1 Python Party
2 High Temperature Party
3 I Should Have Gotten Used To It Long Ago
4 Midnight Grievance
5 It's All Right, It's Not Wrong Anymore
6 I Really Do Love You
DRUM SOLO
7 Wish I Could
8 Who'll Stand By Me
9 Gray Tracks
10 Cold Rainy Night
11 Totally Got It
12 Like You
13 Moonlight139 Gray Tracks
10 Cold Rainy Nights
11 Totally Possessed
12 Like You
13 Moonlight
14 Footprints of the Olden Days
15 The Years Are Silent
16 The Earth
17 No Longer Hesitating
18 AMANI
19 Metal Maniacs
20 Goodbye Ideal
21 Glorious Years
Almost every song is a classic in the classic, it seems BEYOND in the intention to make this live into a classic.
This concert, to my deepest impression, is the live sound, great no words, in China, I have not heard than this better, even after BEYOND again in the red hall, have not been so perfect sound! I remember in high school, in order to be able to enjoy this perfect sound quality anytime, anywhere, I use the home of the Pioneer audio system, the audio on the VCD perfectly captured to a box of Sony's blank tapes, in order to complete this complex task, really let me put in a lot of effort, sophomore year of high school when I was determined to buy a Aiwa's body of the body with the body, but also bought a high-fidelity stereo headphones, almost every day! I've been indulging in this tape, letting the shocking sound effects maximize the closeness of my eardrums.
Specifically look at each song, in each song, I will talk about my own opinion worth appreciating Points
Opening is the distorted guitar of Ka Kui and Paul's first, very explosive tone, but also the use of shaking the handle skills, instantly Rock Power into the whole scene, carefully arranged opening Riff just with four consecutive chromatic downward five chords, but the most ear-catching at this time is the world of the world's most popular guitar. The most ear-catching thing at this point is Shirong's drums, shocking and powerful drums that come in dense and continuous, and the opening is a real treat.
Song 1 "Party with a Face"
When Ka Kui shouted "Party with a Face", the audience entered the first small climax, the song itself is a satire of Hong Kong's entertainment industry and even the upper class society often held parties some of the bizarre phenomenon, used in the first song of the Show, but also quite ironic, huh? It's also quite ironic, huh? The solo of this song is very listenable, especially in the scene, Ka Kui and Paul's guitar alternating solo, although with the studio version of the discrepancy is relatively large, but is still a classic, Paul in the scene of the original version of the point of the string simplified. Personally, I feel that here, Paul's SOLO is better than Ka Kui's, lol! In addition, Paul's double-header really fascinated me back in the day.
Song 2 High-temperature party
This song do not want to evaluate, have not been too much like this song, but the end of the SOLO, or listen to, especially at the end of the time, because the song itself is created in the traditional Blues Rock, BEYOND four also continue to play Blues Riff, Paul's blues is still The song has a strong melody
Song 3 I should have gotten used to
This song is superb, it's Paul's creation, melody and power, and the drums at the beginning of the song are shocking, letting everyone enjoy BEYOND flavorful Rock Song. paul's voice back then was in its prime, and it was very explosive. The song's interlude is a classical funk-style solo by Paul followed by a traditional metal melody by Ka Kui. When I originally listened to the recorded version of the song, I always thought that the funk was from Ka Kui, but it turned out to be not the case, and Paul is really a bully. Ka Kui's solo, when I saw it live, I felt that Ka Kui is really a very delicate person, his technique is a bit exaggerated, just to better protect the strings, vibrato, that kind of delicate tingling feeling will definitely make you shiver. The keyboard accompaniment to this song is, quite literally, off-kilter and out of the ordinary, but that's exactly what makes it so extraordinary.
Song 4 Midnight Grievance
Personally, I'm a big fan of BEYOND's grouchy love songs, which are sad and powerful, and this is one of them. The studio version aside, the live version is accompanied by keyboards, with the rest of the band joining in later. I prefer the live keyboard version to the studio version, the keyboards are still very much a grudge, and with Ka Kui's clean vocals, it is even more poignant. With just the keyboards, the first time Ka Kui sings into the climax, it seems that the whole song is instantly illuminated, with a vague feeling of morning sun and dawn. When the whole group enters together, there is Paul's sad guitar sound, BEYOND likes to use the keyboard to make a sub-melody for the vocals, and use the rhythmic dislocation to create a different feeling, SOLO, Paul's technique makes me feel a kind of skillful power. Some people say that when Ka Kui doesn't hold the guitar, he doesn't know how to put his hands, haha, it's true, but in this song, Ka Kui still acts very naturally, occasionally his hands are clenched to show his pain, and occasionally his hands are unfolded to show his strength, his movements are still very rich. During Paul's solos, or when he wasn't singing on his own, Ka Kui would step back and get himself out of the spotlight while pushing his teammate in front of everyone ......
