1.9.2025



The Beatles "She Loves You" plays

TOYAH:
I'm an imitator. I was born in 1958 and the Beatles were so big in my childhood. In fact, I thought they were the only band in the world. I thought if I heard a song on the radio, it was by the Beatles. But when I saw the Beatles on TV doing “she loves you, yeah, yeah, yeah” and shaking their head so I started to do the head shake (Vernon laughs), which kind of brings me back to my first dance on “Strictly Come Dancing” where I did the tango and shook my head

But this is a different thing. It was so endearing. And the thing about the Beatles, not only were they brilliant songwriters, brilliant performers - they culturally changed my generation and this song is so deep in my heart as a beautiful sing along song that you shake your head too

VERNON KAY: Can you remember the first time you heard the Beatles?

TOYAH: Yes, my mother used to drive me to school every day in her bright blue Triumph convertible, and she always had the radio on. She was probably only about 32 at this point and we loved the Beatles

It was my happiest moment of the day, because I didn't like school and the Beatles just lifted my mood, even at a very young age. At four and a half, five years old, I just knew I'd come home

VERNON: Do you think that the Beatles are part of the reason why you got into music yourself?

TOYAH: The Beatles made music accessible. And of course they were on every variety show that was on the TV at that time. They were part of the family sitting around the telly, enjoying being entertained. Now today, as a touring musician, I look at their beginnings, where they worked seven days a week, two shows a day, across Germany, mainly in Hamburg

VERNON: Isn't that amazing?

TOYAH: It's amazing. They honed their craft and they had a chance to hone their craft, because today young people have to go in running and they have to be top of their league immediately. Whereas the Beatles not only had that incredible experience to learn their musicianship live in front of audiences, they also were able to develop their sound with a phenomenal producer and engineer George Martin, who they could say any idea to, and George Martin would make it happen. I've made albums in Abbey Road, which is where they mainly recorded, and it is a magical place to be

VERNON: Yeah, it's pretty special


TOYAH:
I've just remembered Paul McCartney awarded me a fellowship of LIPA, which is the Liverpool Institute of Performing Arts. It's his drama school and I had my fellowship in 2018 standing right beside Nile Rogers (above on the right with Toyah and Paul). I just could not believe this moment

Here I was on a stage in Liverpool with Sir Paul. I mean, he hears it every day. He is so loved and so respected. But I was truly trying to slow my heart rate down standing next to him (Vernon laughs) We saw him in July and he still looks absolutely incredible

VERNON: Yeah, he does. It's crazy, isn't it? Every time you see him there's a different carnation of Paul McCartney

TOYAH:
For me, it's the “Mull of Kintyre”, but it was his need to be in that environment and still have his love of music around him. I think when I heard “Mull of Kintyre” I was becoming famous and to see his perspective of what his life is and that he needed to be quite remote to be a creative human being

I always think back to that amazing band walking across the shore at the Mull of Kintyre, playing their bagpipes, and Paul's happiness in that environment is so telling

VERNON: We've gone from the Beatles to Jefferson Airplane with Grace Slick, and you've picked “White Rabbit”. Now, if ever there was a tune that just gets you, well, me, personally, gets me really ramped and fired up it's this. The build up in this Jefferson air track is something else

TOYAH: It's unbelieveable

VERNON: It really is. Why have you picked this?

TOYAH: Well, it's Grace Slick. She is absolutely phenomenal, and her timing and her breath control. So what I mean by this, because I sing live on stage all the time, is you have to have complete control of how you breathe. It's how you control your notes. Listening to her, technically, I cannot copy her. I can't pick up this song, and I've been trying for quite a long time

I have a very large social media following and we have 150 million visitors to our sites. It's a song that my husband, Robert Fripp and I have been wanting to do on our socials. I said “Robert, I'm just not ready for it”. She is the King Crimson, the prog rock of singing. I cannot do this song so it's something I've been trying to work out for a long, long time

But there is also a very personal thread to this song. White rabbit. All my life I've had white bunny rabbits living in our home. At the moment I have a nine kilogram giant white continental bunny

VERNON: That's not a bunny! Someone sold you a cat! That's huge!

TOYAH: Someone sold me a dog with big ears and I've actually put my back out lifting this bunny rabbit

VERNON: I'm not surprised!


TOYAH: This song made me fall in love with white rabbits and I can't live without one

VERNON: The Jefferson Airplane did everything back in the day, didn't it? They toured the world. I think they toured with The Doors and I think Grace lick, at some stage, had a little bit of a ding dong with Jim Morrison. But they're one of those bands. For me, it's my student band, Jefferson Airplane


TOYAH: Even as a punk rockers we played this song. We respected it so much. But for me it's one of those songs that as a rebellious teenager, who wants to move away from home, who wants your own life, it just kind of stamps that individuality into your brain because she's so strong on it

VERNON: She is and she's still with us. She's 85 now

TOYAH:
Fabulous!

