‘She was full of life’: The night Amy Winehouse appeared on stage for the last time
Three days before Amy Winehouse’s death from alcohol poisoning in July 2011, her goddaughter Dionne Bromfield, a 15-year-old singer, finished school for the summer and rushed to the Camden Roundhouse to perform.
It was her biggest gig yet, her friends were coming to watch and she was full of excitement. For a young singer dreaming of a career in music, just like her “Aunty Amy”, it was a big day.
Amy Winehouse turned up unexpectedly to support her, their moments together onstage captured by someone in the crowd, filming on a mobile phone.
This would be the superstar’s last public performance.
As I watched the grainy mobile phone footage later, for me this was the stand-out moment of all the news coverage around Winehouse’s death – she’s so evidently falling apart but trying so desperately to be there for her goddaughter.
Dionne Bromfield has shared her story from that night in On Stage With Amy Winehouse, the latest episode of StoryCast ’21 – a Sky News podcast series telling 21 stories from the year 2000 to 2021.
Listen below.
Subscribe to Storycast 21 now on Apple Podcasts, Spotify, Google Podcasts, Spreaker
It was 10 years ago, 23 July 2011, when I got the call from a music PR.
It was a sunny day but I was sitting in a windowless newsroom, working a 12-hour shift, and the world was also reacting to the tragedy of the horrific terror attack in Norway the previous day. It was a call I won’t forget.
Winehouse had been found in bed at home by a bodyguard with two empty vodka bottles by her side, bringing to a tragic end her very public struggle with drug and alcohol addiction. She was just 27.
Breaking the news and witnessing the outpouring of grief that followed felt unprecedented at the time, I remember a little girl with beehive hair laying flowers outside her house in Camden Square, alongside crowds in tears, Winehouse’s dad Mitch, and tributes from Mark Ronson and Kelly Osbourne; visibly stunned.
Bromfield performs with Winehouse during the tragic singer’s last public appearance
Covering celebrity deaths is part of the job as an entertainment journalist, but this was no ordinary pop star; when Winehouse died, everyone had an opinion.
People were devastated, her fragility so profound, and tears turned to anger and blame; tragedies such as this can often turn toxic as grief mixed with the spotlight takes its toll.
We wanted to find out about the real Amy Winehouse.
We spoke to people who knew her, Joe Mott, Kim Dawson, Piers Hernu, her teacher Sylvia Young, former record label bosses, her biographer Chas Newkey-Burden, and countless critics such as Paul Gambaccini.
But I didn’t call the one young woman who knew the singer like no one else. The Amy behind the icon. Behind the headlines. Behind the instantly recognisable beehive, eyeliner and tattoos. The “Aunty Amy”.
Bromfield has offered a fresh perspective of Winehouse 10 years after her death
Dionne Bromfield, now 25, was Amy’s goddaughter and musical protégé. The one who “Amy always put her best self forward to”.
“I kind of looked at her as a mother and a big sister… Aunty Amy, I mean, she loved it when I called her that.”
When Winehouse set up her own record label Lioness, Bromfield was her first signing. She helped her launch her first album, even joining her on Strictly Come Dancing as a backing singer to support her launch.
“She just had a really, really close bond with me from a young age. My mum noticed that, and Amy really wanted to kind of take me under her wing musically and just on a personal level,” she tells me during Onstage With Amy Winehouse.
“Amy was, like, made to be an amazing mum and an amazing wife. That was like her thing and her purpose for life… She loved to cook. She cooked meatballs all the time,” Dionne laughs. “They weren’t the best…
“She was a really simple girl. And it’s just everything around her was amplified and massive and big. So, yeah, the Amy I know is a loving, caring, funny and an extremely talented person. All the other stuff is just noise.”
At the time of Winehouse’s death, it didn’t feel right to approach a 15-year-old to pay tribute. But it seems a decade on, Bromfield is ready to talk about her Aunty Amy. I meet her at the Jazz After Dark club in Soho, a favourite bolthole of Winehouse and now something of a shrine to her, the walls covered in her portraits.