Song 5 Is Wrong And No Longer Distinguishable
Because of the two-guitar SOLO, when this song first comes to mind. It gives me such a gentle, lyrical feeling, and the keyboards are just right. The whole lighting tone is blue, which is my favorite color, so I love this slow love song. Shirong was really hiding behind the drums at that time, and I could see his face once in a while, but I just felt that he was so relaxed and dashing. It seems that because of Ka Kui's presence at that time, BEYOND's career was nearing its peak, and the whole group was confident in the future of their band. During the interlude, Ka Kui and Paul came together and talked about something while SOLOing, as to the content is unknown. Also, Ka Keung, really is a kid.
Song 6 Really Loves You
This is the song that inspired the vast majority of BEYOND, and the classic can't be classic! During the live show, BEYOND first played a quick Blues based on this song, letting the fans on the spot guess the title, which was really love you as soon as they heard it. When the fans shouted out the words "I really love you", Paul's guitar sound followed, Paul walked to the side of the stage to show his own solo in the interlude, the melody is beautifully written, the rhythm is also very regular, it is very suitable for beginners to practise, I first saw this solo in the video store, I was hooked on BEYOND, so playing the guitar is so handsome!
Drum Solo belongs to Shirong, of course, and it's the first part of BEYOND's four-piece SOLO. Thanks to the perfect live sound, the Drum is very pleasing to the ears. One difference between Shirong's SOLO and other drummers or his own SOLO from other periods is that it is very distinctive, one section after another, crescendoing into a climax, and it will be memorable. The final drum solo ends in a slowed down riff.
Song 7 Wish I Could
Jia Kui, Paul, and Jia Qiang all took advantage of Se Rong's SOLO to change costumes down there. The red suit of Ka Kui is still super correct, this concert also has a blue suit version, but usually can't be seen. Paul's blue suit, plus the left and right two big white fluorescent pockets, also seems to have a lot of personality, and it's worth praising is that this set of clothing is his own design. As for Ka Keung, he's a child.
After Ka Kui, Paul, and Ka Keung changed into their costumes, Ka Kui was in a black underwear jacket with glittery kangaroo, and Paul changed into a dark blue top with a blood-red guitar, which was also quite visually appealing. In the song Wish I Could, Ka Keung does not appear for a while. Ka Kui sat on a chair and played acoustic guitar, Ka Kui's technique was different from others in that the right hand used a mix of plectrum and finger plucking, which I had once imitated but failed miserably, not because of the habitual problem of the fingers, but because I couldn't equalize the volume between the plectrum and the fingers, and the plectrum part would always be very loud, overpowering the finger part, because the plectrum was mainly responsible for the bass part, which was supposed to be thicker If it's too loud, the whole sound will sound very disjointed, but I don't have this problem when Ka Kui plays, so it seems that I still don't have enough power, keep up the good work. In this song, Ka Kui's playing is quite skillful and natural, but I've always thought that this song's accompaniment is inspired by Led Zepplin's <Stairway to heaven>. The two backup singers behind the song also participated in the solo, one of them was called Liang Qiao Bai, one of Ka Keung's teammates who played Band a long time ago, and he was mainly responsible for the bass part of the song, and he was one whole octave lower than Paul. The other female singer, Yuny, is also very good, with a strong and powerful tone, and Paul's guitar tone is extremely special in this song, with a very spatial and harmonic color.
Song 8 Who Will Accompany Me
Somewhere in the middle of my beloved BEYOND's work, extremely poignant. Live Ka Kui is in the key of A minor, one key down from the studio version. The intro to Ka Kui, when played live, is also slightly altered when braced to the II chord, a SOLO that I've heard played by countless people, but none of them have come up with the flavor of Ka Kui's playing, including Paul's playing on '05.