Jefferson Airplane “White Rabbit” plays
T.Rex “Ride A White Swan” plays

TOYAH: (That was the) first single I ever bought with 12 shillings and sixpence

VERNON: Hold that thought. Where were you?

TOYAH: Birmingham. I was on Vicarage Road in Kings Heath at a legendary vinyl shop that only closed in recent years

VERNON: Wow. Nice! And was that the place to go for vinyl back then?

TOYAH: It was the place to go back then and even in this millennium it was the place to go. When it closed it made the national press. It was so important that shop. I bought Black Sabbath's “Paranoid” there. I bought my Led Zeppelin albums. There I bought my Uriah Heep. I bought Yes. I mean, you name it. I bought everything but King Crimson

VERNON: Oh, Robert, don't listen to this! Don't listen. Sorry, Robert. We'll move swiftly on. The ceremony of buying vinyl was quite special, because were you the kind of person who knew what you were going to go and buy as you left the house, or were you going to the record shop to hang out and you would stumble across music. How did it work?

TOYAH:
When I bought T.Rex's “Ride A White Swan” I went deliberately to the shop with my mother, because I think I was only 12

VERNON: To buy that?

TOYAH:
To buy that specifically. I remember the red paper sleeve and the brittleness of the vinyl was so exciting. Music back then was tactile. You had covers that you could look at, that you could read

VERNON: Pieces of art

TOYAH: Pieces of art. You joined the club by the music that you bought. I did see T.Rex play live that year at the Birmingham Odeon. I was on the front row dancing and getting smacked by the security for standing up and screaming. And even though I love “Ride A White Swan” ...“Cosmic Dancer” blew me away because Marc Bolan sat on that stage, cross legged within four feet of me

VERNON: He had something about him, didn't he?

TOYAH:
He was petite, elfin-like and in a way, when Bowie created Ziggy Stardust, he picked the banner up and ran with it. It was such an exciting time for male performers because Alice Cooper put the eyeliner on, T.Rex had the glitter and then Bowie put the boiler suits on that were very tight and absolutely delicious. It was such a great time to be a teenager

VERNON: I can imagine. And how were you introduced to T.Rex?

TOYAH: I think T.Rex must have been on "Llift Off With Ayshea" (a TV show on ITV 1969-74), rather than Top Of The Pops because it seemed back then this children's program that had musicians on was ahead of the time. But that glitter on the cheek and the hair and the gentle, soft, lispy voice. I was in love immediately

VERNON: Do you have any of those records that you bought?


TOYAH:
I have them all

VERNON: Do you really?!



TOYAH: I even have Cliff Richard's “Fly Away, Peter, Fly Away, Paul”. I even have Tommy Steele's “Little White Bull” that I was given when I was four years old. I have my entire vinyl collection

VERNON: Oh, wait, let's talk about that. So throughout the stages of your life, how was that collection managed to be with you or stay with you? And how have you maintained that collection?

TOYAH:
I have no idea

VERNON: That's impossible, Toyah

TOYAH:
In 1977 I was living in a British Rail warehouse ("Mayhem", in Battersea, above) which was over 2000 square feet, where Spandau Ballet did their first gig. Steve Strange would throw four day parties. Iggy Pop rehearsed tours there. John Cale of the Velvet Underground worked there and my vinyl collection was in the green room

How I still have it I do not know. Some very precious things have gone like one of the very first pressings of the Velvet Underground but I will seek it out and find it! I taught myself to draw by copying Led Zeppelin album covers

VERNON: Nice!

TOYAH: So I just used to learn that way and learn about the choices artists made. (They) informed everything I did up until the point I picked up “Lord Of The Rings” and spent two years reading that, which informed me even more that I wanted to be a creative

VERNON: Oh, OK, so throughout school there was no inkling of that? Or was there an inkling of you being a creative?


TOYAH: There was definitely an inkling of being a creative because I didn't learn to speak until I was about five. I had a really pronounced speech impediment and I had a brilliant speech therapist who realised she could teach me the vowels by getting me to sing them. So I sang before I actually spoke

VERNON:
That's interesting, because a lot of people with speech impediments use song to communicate


TOYAH:
Yeah. Because when you sing you're using the tongue in a much stronger way. She needed to teach me to hit the back of my front teeth so that I could form vowels. So she would say “sing A”. (Sings) “A, B, D” and of course the tongue is doing all that work. And eventually I became a very chatty singer

VERNON: (laughs) You've not changed!


TOYAH: I've not changed

VERNON: We like that!