Bromfield notices one painting of the icon, in which she is wearing a pair of earrings she lent her during a shopping trip.
“She was like ‘oh, I don’t have any earrings and I really like your earrings. Can I wear yours… please?’ I never saw them again. God knows where they are now.”
Walking into the dark club from the bright sunshine, Bromfield is incandescent. Like many young women in the music industry now, she seems switched on but refreshingly transparent. In many ways the antithesis of the Amy Winehouse as painted by the paparazzi, but simultaneously somehow strikingly similar.
Winehouse was like a mother, sister and friend to Bromfield
Cast your mind back to the Amy Winehouse who burst on to the scene in 2003, the one I remember first seeing in her music video for Stronger Than Me: fantastically unpolished, sassy and mischievous. The similarities with her goddaughter are obvious.
Bromfield says she remembers the last time she saw her godmother, the time they shared together on stage, “so vividly”.
“She came out for Mama Said, which was one of her favourite songs of mine, and she had a little dance, a little bit of backing vocals and then walked off.”
Bromfield would call the iconic singer ‘Aunty Amy’
Bromfield says it has taken a long time to process Winehouse’s death. She was performing at a festival in Wales a few days later when the news broke.
“I remember going, okay, and carried on doing what I was doing, it didn’t really make sense in my head. It didn’t register. And I just kept on getting dressed to go and do my gig. It was more like, I literally saw her three days earlier and she was so positive she was glowing and everything. How are we going from this, to this?”
Winehouse had released her first album, Frank, in 2003. In 2005, she met Blake Fielder-Civil, whom she married in 2007. It was a marriage, she would later admit, based on taking drugs.
Amy Winehouse passed away on 23 July 2011
Yet in 2006 she released her critically acclaimed second album Back To Black, which would go on to become one of the UK’s biggest selling albums ever. It was the heartbreak of the record, many of the songs about Fielder-Civil, which resonated.
Her multiple Grammy award wins broke records and brought huge international success.
The contrast between her sultry and striking talent as a singing sensation and the depths of her darkness is perhaps what has come to define her legacy.
Bromfield joined fans who had laid tributes for Winehouse in July 2011
Tributes were laid near Amy Winehouse’s home after her death
At the time I remember people described a sense of inevitability about the death of Winehouse. In interviews, her father Mitch had said he had feared the worst might happen.
But Bromfield says there was nothing inevitable about it.
“To me, it didn’t feel like something that was on the cards,” she says. “She was really full of life that night. So, yeah, it was not a person who had given up on life.”
The fact she hadn’t given up, and still had so much more to give, is perhaps why Amy Winehouse will continue to be remembered.
And for Bromfield, her godmother, her musical mentor and “Aunty Amy”, will always be a part of her future, as well as her past.
You can listen to On Stage With Amy Winehouse and the rest of StoryCast ’21 by clicking here.
The Stone Roses bassist Gary “Mani” Mounfield has died at the age of 63, his family has said.
Mani’s brother, Greg, said in a post on Facebook: “It is with the heaviest of hearts that I have to announce the sad passing of my brother.”
“RIP RKID,” he added.
Gary “Mani” Mounfield and his wife Imelda at the world premiere of “The Stone Roses : Made Of Stone” in 2013. Pic: Reuters
Formed in 1983, The Stone Roses were a mainstay of the “Madchester” scene.
Mani joined the band in 1987 and formed part of its classic line-up alongside singer Ian Brown, guitarist John Squire and drummer Alan ‘Reni’ Wren. He remained with the group until their split in 1996.
Mani’s death comes two years after that of his wife, Imelda Mounfield, who was diagnosed with stage 4 bowel cancer in November 2020. The couple welcomed twin boys in 2012.
Ian Brown, left, with Mani, right, performing on stage during their 2012 reunion concerts in Manchester. Pic: Reuters
The Stone Roses frontman Brown shared a tribute online, writing: “REST IN PEACE MANi X.”
Oasis singer Liam Gallagher said he was “in total shock and absolutely devastated”, describing the bassist as “my hero”.
