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“Some nights this is fantastic; other nights it feels like a bit of a plod, because it is basically one chord pattern the whole way through. There’s a little variation, but it’s layers and layers, and then it breaks down, and it’s layers and layers and layers again.
“It’s one of those pieces that either lives or dies based on how those layers work on any given night, and it’s also up to the acoustics in the room. It’s a tough one to sing; I wrote it in a much higher register than I normally go into. But I like the challenge. I feel like I’ve had a bit of a workout at the end of the song. I’m singing right up there – it’s very physical.
“Superficially, it’s very simple, but it’s extremely complicated in terms of the arrangements. On the album version, the guitar figure goes through a complex structure of the Leslie cabinets going in and out; in a live setting, you’ve got to simplify everything, just a couple of guitar parts – much tougher than it sounds. You can’t rely on just the music because there isn’t a lot of music there.”