“It’s a little bit tougher, this one. Pieces like Drive Home and The Pin Drop rely more on dynamics and an element of control and release. There isn’t a lot of music there, just a couple of chord sequences, and so the pieces work in the way that the instruments are layered – and break down and are layered up again.
“Sometimes in a live context it’s difficult to control those things; the room always plays a big part in that the acoustics can make a mess of the sound. In that way, Drive Home can be difficult. The way I sang it in the studio was barely above a whisper, and you can’t do that on stage; you somehow have to project it more, which changes the balance and the feeling.
“I think it works. The secret weapon is Guthrie’s solo at the end – it’s always killer. Jaws the on the floor, the whole bit. And what’s amazing is that he never plays the same solo; every night it’s a complete reinvention, and it’s always sublime. For all intents and purposes, Guthrie is the guitar player in the band. He’s extraordinary. I’ve heard some people say he’s the greatest guitar player alive, and I’m not about to dispute that. I can’t get over the fast that he’s in my band.”