“RIP Mani – my heartfelt condolences to his twin boys and all of his family,” wrote the Happy Mondays’ Shaun Ryder, whose bandmate Rowetta added: “Back with your Imelda, Mani. Going to miss you so much. All my love to the boys, the family & all those who knew & loved him.”
The Charlatans frontman, Tim Burgess, shared a photo of himself with Mani, writing alongside it: “I shared this photo a week or so ago on Mani’s birthday.
“It never failed to bring a smile to my face – and that was exactly the same for the man himself.
“One of the absolute best in every way – such a beautiful friend.”
Echo & the Bunnymen vocalist Ian McCulloch said Mani was someone “who I have always loved and always will love, deeply and forever. Like a brother”.
He continued: “I am in shock to be honest. Please tell me I’m just having a bad, bad dream. My thoughts and feelings and Mani. Love to all of his family from me”.
Pic: Robert Marquardt/ZUMA Press Wire/Shutterstock
The “Madchester” bands were known for blending indie with acid house, psychedelia, and pop.
The Stone Roses’ eponymous debut album of 1989 was a huge success, and was named the second greatest album of all time in a “Music of the Millennium” poll conducted by HMV, Channel 4, The Guardian, and Classic FM.
The novel has survived the industrial revolution, radio, television, and the internet. Now it’s facing artificial intelligence – and novelists are worried.
Half (51%) fear that they will be replaced by AI entirely, according to a new survey, even though for the most part they don’t use the technology themselves.
More immediately, 85% say they think their future income will be negatively impacted by AI, and 39% claim their finances have already taken a hit.
Tracy Chevalier, the bestselling author of Girl With A Pearl Earring and The Glassmaker, shares that concern.
“I worry that a book industry driven mainly by profit will be tempted to use AI more and more to generate books,” she said in response to the survey.
“If it is cheaper to produce novels using AI (no advance or royalties to pay to authors, quicker production, retainment of copyright), publishers will almost inevitably choose to publish them.
“And if they are priced cheaper than ‘human made’ books, readers are likely to buy them, the way we buy machine-made jumpers rather than the more expensive hand-knitted ones.”
Chevalier, author of the book Girl With A Pearl Earring, with the painting of the same name. Pic: AP
Why authors are so worried
The University of Cambridge’s Minderoo Centre for Technology and Democracy asked 258 published novelists and 74 industry insiders how AI is viewed and used in the world of British fiction.
Alongside existential fears about the wholesale replacement of the novel, many authors reported a loss of income from AI, which they attributed to “competition from AI-generated books and the loss of jobs which provide supplementary streams of income, such as copywriting”.
Some respondents reported finding “rip-off AI-generated imitations” of their own books, as well books “written under their name which they haven’t produced”.
Last year, the Authors Guild warned that “the growing access to AI is driving a new surge of low-quality sham ‘books’ on Amazon”, which has limited the number of publications per day on its Kindle self-publishing platform to combat the influx of AI-generated books.
The median income for a novelist is currently £7,000 and many make ends meet by doing related work, such as audiobook narration, copywriting or ghost-writing.
Read more: The author embracing AI to help write novels
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Could the AI bubble burst?
These tasks, authors feared, were already being supplanted by AI, although little evidence was provided for this claim, which was not possible to verify independently.
Copyright was also a big concern, with 59% of novelists reporting that they knew their work had been used to train AI models.
Of these, 99% said they did not give permission and 100% said they were not remunerated for this use.
Earlier this year, AI firm Anthropic agreed to pay authors $1.5bn (£1.2bn) to settle a lawsuit which claimed the company stole their work.
The judge in the US court case ruled that Anthropic had downloaded more than seven million digital copies of books it “knew had been pirated” and ordered the firm to pay authors compensation.
However, the judge sided with Anthropic over the question of copyright, saying that the AI model was doing something akin to when a human reads a book to inspire new work, rather than simply copying.
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Most novelists – 67% – never used it for creative work, although a few said they found it very useful for speeding up drafting or editing.