TOYAH:
I was a very rebellious 12 year old onwards. So I would turn up at the Birmingham Bull Ring shopping centre where there was a venue within that shopping centre. I'd wait for roadies to come out of the exit and I'd sneak in

So I saw Black Sabbath when I was 12. The loudest band I've ever seen. I've seen Hawk Wind at that age. I also saw Uriah Heep. But apart from seeing T.Rex and David Bowie, I also saw Roxy Music twice

VERNON: Seamless. Why have you picked by them “Do The Strand”


TOYAH:
I love early Roxy Music. I still play it every day today. There is something about that original lineup with Brian Eno in it where they are all so ultra creative. I cannot not play that album daily or those albums daily and “Do The Strand” is Brian Ferry singing at his most Ferry'ish

VERNON: That's a good way to put it. He came in here and did “Tracks Of My Years” and to sit opposite him, hearing him talk about his art school days is something else - when someone tells you their life story face to face

TOYAH:
Especially his background. I met him because we had the same management but one day I was at home alone. Robert was off on tour and I was trying on a stage costume that was PVC. I had black thigh boots on with six inch heels. I had PVC shorts on and a black net top. Someone knocked at the door. So I opened the door and it was Brian Ferry

VERNON:
You opened the door dressed like that?


TOYAH: Yeah

VERNON: (Puts on a seductive voice) Hello, Brian (laughs)

TOYAH: I thought it was a postman or something. And it was Brian Ferry and his wife. He looked at me and I said, “I don't dress like this normally”. And he said “is Robert at home?” And I said, “No, but come in, have a cup of tea” (Vernon laughs) And we had tea and cake

VERNON: Tell me you got changed


TOYAH:
No (Vernon laughs)

Roxy Music “Do The Strand” plays

VERNON: Now, we mentioned earlier that you were in that big rail yard warehouse with all the other bands and Steve Strange (below with Toyah) putting on the events. I'm assuming that this “Fade To Grey” is that period that we're going to talk about


TOYAH:
It's absolutely that period. Steve Strange was a beautiful creature  

VERNON:
Martin Kent (of Spandau Ballet) spoke very highly of him


TOYAH:
He was a lovely, gentle, creative human being who accepted everybody. He was a kind person. He would hire our warehouse for four days from Friday right through to Monday. Always cleared up the 10,000 beer cans that would be there. So we used to cram about 400 people into his parties and they would stay the whole four days

What Steve didn't know is as soon as he arrived and we set up the venue, I'd drive to Birmingham see mum and dad and wouldn't come back till Monday evening. Steve and I had the same costume designer. She was called Melissa Caplan so we kind of followed the same style progression as did Spandau Ballet. We shared an awful lot of creative development together

I was so jealous of Steve Strange when he appeared in David Bowie's video “Ashes to Ashes”. But “Fade To Grey” I think is one of the best singles in the world. Written by Midge Ure. Beautiful song and only Steve strange could have performed it


VERNON:
Do you think when you were making it or had aspirations to make it . . . was your visual signature as important then as it became?


TOYAH: For me visuals were an indication of who I was inside

VERNON: So you used the visual more than the music to portray your image?

TOYAH:
At that time the visual was probably more present than the music. What I mean by that is that as a woman I didn't feel I fitted into the category women were expected to fit into

VERNON:
Explain more


TOYAH:
I came into the music industry in 1977 where you have beautiful female singers. They all looked like models and I didn't. I was very small. I was very dumpy and I had to find my way into performing music live as a singer

So I created my own look. I made my own clothes. I had brightly colored hair. Mainly orange, mainly red. I did a movie called “Jubilee”, which was a punk movie in 1977. Basically I was a tomboy in a boiler suit and not what the music industry was looking for

VERNON: So when Madonna came what did you think of her?

TOYAH:
Well, Madonna came early to mid 80's and she caused a sexual revolution. When I was ascending we were trying to bring more women into the music industry. We needed more women in the boardroom, basically. So you had singers like myself, Hazel O'Connor, Polystyrene of X-Ray Spex. You had Siouxsie Sioux. We were really strong, independent individual women. By about 1983 Madonna was appearing and she was breaking down these walls of sexuality. She was magnificent!

VERNON:
Yeah. Amazing. All right. The next track you've chosen - we've mentioned him a couple of times already and I can tell that you're a huge fan of David Bowie and you picked “Ashes to ashes”. First of all, did you ever meet David?