The song was played live, with a big screen behind it, showing some images, and I saw the face of a black man, and I still don't know how this song is related to the black man in the back, but Paul's solo sound is quite explosive, and the sadness is very powerful, and it's not easy to play this solo well, and the BEYOND style of keyboards is also present in this song. BEYOND-style keyboard accompaniment is also present in this song, misplaced rhythm, simple melody, still moving. In this song, Ka Kui has almost no extra movements, he just puts in all his feelings, concentrating on the piano and singing, and when Paul continues to create the sub-melody towards the end of the song, Ka Kui casually chants along with the melody, very BEYONDized.
Song 9 Gray Tracks
Another super classic. During the keyboardist's intro, I saw a list of the track order next to it, on which I saw yesteryear's dance music, but in all the versions of this concert I saw, this song was not included. Jiajun's live rendition of the song was flawless, and Paul's interlude was still altered to include some strings, but it was very melodic and casual, without any abruptness. The biggest highlight of the song is the end of the dual-guitar alternating solo of Ka Kui and Paul, in the live interpretation is extremely perfect, Ka Kui in the solo, with the Ovation acoustic guitar, the tone is very bright and natural, I used to joke with my friends that this time, the slightest error, then, will be very clear to listen to, but Ka Kui's guitar power no one can doubt, perfect! Paul's solo is a continuation of his melodic style, improving on the original, even more so than the original, and when a series of fast notes appear at the end, the sense of oppression expressed by the speed is really staggering. Ka Kui still croons along to Paul's piano.
Song 10 Cold Rainy Night
It's time for Ka Keung. The second solo Ka Keung entry in the set, still with his hat on! The live version still did an adaptation, with advanced guitars from Ka Keung and Paul, and the use of the IV9 chord, or F9 chord, which itself doesn't follow the normal harmonic progression, coming in from IV in C major, and Ka Keung's bass, which also kept dabbing an F note out, so it sounded very sad. The main characters of the song would not be Ka Kui and Paul at all, it was always Ka Keung. In the middle of the solo, Ka Keung extended the original version of a bass solo to 1 minute and 42 seconds, and the arrangement was quite exquisite, both melodic and skillful, and the dotted strings and arpeggios on the bass were also utilized. This SOLO is sought after by many fans, mainly because of its exquisite melody. Prior to Ka Keung's SOLO, there is a scene that captures Se Rong spinning the drumsticks, and his relaxed and dashing mindset is evident. Ka Keung is still quite good in this scene, with a solid voice and no noticeable off-keyness. This last song, which ends gradually and slowly with Ka Keung's chanting, is a very common way to end the song.
Song 11 Totally Possessed
This song has never been very well received, and I think it's mainly because it doesn't have enough personality to make an impression, even though it's by Ka Kui.
Shi Rong sang the lead vocals, and unexpectedly, instead of playing the drums, he just walked out and sang while walking around the stage, while the drum part was left to the second drummer next to him, Xiao Yun, to finish. Shirong's costume was also quite personalized, with a shirt-jacket kangaroo on top, and surprisingly a section of black and yellow shorts underneath, with red socks on his feet. Another impressive thing was Ka Kui's guitar accompaniment, even if it was simple chords, Ka Kui still played a lot of new tricks, adding a lot of funk techniques, which is what a lot of guitarists like to use, including Paul. when the music rose into a climax, Shirong returned to his position and started to play the drums, and that's when we all felt that there had been no drum kit just now, and Xiaoyun's electronic drums power still seemed insufficient, not shocking enough compared to real drums.
Well, here, the general VCD version of the first disc has ended, to change the disk, haha, I was to download the high-definition version, so it can continue until the end.
Song 12 Like You
Classic love song by Ka Kui. Blue light again, but under the light, the uneven skin on Ka Kui's face is also all exposed, even so, it won't stop people from loving Ka Kui, because people love Ka Kui not because of his appearance, those who love a certain singer because of his appearance are those idolatrous brain-damaged fans who will only do that, BEYOND's fans of course are not like that, as long as they can like BEYOND. It shows that people have started to learn to appreciate music.
