The Corrs Club

Bring on the Night - live video
30-Nov-2022 01:39:47

CorrsClub Time:
19-Jul-2024 05:49:09

Alejandro, brilliant editing on this video. With all the camera angles being edited together so smoothly, it's easy to forget that you're watching a fan video. Fantastic work.

I really like this live version of BOTN, and I like that the band is not trying to simply copy the arrangement on the album, but rather have added small touches here and there. For instance, Sharon plays an unusual ascending and descending part with a very chromatic sound at 3:23. which is not on the album version. It has a very different vibe from the rest of the song, but it fits in perfectly.

BOTN has a dramatic and almost jarring chord change going into the middle-eight (3:04), which I remember being surprised by the first time I heard it. The song is in key of D major, and then suddenly jumps to an unexpected B-flat major chord (3:04), followed by a G minor chord (3:07), and then returning to D major (3:09). This is repeated three more times; Sharon plays her ascending/descending violin part over the third and fourth repeats.

In the album version, we then return to the pre-chorus ("And I'll miss you forever/Let's hope we've always summer") and then the chorus, and we never hear the unusual B-flat - G minor - D chord cycle again. The song then ends when Andrea sings the note "heart" (which would be at 4:48 in this version).

I always felt that album version's ending felt a bit abrupt; the song just kinds of cuts off. But in this live version, Jim adds an extra few bars to the very end of the song (4:48-4:56), which I think makes the ending sound more resolved. And what is the musical material in this extra ending? It's the same unusual B-flat - G minor - D chord cycle we heard in the middle eight! (Compare 4:48-4:56 to 3:04-3:12, and you can hear that it's the same music, although disguised by the very different arrangement.) It's a small but brilliant touch: borrowing a sequence that initially sounded jarring in the middle eight, but now placed in a context in which it sounds tender and sweet, bringing the song to a satisfying close.

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