TOYAH: Yeah. My husband, Robert Fripp has worked with David Bowie a lot. Robert played on “Heroes”. He plays on the single “Fashion” but he also did two albums with David Bowie. I stood within eight inches of David Bowie when he asked Robert to join the band Tin Machine and my husband said no, he was too busy

I was squeezing Robert's hand so hard I was going to break every finger in his hands. I dragged him out the room and I said “you're going to say yes to this job”. And he didn't. Bowie would phone the house and email regularly wanting Robert to do things as would Peter Gabriel, as would Mike Oldfield and my husband would say he's too busy while I'm watching him drink coffee and read magazines all day

VERNON:
(cackles) (pretends to be angry) “Damn you, Robert! Could have had a new conservatory! Good grief!” (Toyah laughs) How often does Robert practice?


TOYAH: Robert has retired now from live work because he had a heart attack in May but he's practicing four hours every day and we're still doing our social media. When he was touring he'd practice six to eight hours a day


VERNON: (Amazed) Really? You always assume that when someone makes it they're there - they're on the top of the hill

TOYAH: You're never there

VERNON: It was only when Johnny Mar said, “I practice every day” I was dumbfounded. I was lost for words. “You practice every day?” “Yeah, because I'm not the best guitarist, but I want to be better”

So we should reiterate, because a lot of parents are going to be listening and a lot of parents will probably get frustrated that their kids either are or aren't practicing. Practice, practice, practice

When was the last time do you think – and I know this is your “Tracks Of My Years” but I just need to ask - when was the last time that Robert went into a guitar shop?


TOYAH: Oh, that's a fantastic question. We sneak into them all the time because I play guitar and I collect guitars so when I see something or he sees something that's a genuine Gibson from 1958 he has to go in and touch it and feel it and feel the string tension and all of that. We're doing that all the time

VERNON:
Oh, good


TOYAH: At the moment his guitar collection is secreted into one room so that I can't get my hands on them (Vernon laughs) I never know what he's been up to or what he's bought, what's there (Vernon laughs)

VERNON: Let's get back to David Bowie. You picked out “Ashes To Ashes”. Why this one in particular?


TOYAH:
This came out 1980 just before I broke as an international singer. It was such a low point in my life. My band had broken up and I went away to Devon with a broken heart with my lead guitarist, Joel Bogen who I wrote four albums with. Joel saw that I needed to just get away and this came on the radio and it was like my life just opened up like a flower. I could see what we had to do

Then “It's A Mystery” came into our lives and my life changed forever in 1981. So “Ashes To Ashes” represents to me how Bowie rose like a phoenix from the flames every time he released something new and it just gave me the courage and the belief in myself that I needed in that moment

Up until this point I'd been at the National Theater as a lead actress. I'd made “Quadrophenia”, the movie. I had acting awards from making “The Tempest” with Derek Jarman. I'd made “Quatermass” the drama with Sir John Mills and suddenly everything came crashing down and I just didn't know how to get out of the void, the blackness and Bowie lifted me right out of it as an artist

David Bowie “Ashes To Ashes” plays
Björk "Human Behaviour" plays

VERNON:
One thing I love about Björk is when she came on the scene everyone thought she was bonkers


TOYAH: That's brutal!

VERNON:
No, I know you're frowning but people would watch her and observe her behavior and because she had the quirky voice and she was the perfect artist - because she had a lot to talk about in the way that you portrayed her through your eyes and the way that you heard her through her voice

But what Björk was doing was saying it's time for something else, to start this new genre of women in music. I just think what she did at the time was so joyful in her performance



TOYAH: I find her exciting because she's Icelandic. She learned music in Icelandic. She's very experienced in jazz and it's the same with songwriters from Sweden, because the language is so different to the English language, they use it in such a beautiful and original way

I fell in love with Björk and The Sugar Cubes were breathtaking! That was her first band. I just wanted to be in her life, because she was so fresh. She was utterly stunning at what she did. The use of her vocal cords as an instrument

The imagery, the videos, everything was, in a way, what I'd been trying to do up until that moment. I just thought she took all those past generations, ingested them into her psyche and came up with Björk

VERNON:
Wait, wait, wait, wait! You just said something there that's huge. So prior to seeing Björk you wanted that Bj
örk to be you. Is that what you're saying? Or you wanted Toyah to be that but you couldn't get there? How do you explain what you've just said?

TOYAH: I always use my voice as an instrument. On my first albums, “Sheep Farming In Barnet”, “Blue Meaning”, “Anthem” I was not only a lyricist, I was using my voice as an instrument. So was Lene Lovich, so was Kate Bush. We were all quite experimental with our voices and using a lot of octave range. Björk came along and she did it effortlessly from day one

You can look at Kate Bush's career journey to getting to “Hounds Of Love” - there's a lot of experimental vocals in that journey. With Lene lovich - she's remained very much Lene Lovich but an experimental vocalist. And the same with me but I've moved more into rock as my voice has deepened and got richer. I now stick to rock octaves. But Björk - in with perfection from day one

VERNON: Let me ask you - we mentioned that you were having vocal training. Did that continue throughout your career? And did it increase as a professional vocalist?