Jia Kui still doesn't have a guitar in this song, he simply sings, and one of the shots I saw was the simple and kind eyes of Jia Kui. The song itself was relatively relaxed, so Paul sat down on the other side of the stage, which seemed very poetic. The interlude of the song was also very characteristic, due to the relative commonness of the chorus (I-VIm-IV-V), there was no way to turn the song into a high caliber piece if the guitar solo wasn't done with a little bit more care. paul's solo used an acoustic tone, with pivot notes and staccato as the rhythmic pattern, which tightly supported the background chorus, and due to the use of staccato of the three-note group, the rhythmic nature of the melody was obvious. The rhythmic nature of the melody is very soulful, and Paul's live version has been altered slightly to be more flexible. After the climax of the second section of the music, Xiao Yun's electronic drums begin to join in, just like the original version, very shocking. At the end of the song, Ka Kui introduces a fragment of the theme song from <Ghosts and Goblins> the lyrics are also lifted from the original version, but with his own melody and harmonies, which is a very original way to end the song.
Song 13 Moonlight
Cantonese folk song, accompanied by Ka Kui, with Ka Kui and Yuny on lead vocals, in the key of D major, Ka Kui sings in the same range as Yuny, and Ka Keung ends the song by asking, "Should I sing this song?
Song 14 Footsteps of the Past
BEYOND's early days were a time of great joy. >BEYOND's early classic, this time with the introduction of keyboards, the original song Paul used a slow pronunciation of the tone, live did not adopt. Ka Kui's interpretation of the song is very smooth, and the drum parts are still the same as the two parts of Shirong and Xiaoyun. In the middle and end of the music is Ka Kui and Paul's solo, I think, there are not too many highlights, in addition to Ka Kui's vibrato is more in place and more wonderful, in addition to the end of the Ka Kui's downward arpeggio is also relatively good, at that time, Paul also put his hand on the back of Ka Kui's head to do scratching his head
Song 15 years of silent
This song is immediately after the old days of the The arrangement is connected, and Shirong's drums rock. During the interlude, Paul puts his guitar up to play, but it's played with such power and precision that Ka Kui's final roar is in High C. The ending of the song is also a great example of how the song can be played with a lot of energy. The ending of this track is also well orchestrated, unlike the original.
Song 16 The Earth (Angry Version)
Once I heard another version of The Earth's Angry Version in <really BEYOND>, and they called it Angry Version. The so-called Angry Version is based on the original four-four beat into four-two rows, and the speed has been changed, and the guitar part has been changed to distortion guitar. Before the tune started, Paul even asked if everyone was ready. The whole song seemed to be arranged with great care, Shirong's drum performance was outstanding, with dense waves of drum beats, and the movements were quite dashing, I used to know some musicians, and they said they all wished they could play drums like Shirong, it was very cool! The song was sung by Paul, and at that time it was basically the golden age of Paul's voice, powerful enough, low enough, but not hoarse and also not as tonal as it was later on, so the rendition of the song was still quite spot on, and it was obvious that Paul looked excited at the scene of the song as it was after all a more metalized song. Ka Kui still plays acoustic guitar, which is the part he is good at, and some of the rhythms and chord arrangements have a classical flamenco tinge to them. The song is a classic because it is interspersed with a large section of improvised percussion performance by the guest drummer, the whole performance of a few infectious, simple, but rhythmic, and completely driven by the site of the fans to participate in, and it is Ka Kui led the fans to follow the rhythm of the call "AI, AI, AI". The guest drummer is called Xiao Yun, BEYOND fans should know that this handsome man from the 80's with BEYOND together with Live, has many times with Shirong together with the drums, and in this Live, the shape is very exaggerated, thin body, head high wig (personal opinion), in the present seems to be so avant-garde. The keyboardist, who joined in during Xiao Yun's solo, was in charge of erasing and tapping, and I always thought he looked like those perverted doctors and uncles in Japanese ethical movies, with a smile that was so obscene. At this time two girls rushed to the stage and were rushed up by Staff and grabbed tightly. This SOLO shows us percussion equipment like tambourines and electronic drums, which is kind of popularizing musical instruments. In addition, this drummer named Xiao Yun, in the 08 commemoration of Ka Kui's performance, as the drummer of Paul's sub-unit, the sub-unit of the guitarist is Paul's younger brother Huang Guanqi. SOLO after the end of the melody is Paul's electric guitar melody to bring the music back to the main clip, and this melody Paul is also carefully choreographed, the use of speed play and sweep pizzicato and other not commonly used advanced techniques, and the harmonies are also biased towards the harmonies. The harmonies are also in the harmonic minor and diminished chord categories. The music ends with a very vivid rhythm, with a picture of Ka Kui
Song 17 No More Hesitation
Keu picks up an acoustic guitar, and it's a 12-string guitar, and says that the following song is called No More Hesitation, and I don't know what it says after that, but I guess it says that it doesn't hurt to hesitate at certain stages of life. This song is a typical four-two beat, a lot of the more in the initial practice, like to use this song as a practice song, this song, in addition to the lead part, although simple, but there is one thing is very difficult to do, is the tension of the whole song. I have tried to play this song with different friends, all of them have difficulty in expressing the rhythm of this song thoroughly, which has high requirements for drums and bass. In the scene, after the music started, Ka Kui and Ka Keung swing their bodies with the music, so you can see how the rhythmic sense of this song is expressed. This song was the nightmare of many lead guitarists, haha. Anyone who has played guitar should know what I mean. The main part of the song, the difficulties are as follows:
I- Rhythm, the intro part of the lead in many places are backbeat, it is very difficult to grasp.