One case study featured in the report is Lizbeth Crawford, a novelist in multiple genres, including fantasy and romance. She describes working with AI as a writing partner, using it to spot plot holes and trim adjectives.
“Lizbeth used to write about one novel per year, but now she can do three per year, and her target is five,” notes the author of the report, Dr Clementine Collett.
Is there a role for government?
Despite this, the report’s foreword urges the government to slow down the spread of AI by strengthening copyright law to protect authors and other creatives.
The government has proposed making an exception to UK copyright law for “text and data mining”, which might make authors and other copyright holders opt out to stop their work being used to train AI models.
“That approach prioritises access to data for the world’s technology companies at the cost to the UK’s own creative industries,” writes Professor Gina Neff, executive director of the Minderoo Centre for Technology and Democracy.
“It is both bad economics and a betrayal of the very cultural assets of British soft power.”
A government spokesperson said: “Throughout this process we have, and always will, put the interests of the UK’s citizens and businesses first.
“We’ve always been clear on the need to work with both the creative industries and AI sector to drive AI innovation and ensure robust protections for creators.
“We are bringing together both British and global companies, alongside voices beyond the AI and creative sectors, to ensure we can capture the broadest possible range of expert views as we consider next steps.”
Entertainment
Princess of Wales says her children were ‘very sad’ to miss Paddington at Royal Variety Performance
The Princess of Wales has admitted her children were “very sad” to miss the Royal Variety Performance in London, which she and the Prince of Wales attended.
Prince William and Kate made their first appearance at the event since her recovery from cancer.
Wednesday’s red carpet show at the Royal Albert Hall was headlined by the cast of Paddington The Musical.
After arriving and being presented with posies by nine-year-old twins Emelia and Olivia Edwards, the family of staff at a care home for entertainment industry workers, Kate asked if they were fans of Paddington Bear.
The Princess of Wales meets Emelia and Olivia Edwards. Pic: PA
The princess, wearing a green velvet gown, then told the girls that her children were “very sad” not to attend the show and added she had to tell them children were not allowed to go.
“My kiddies were very sad, we’re going to have to keep it a big secret that I saw you guys,” she said.
“They were very sad not to be joining us.”
It is the sixth time William and Kate have attended the annual charity event.
When Olivia told the prince, wearing a tuxedo, her favourite singer was Billie Eilish, he replied she had good taste.
He said: “It’s very nice to see you both. You’re very smiley, you two.”
The royals were also greeted on the red carpet by ITV board members and representatives from the Royal Variety Charity, of which the King is the royal patron.
Pics: PA
The Paddington cast were set to take to the stage on Wednesday evening, while pop star Jessie J and Grammy award-winning singer Laufey were also expected to perform.
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Jessie J attends the Royal Variety Performance. Pic: PA
Laufey at the event in London. Pic: PA
Held annually, the Royal Variety Performance was first staged in 1912 for King George V and Queen Mary in support of the charity, which helps those working in the entertainment industry.
Ahead of the show, its executive producer Giles Cooper said the charity was “thrilled” the prince and princess would “once again attend the Royal Variety Performance”.
Mr Cooper, also chairman of the charity, added: “This annual great British institution, viewed by a worldwide TV audience of over 150 million, continues to be a crucial fundraising event supporting people in all areas of performance, either on or off stage.
“In this pressurised world of working in the entertainment industry, our mental health initiative, started in 2024, has been a lifeline for many who are experiencing issues such as anxiety, depression or addiction.”
Pics: PA
On Tuesday, the princess called on businesses to value “time and tenderness just as much as productivity and success” in her first speech since she was diagnosed with cancer at the start of 2024.
Speaking at the Future Workforce Summit, Kate told 80 business leaders: “Every one of you interacts with your own environment; a home, a family, a business, a workforce, a community.
“These are the ecosystems that you yourselves help to weave. Imagine a world where each of these environments were built on valuing time and tenderness just as much as productivity and success.
“As business leaders, you will face the daily challenge of finding the balance between profitability and having a positive impact. But the two are not, and should not be incompatible.”
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