TOYAH:
I've had vocal training all my through my life. When I made the album “Desire” Abbey Road, which was 1988 (Edit: 1987) I was in vocal training to sing that album because I wanted to change my writing. Then in 2007 I trained with the Royal Shakespeare Company's voice specialist who trains all the children for the musical “Matilda” because my voice was deepening and she taught me how to keep my top notes. So I'm always dipping into that education

VERNON:
Amazing


TOYAH: It's like the guitar playing. Use it or lose it

VENRON: Yeah. I know that you have the podcast with Robert. Do you plan that or is it just you two sat down chitter chattering off the cuff?

TOYAH: We do a song once a month and that we only do one take off. Unless he really messes up. It is rehearsed the day before we do it, so he knows the arrangement. But we never rehearse the visuals and we go for the first take because it's chaotic. There's no production values


VERNON:
Oh, good. Love that


TOYAH: We want people laughing their heads off. We want people thinking these are the grandparents we want to live with

VERNON: (Laughs) That's a good way of putting it. But you guys have got so much talent in one room collectively

TOYAH: Thank you

VERNON: You just make it look so easy

TOYAH:
Well, we try to make the chaos look easy as well because that's important. We kept everything we do in the kitchen

VERNON:
Now we're moving on to Shakespeare's Sister and you've picked “Stay”. Why have you picked Shakespeare's Sister?


TOYAH:
Because it's the most heartbreaking song in the world! It's the video. It's Marcella's interpretation of trying to keep her man. Oh, it's so heartbreaking! It's truly evocative of pain but a very beautiful pain. I love Shakespeare's Sister. I love the marriage of both of them

They are so opposite and so potentially bouncing off the walls and dangerous and full of ideas. It's just fabulous! “Stay” is beautiful and the video! Siobhan coming down the stairs in that completely mad sparkly light, just embracing being a bad, naughty film star. I love her for it

VERNON:
If I was to go around to your house and either pick up a tablet, a device or your phone and plug it into your sound system . . . what would we hear? Are you always listening to new music or do you like going back?


TOYAH:
Robert listens all the time to classical music. Vaughan Williams, Chekhov, which is so depressing. It's always blaring out the classics. With me it will be old Roxy Music, the original lineup. Bowie, very likely “Man Who Sold The World” or “Hunky Dory”because I love that era. A lot of Velvet Underground. I love the American scene in the 70's. It was so fantastic. Patty Smith. So we are completely different in our tastes

VERNON:
Do you still go to gigs?


TOYAH: I go to gigs if I can stand at the side of the stage. I'm barely five foot tall. I don't enjoy elbows in my face (Vernon chuckles) Going back to what you'd find on our tablets and on our computers - with me it would be hundreds of Instagram films of domestic rabbits

VERNON: (laughs) I love you!

TOYAH:
I go down the rabbit hole

VERNON:
Literally!


TOYAH: I get lost! I have a wonderful young personal manager who was born in 2003 who just loses me to scrolling through rabbit movies from around the world  

VERNON: Doomscrolling

Shakespeare's Sister “Stay” plays
Britney Spears “Oops!... I Did It Again” plays 

TOYAH: Robert and I were part of the protest about her getting her freedom from her father. We were very vocal about it. I just love her. I think she's magical. She's a fabulous singer, great dancer, and she's everything she wanted to be. And “Oops!... I Did It Again” I just think she got the zeitgeist on that, because how could you not love her for that song?

VERNON: Let me ask you - Britney Spears - is fame a good or bad thing, Toyah?


TOYAH: I think you have people come into the fame world who become famous because somehow we sense they are fragile and brittle and have a vulnerability that is very attractive to us. I once saw a performance by a very famous actress where she lost her lines three times on a live stage performance. It was one of the most magical performances I have ever seen

They say this about Marilyn Monroe that she was so brittle, she was magical. I think we sense when people are genuinely in a very special place when they give us something that is rare, it's not contrived and it is utterly brilliant. She was just suffering the most terrible stage nerves and she was wonderful

VERNON: Isn't it amazing how those stage nerves get you?

TOYAH: Oh, it's hell!

VERNON: It is hell


TOYAH: It's absolute hell! The last time I experienced terror was when I did “Strictly Come Dancing” (above with her partner Neil Jones) last year and I was in a state of terror every Saturday night but I loved every moment. Have I experienced terror on stage as an actress? Funnily enough no, because I feel so at home on stage. I love it

VERNON:
I've done a little bit of acting but I've had moments where I've looked out and there's been no people in the audience, even though there are, and it's just a black wall


TOYAH:
I love that feeling!

VERNON: Oh, really?