II- A push vibrato technique in the intro and interlude that works the fingers.
III- The 16th note trio speed picking in the interlude, which requires a lot of speed and strumming
IV- The speed picking blues riffs in the interlude
V- The funk groove at the end of the interlude
Great practice passage for guitarists who want to work on that part of the song. Live, Paul is also as close as possible to the original version of the play, although there are a few changes, but not obvious, and the interlude difficult segment interpretation is quite perfect, want to take this song to practice guitarists, if you are not clear about the fingerings, you can go to the scene Paul's fingering arrangement, shot very clearly. Especially difficult III in the three-note group, you will find that Paul and the market a lot of sheet music written fingering is not the same, their own to see it. Paul in the end of their own part of the song, shouted "One Two Three Four", which led to a lot of small bands rehearsal time to this place also follow! Paul's obvious mistake in this song is that when he's supposed to play the riff and not sing it, he yells alone, immediately realizes it's his mistake, and then plays the riff right after, and then Ka Kui turns to look at him and smiles at him as if he's giving him comfort. Toward the end of the song, a high girl is seen getting so high that she takes off her jacket and holds it in her hand and raises it up to fling it. Also, Ka Kui played a 12-string guitar on this track, and the acoustic guitar accompaniment has a stronger texture.
Song 18 Amani
This song was written when BEYOND visited Kenya in '91, and the melody is simple and catchy, the arrangement is high in meaning, and the theme is anti-war and calling for peace. While in Africa, Ka Kui composed the song in the local dialect and invited local children to sing along. During the live performance, BEYOND also invited a group of children to sing the song together, which made the mood even stronger. Xiao Yun's tambourine introduces the song. Due to the advanced recording technology, the notes from the tambourine flow into the eardrums in left and right channels, creating a strong sense of rhythm. Ka Kui's acoustic guitar began to strum out the classic RIFF, which is a must-play for many people when they get started, or at least when I learned guitar, I was exposed to this RIFF in the fourth lesson, which is actually a chord breakdown of Csus4. Watching Ka Kui play it live is so effortless, but you can't get the same feeling when you play it yourself. I went to imitate Ka Kui's hand shape, and realized that when Ka Kui plays C-G-F-G, his hand shape is not holding down the chord completely, but only pressing to the strings and notes that need to be used, so as to save energy. Ka Kui puts his guitar down during the climax of one take, and then leads into the second take with a hand gesture that mimics a dove of peace, leading to a small climax. In addition, at this time, Ka Kui is not carrying the guitar, but after entering the climax, the camera again shot Ka Kui, he has already backed the guitar in the song, the time interval between only 10 seconds, if the following Staff sent up to give the guitar on the back and then continue to sing, it is not impossible, but the Internet has also been said to be the two concerts spliced together, and so it is so footage, an explanation that seemed to make more sense. Paul's solo, and Ka Kui back-to-back leaning handsome, Ka Kui also naive head back in Paul's back laugh non-stop, Paul this side of the close-up shots also put the red piano body Steinerburg logo is also clearly visible. The bridge has become a common parody for many BEYOND guitarists on their guitars. At that time, I thought that the two of them still have a better understanding, in case a foal suddenly dodged away, Paul will not fall on the ground, the solo will also play the smash, this kind of oolong scene did not happen. Played this SOLO guitarist know, here there is a section of speed play, on the plucked strings is very demanding. Live Paul doesn't play the original version either, omitting some of the notes. The song ends with a solo led by a live child, which is out of tune, but it's a child, so it's more childlike, and no one will cross-examine.
