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“I love that one live. The only funny thing about it is that I have to nod and move my body to cue the timing. The recorded version on the album is free of time and was improvised, so live I have Bryan and Mike looking at me for every single chord. I’m bobbing and weaving at times when I’d like to keep the guitar absolutely still for tuning purposes.
“A funny thing happened only once: They were working on super-dramatic lighting for the opening of the song, and not only am I wearing sunglasses, but on the song before this one, it’s a blast of light. The song would end, and I’d do my little guitar knob switches and go stand in my spot. While I’m waiting for my eyes to recover, I’m going, ‘Shine the light, shine the light, shine the light,’ because that’s where I kind of cop the flute pattern.
“Mike comes in and he does his little French horn thing, and I’m expected to play this flute thing. One night, I’m waiting and waiting for the light, and it’s not coming up. So I decided to take a guess, and of course I was a fret off – this really heinous flat-nine came wafting out through the theatre, and I thought, ‘OK, I have to talk with the spotlight operator.’
“Other than that, the song has been great live, very cathartic and emotional, and the transition into the next song is always very magical. I love working with the Sustainiac pickup, too.”