TOYAH: Yeah. I've done two shows where there actually has only been either three people in the audience or just about 50. One was “Cabaret”. The whole of the UK was snowed in and I was at the Strand Theatre with Wayne sleep but 100 people made it to the show. We thought we are giving them the best show they could have. They gave us standing ovations for every song. It was like an intimate party! It was lovely

The show that I had three people in for five o'clock matinee was at the Princess Theatre in Torquay. Five o'clock matinees just don't work. There were 40 members in the theatre company for “Calamity Jane”. I was playing “Calamity Jane”. We had an Equity (Actors' Equity Association, a labour union) meeting. Do we do the show?

Because legally we could say no because there was more people on stage than in the audience. I kicked up and I said “those three people are the most important people in the world at this moment. We are giving them the show.” So they got a private preview!

VERNON:
(laughs) Brilliant! I love that! We've got to talk about “The Very Best of Toyah”!


TOYAH: Ooh thank you! Yeah, forgotten all about that!

VERNON: Well, it's been an amazing week. “Chameleon – The Very Best Of Toyah. It's out on the fifth of September. I would imagine that it's taken you a fair decent amount of time to curate this album to give us your journey?

TOYAH:
It's 45 years of music. I came from a time – punk - where you never repeated yourself, you never took more than two singles off an album, which meant I had to be very prolific. I had to keep writing, writing, writing. This album “Chameleon” spans not only the very first indie punk music I did - it also includes “Posh Pop”, which went to number one in about 36 independent charts four years ago

It's a very broad piece but it's magical because it's a gatefold album, gold vinyl. It's a double CD and it's also a Blu-ray with 12 videos on. It's got the very first time I ever sang “It's A Mystery” as a demo on. So it's got these really insightful, beautiful fan pieces, like the demos of the singles or the first time we ever played it in front of an audience. It includes everything and there's stuff on there that the real die-hard fans have never heard


VERNON: Who had the demo of “It's A Mystery”? Where was that?!

TOYAH: The original label is Safari and they kept everything in boxes. Then a label called Cherry Red bought the whole of the Safari catalogue. I have a wonderful archivist called Craig Astley, who I first met when his mother brought him into my dressing room

He was four years old and he said “I'm your youngest fan”. So I stayed in touch with him and he became my archivist. I think he's in his early 40's now. He went into cherry Red, went through about 40 boxes of material and cherry picked everything because he's such a die-hard fan

VERNON: Wow!

TOYAH: He came up with the name “Chameleon”. I said, “Craig, I want to call it “The Meteorite”. He said, “No, you are a chameleon. Take it from me. That's what it's going to be called”

VERNON: Imagine finding that tape in that box!

TOYAH:
He was very excited!

VERNON: I'm not surprised! I'm excited. Not even heard it yet! That's so cool!

TOYAH:
It is cool. He's a very cool person

VERNON: You're going on tour with “The Songs and Stories Tour”? 

TOYAH: So I'm going out in October and November with Adam Ant. It's only just been announced. But I'm also doing Union Chapel in Islington and Warwick Arts Centre as a celebration of “Chameleon”. Then I am going out with Big Country for December. March to June next year I have 49 shows where I'm singing with two guitarists and storytelling. That is a very intimate “you have come into my living room” moment

VERNON:
It starts on the 22nd of March in Chelmsford at the Civic and it ends on the 14th of June at Perth Town Hall


TOYAH:
It's a long one!

VERNON: It really is!

TOYAH:
I'll know what I'm doing by the time I get to Perth!

VERNON: (Laughs) Don't say that! I know it's been really quick this week with your two choices but the stories that you've got are unbelievable. Anyone who's a fan of music will want to say “tell us more, tell us more, tell us more!”

TOYAH: There is a lot in there and there's a lot that happens behind the scenes like ending up singing happy birthday to the president of Estonia on the Russian border or ending up in a meeting with the Queen Mother and Princess Margaret because they want to have tea with you. There's so much to tell!

VERNON: Brilliant. Well, there's the worm on the end of the hook so to speak. We'll finish with Billie Eilish and “No Time To Die”, the Bond theme


TOYAH: Well, I think this goes full circle. Billie Eilish has a phenomenal recording technique that works on stage. I love what she writes. I love how she uses words and uses her voice and I think it's a beautiful full circle from Toyah, the punk rock singer and all my fellow singers at that time to Billie Eilish and all her fellow singers today

VERNON:
Amazing and it's a great end to a fab week. Thank you so much, Toyah


TOYAH: Thank you. It's lovely to see you

VERNON: Oh, and you

Listen to the interview

11.10.25

TOYAH ON
BBC RADIO 2
THE SCOTT MILLS
BREAKFAST SHOW

8.8.2025


SCOTT MILLS: Hi! This is Big Guest Friday, and Toyah is here. Good morning!

