Short hush, and then the groove is just here — bass riding low, drums clipped and dry.

Four seconds in, he's already singing — 'I remember, I remember when I lost my mind' — no warm-up at all.

There's a warm, hanging glow in the harmony under 'something so pleasant about that place,' and the drums just keep stepping, refusing to sweeten it.

'And when you're out there' — the beat holds exactly steady while the vocal floats a little easier above it.

'I just knew too much' — nothing swells to underline it; the beat simply carries the line forward.

First chorus — 'does that make me crazy' — and the band won't celebrate it with him: bass and drums keep their blunt work, strings and backing voices circling overhead while his voice climbs.

'Possibly.' One small word, nearly tossed off — and the groove absorbs it without a flinch.

'I hope that you are having the time of your life' — generous for about a second, until the rhythm's fixed stare gives it away.

By 'think twice,' he's playing right on the edges of the beat — syllables leaning past the count, stretching, then landing back inside it.

'Come on now, who do you, who do you think you are' — the band never gets bigger; the insistence is all placement, the question landing and relanding on the same steady ground.

That theatrical little laugh — and then 'you really think you're in control' pulls the smile shut.

Second chorus, same melody — but the grammar's flipped: 'I think you're crazy,' a statement now. The backing voices sit thicker around the hook this time, too.

And then it folds back on him — 'just like me.'

His voice takes on a more exposed shine here — 'my heroes had the heart to lose their lives out on a limb' — out front, with the beat right behind him.

The groove doesn't judge a word of it — 'and all I remember is thinking, I want to be like them' — it just keeps stepping.

'Ever since I was little, ever since I was little' — the doubled phrase has a childlike bounce to it.

The darkest line in the song — 'and I can die when I'm done' — and the harmony around it stays warm, which somehow makes it stranger, not softer.

The pattern underneath hasn't changed a bit while the pronouns keep widening — 'maybe I'm crazy,' then 'maybe you're crazy.'

'Probably.' The first chorus only got 'possibly' — a lot less room to dodge this time.

The outro carries on unchanged — that bright, low-slung pattern, taut as ever.

And there it goes — the hold loosens, the motion falls away fast, and then silence. Three minutes, and it never once drifted.