Song 19 Metal Maniacs
At the moment, Paul is alone in the solo, the prelude is quoted from a classical violin piece <Meditation>, N years ago, I watched a movie called <With You>, in which a violinist teenager in the teacher's knowledge, began to play this piece, then did not know is the meditative song, and also did not know that the classical masterpiece, only know in B The classical song, only know in BEYOND<metal maniac> heard this song, also thought BEYOND has reached such a high level, has become a violin in the practice of the famous song.Paul in the scene to play this song, the tone is very positive, gorgeous, atmospheric. In fact, in some sites to try to listen to this concert, only the audio kind, in front of the metal maniacs, but also included a keyboard performance, called Encore Introduction, this time should only keyboard player and drummer on the stage, I personally think that this drums are not Shirong play, because this is the prelude to the Encore, since it is the Encore, that is, all the members in the Since it is an Encore, it means that all the members are waiting for the fans' call to perform on stage again, as the main character of BEYOND, of course, all of them should be pushed to the bottom of the stage, and this music can only be found on the Internet in the audio portion of the music, there is no video can be verified, but I personally feel that this should be the Drum played by Xiao Yun, and it may be precisely for this reason that the video has not been recorded on the DVD of Live. In this Encore, the tone of the keyboards changes a few times, from acoustic piano, to electronic tones, strings and so on, and the color is also on the BEYOND style of sultry, and the melody is also very simple. After this piece of music, there is Paul's solo <Meditation> that you can see. At the end of this intro, Paul even poked his tongue out at the camera, which also foreshadowed the exciting performance that was about to take place. After the crowd's powerful distorted chords and Shirong's rapid triple tapping, Ka Kui rushed onto the stage from the side of the stage barefoot, topless, wearing a pair of Japanese baggy pants and an over-the-top pendant with tattoos on his arms, Paul's performance of the song was a funky, metallic rhythm, with a very textured feel to it, rather than the power chords of the usual metal style music. Paul's playing style in this song is a funk-like metal rhythm, which is very textured, not the usual power chords or fast rhythms of metal music, and there are a lot of changes in the rhythm. Ka Kui's voice was on full display in this song, with its powerful, high pitched voice, even lying on the ground, proving his vocal prowess once again. During the interlude, Paul and Ka Keung played two rounds against each other, and then came the bridge that made the guitarists' mouths water - Paul's fast and frantic solo, which had never been seen before in his previous performances, and used the sweeping technique. The solo is fast and threatening, and guitar lovers will have a great time listening to it. Ka Kui's last long note is even more shocking, with a great Rock flavor.
Song 20 Goodbye Ideal
This is the song that BEYOND performs in most of their concerts, sad and melancholic, with keyboards and Paul's guitar playing improvised backing vocals, and Ka Kui speaking. Ka Kui said, "Usually concerts will have some special invited guests, but BEYOND does not have a big face, can not invite any important stars, but I am very happy, tonight we have a group of very good guest friends, that tonight's guests, is the red hall in the audience", and then waved his hands upwards, the stage on both sides of the The lights immediately hit, the fit was spot on and clearly deliberate. In this section, it is obvious that the two concerts are put together, because in the course of the speech of the family colt, the music accompaniment is broken, and Paul's clothes collar began to undo, the music is broken and resumed after the collar is tied up, may be post-production think that the speech of the two performances are very wonderful, do not want to cut off any of them, will be the two put together. The interpretation of this song can only be said to be moderate, there is nothing particularly outstanding, Ka Kui's voice is still the biggest highlight, the vicissitudes of the voice is very suitable for the performance of the sad atmosphere. During the song, Ka Kui took advantage of Paul's solo to mention their manager, Leslie Chan, who said, "I'd like to thank a friend here, he's similar to us, from '85 to now, we've been up together, down together, crying together, laughing together, he's our manager, Leslie Chan! "...N years later, Chen Keitian because of the exposure of Ka Kui on the stage to speak foul language, was Shirong scolded "there is a heavenly income!"
Song 20 Glorious Years
This was the last song of the set, still with the music playing in the background, Ka Kui's speech, and then Paul's guitar solo, in which Ka Kui said, "I hope that next year, if it is possible, next year, we can find a more free and more open, we can all be together, leave all the pressure, leave all the troubles and sufferings, to enjoy the world, to enjoy the world. All the troubles and sufferings, to enjoy a very peaceful and peaceful, so intimate concert"