TOYAH: Good morning you gorgeous creature!

SCOTT MILLS: How are you?

TOYAH: I'm really good. It's a beautiful day out there. It's gorgeous being here with you

SCOTT: Good vibe in here, isn't it?

TOYAH: It's a really good vibe!

SCOTT: How is it possible that you are celebrating 45 years in music?

TOYAH: Well, you're very kind. I actually think it's closer to 50 because I was an actress when I was 18 at the National Theatre and that was 1976. So we're touching that 50 year mark

SCOTT: Yeah, we are

TOYAH: It feels great though!

SCOTT: Yeah, you look amazing as well

TOYAH: Thank you

SCOTT: The summer outfit. We're gonna talk about the hair in a second

TOYAH: Oh, really?!

SCOTT: Everything is just on point as I would expect

TOYAH: Well, thank you so much!

SCOTT:
Amazing. Rod says “my first ever gig was toy at Odeon New Street, Birmingham”


TOYAH: Oh, Rod! I remember it because there was a kind of riot on stage that particular night. I have one of these very strange memories Scott


SCOTT: So you can remember this gig?!

TOYAH:
I can remember this gig. I can remember what I was wearing. I was all in white and I had tassels that span round me when I used to spin. But about 40 kids stormed the stage

My parents were in the balcony and my mother was so frightened for me. I was having a fantastic time! And then the police had to get us out the building

SCOTT: Oh, god, yeah, that's dramatic!

TOYAH: I know, but that's what rock and roll is about

SCOTT: Yeah. This month we are celebrating all things 80's on Radio 2. Take us back in time. What did the 80's mean for Toyah?

TOYAH: Well, I started in punk in 1977 and by the time I got to the 80's, I felt like a veteran -

SCOTT: Did you?

TOYAH:
Because I'd been through punk, I was then new wave. Then this 80's explosion of synth rock came about. I loved every minute and to do Top Of The Pops on a regular basis

And then we used to come off stage at Top Of The Pops and have a little prop plane waiting for us at a private airfield to take us to Belgium or to Germany where we would do a rock festival and then fly straight back through the night

It was so crazy, so romantic. We were creating our own looks, our own hair, our own clothes. Individualism was huge in the 80's and the boys wore makeup which I thought was gorgeous

SCOTT:
Is it the best decade?


TOYAH:
I think for music it's a stunning decade

SCOTT: It's a stunning decade and you'll hear all of it on Sounds and on Radio 2 this month. If you search the 80's on Sounds, there's so much for you. We can't really not mention the iconic hair. Would you ever go bright orange again?

TOYAH:
I've been thinking about it

SCOTT: Have you?!

TOYAH:
Yeah, I have been thinking about it. The reason I have normal looking hair is I can go into acting at any minute and you get called up by casting people. I've got a movie in February and they will not appreciate me having pink hair

SCOTT:
What's the movie? Are we allowed to say?


TOYAH: It's a very noir movie. It's about a pathogen on a ship. That's all I can tell you. But my leading man - I'm so excited about my leading man! He's done “Star Wars” and everything. It's gonna be great, really good

I think we're filming on a ship in the North Sea. That will be a problem because I even got seasick when I did “Strictly (Come Dancing)” (below with her partner Neil Jones) I'm not good with being spun round and shaken about but life is busy and it's good


SCOTT: Great. Joanna Lumley was here this time last week. She cuts her own hair

TOYAH:
No!

SCOTT: I'm not being funny. That is the work of a hairdresser. Is it not?

TOYAH:
Well, the fridge fringe is my own work

SCOTT: Is it?!

TOYAH: I shouldn't admit that because my hairdresser scolds me every time I cut my own fridge. But when you're so busy and you can't get to a hairdresser and you just cannot see -

SCOTT:
Snip away!


TOYAH:
Just snip away

SCOTT: Yeah, we had Mariah Carey on the show yesterday

TOYAH:
Oh, did she know that Katy Perry had been up to the moon?

SCOTT: She did not

TOYAH:
I think that's fabulous. What a world to inhabit. I love her

SCOTT: She didn't know and I was the first person to tell her that

TOYAH: But it was beautiful. It was a beautiful moment, because Mariah Carey is so successful, she doesn't have to know what's going on in the world! I love that!

SCOTT: It's Maria's world!

TOYAH:
It's Mariah's world!

SCOTT: She said that she had people doing her makeup on a plane while she was asleep. Now think back to the 1980's. That must have happened to you? Tell me the most ridiculously glam thing? I can picture you on Concorde getting your glam done

TOYAH:
I can tell you 4 hours ago I got up in my flat in Chiswick and I put my own makeup on. I was still asleep, but I put my own makeup on. What happened with me is my makeup took about 12 hours because I had painted face. I had this massive hair -


SCOTT: Every time?!


TOYAH:
It took about 12 hours when I did Drury Lane, Old Grey Whistle Test (above), which, by the way, had 12 million viewers on BBC Two. That took all day to do the makeup and the concert took an hour

SCOTT: And then you take it off and do it all over again!

TOYAH: Oh, take it off and then try and make me look young and beautiful again. It's time consuming. No wonder Mariah Carey has a private jet and sleeps while it's done

SCOTT: What was the most showbiz thing you did in the 80's? Did you go on Concorde?

TOYAH: No, I never did and I'm quite relieved, actually. I'm a bit scared of flying. I think one of the most amazing things I have ever done was to go to tea with the Queen Mother and Princess Margaret. I got summoned mid-recording “Anthem”. They said “we want to meet you at St James's (Palace) at four o'clock for tea”

SCOTT: This is amazing!

TOYAH: I went with the designer Katharine Hamnett and we had a wild time. The Queen Mother was just breathtaking. She was so funny, so witty. But then Princess Margaret came in and she was just wicked. So we had tea, we had scones

We were surrounded by their security. I don't know why, whether they thought we might mug them or something. And then I went back to the studio and carried on recording my multi gold album “Anthem”

SCOTT: That's amazing


TOYAH:
Yeah

SCOTT: I actually think Margaret and the Queen Mother would have been a right laugh. Was it fun?


TOYAH:
They were like a girl gang. Fabulous!

SCOTT:
Right! We're going to play one of Toyah's biggest hits, and then we'll get another guest in on Big Guest Friday. Here is “It's A Mystery” on Radio 2!


It's A Mystery plays

SCOTT: Toyah, let me read you some of these. “I saw Toyah at the Isle Of Wight Festival last year (below). I have been a fan since the very start of her career and she was nothing but pure joy. What a beautiful soul she is”. That's from Carmen in Cardiff


TOYAH:
Carmen! Hello!

SCOTT: “Toyah is magnificent. I was about six when “It's A Mystery” was in the charts. I was obsessed by such an incredible voice and look because it was so different at the time and she is still incredible today”. That's from Steve

TOYAH: Steve! I love you!

SCOTT:
“I was named after Toyah Willcox, born in 1982. My sister loved her when my mom was pregnant and they ended up naming me Toyah. I love my name. Please shout out for me”. That's Toyah from Shetland


TOYAH: Hello Toyah from Shetland!

SCOTT: So many stories, so much love. “I saw Toyah at Hitchin College, maybe 1980. She then gave us a lift back to Stevenage in a clapped out transit van”

TOYAH: I remember it

SCOTT: You remember everything!

TOYAH: I do remember everything!

SCOTT: It's Big Guest Friday. You've got a greatest hits album and a tour coming up

TOYAH:
Yeah. “Chameleon” is a 45 year retrospective of my career. It's fabulous! It's even got the original demos of the singles on. It's got unheard demos. It's fabulous! And then I'm playing Islington, Union Chapel. I've got Warwick Arts Center

Then I'm on the road with Big Country but next year I have 50 dates of a storytelling tour with a new book release. And before that we think we're going to release a brand new album in January. You're the first to hear that

SCOTT: You are incredible!

TOYAH: It's busy!

SCOTT: It's busy. I love it! (A jingle plays) “Radio 2 In The Park!” Craig, you were there last year. Good vibes, isn't it?

2nd GUEST CRAIG DAVID: Beyond good vibes. So many beautiful people together. Got the chance to meet up with Sting after all those years

SCOTT: Who also taught you how to do crosswords?

CRAIG: Absolutely, I learned from the best

TOYAH: No?!

CRAIG:
Yeah, we did the “Rise And Fall” video and in the breaks he would just be “come over here, son. Sit down.” “What are we doing over there?” “Let's do the crossword. Keep your mind sharp”. I was like wow! This is with Sting


SCOTT: And that opened everything to Craig

CRAIG: Wordsmith, 16 bars after that


TOYAH: When I did “Quadrophenia” with Sting (above, on the left with Toyah just behind him) he taught me how to sing the backing vocals on “Roxanne”. He's such kind man!

CRAIG: What a dream!

TOYAH: He's such a good teacher!

SCOTT: And you always have a better story!

TOYAH:
No, sorry, that wasn't meant to be one-upmanship! That was probably before Craig was born!

CRAIG: It's always love. Like when you've shared things today I've learned so much -

SCOTT: So have I!

CRAIG: And I've always had this profound love for you

SCOTT: Incredible stories is what I meant!

CRAIG: The stories are so deep and rich

TOYAH:
Aww

CRAIG: Imagine singing background for “Roxanne”

SCOTT: Yeah, I know!

Listen to the interview