[TV static drones]
Downloaded from YTS.MX
[bright tone]
Official YIFY movies site: YTS.MX
[soft music]
♪ ♪
[indistinct chatter]
- Okay, this is it.
We are live...
[chuckles] Beautifully, terrifyingly live.
I know, I'm reminded.
I don't need to remind you guys of what's at stake here.
But this is a really amazing thing,
and there's so many of us that are just
so excited about doing this but on the edge of our seats,
because, I mean, truly, anything could happen.
But that's what rock and roll is, right?
That's what it is. It's a risk.
And we're here in the beautiful Laurel Canyon.
The scenery is breathtaking.
And we wanted to do this while it was still light out,
as we sort of follow the arc
through this trajectory of getting dark
so that you guys could see and feel
the sunset in this place
and put yourself there in the 1960s and 1970s,
when some of the most lush and beautiful and strange
and trippy Americana music was made
by people that lived here and spent their time here,
from CSN to Jimi Hendrix, even,
Glenn Frey, Linda Ronstadt, The Byrds,
Mama Cass and The Mamas & the Papas,
and, of course, our beloved Joni Mitchell.
It's interesting--everybody thinks about Americana music
as originating in the South
or even our beloved one-of-a-kind Nashville,
but an important cornerstone of modern Americana music
happened and started to happen right here in California,
right here in Laurel Canyon.
One time, Joni said to me--
and I haven't told you guys this yet--
"Anyone in America--
"if you ask anyone in America where the craziest people live,
"they'll tell you California.
"If you ask anyone in California
"where the craziest people live,
"they're going to tell you Los Angeles.
"If you ask anyone in Los Angeles
where the craziest people in California live,
"and they'll tell you Hollywood.
"Ask anybody in Hollywood where the craziest people live,
"they'll tell you Laurel Canyon.
"Ask anyone in Laurel Canyon where the craziest people live,
"and they'll say Lookout Mountain.
So I bought a house up on Lookout Mountain."
Joni Mitchell. [laughter]
[playing notes]
We're here to conjure the spirits
of the living legends
and the ones that have gone before us from Laurel Canyon,
as we reimagine our album "In These Silent Days,"
live in the canyon haze.
We ready? - I think so.
- Are we really ready? - I mean...
Ah, yeah.
Two, three, and--
♪ Come back now, even if you call me out ♪
♪ You might be angry now ♪
♪ Of course you are ♪
♪ ♪
♪ I'm scared, too, didn't mean to take it out on you ♪
♪ I know I always do ♪
♪ You're the strongest person in the room ♪
♪ Turn back time, help me to rewind ♪
♪ And we can find ourselves ♪
♪ Again ♪
♪ It's not too late ♪
♪ Either way ♪
♪ I lose you in these silent days ♪
♪ It wasn't right ♪
♪ But it was right on time ♪
♪ ♪
♪ Don't look down ♪
♪ I can feel it when your heart starts pounding ♪
♪ It's beyond your control ♪
♪ You know it is ♪
♪ ♪
♪ It's getting to the point where I can't carry on ♪
♪ I never held my breath for quite this long ♪
♪ And I don't take it back, I did what I had to do ♪
♪ ♪
♪ It's not too late ♪
♪ Either way ♪
♪ I lose you in these silent days ♪
♪ It wasn't right ♪
♪ But it was right on time ♪
♪ ♪
♪ It's not too late ♪
♪ Either way ♪
♪ I lose you in these silent days ♪
♪ It wasn't right ♪
♪ But it was right on time ♪
Yeah! [laughter]
- Got that one out of the way, huh?
- So good! [singing high notes]
That was up there, Phil. - Yeah, it was.
- I want to get my wife up here with me.
Catherine Carlile, you nervous and beautiful beast.
[cheering]
[laughter]
[playing notes]
This one's big for you, babe.
Look at you taking your own microphone.
She's a pro.
Catherine-- - She's lying.
- [laughs]
Sweetheart, do you know what today is?
- The live stream of "In the Canyon Haze," right?
- Yeah. Are your hands shaking a tad?
- No. - Mine are.
- Steady. - It's cool.
Steady, steady as we go.
Today, Catherine...
Are you nervous? - No.
Slightly.
- Is our ten-year anniversary.
- It is, yeah. We forgot about that this morning.
- Yeah, we forgot about that this morning.
- We were a bit distracted. - We got married three times.
We had three weddings.
And this is the ten-year anniversary
of the wedding that happened on the West Coast, in Seattle.
- It is indeed.
- Yeah, and it's an important day.
But I think it's even more monumental and more important
that this is the first time that you and I are going to do
something like this together. - I know.
- Yes. And you've been practicing--
- I'm more nervous today than I was on our wedding day,
by the way. - And you were very nervous.
- I promise not to do that with a deep voice.
- Right.
- [deep voice] I, Catherine Carlile,
do take Brandi Carlile...
- That may have happened. - To be--
- [normal voice] That may have happened.
[laughter] That may have happened.
Do you promise not to get drunk and sing Lady Gaga later?
- I promise. - Okay.
- Yeah.
- Well, I wrote this-- - I can't promise anything.
- No, you can't. You can't.
I wrote this song about you.
And it's been my dream to get you to sing it with me.
And now you're doing it in front of thousands of people
in IMAX theaters across the country.
- Thank you for reminding me of that, yeah.
- And I'm sure that they can see just every detail
of our faces, very close up.
- [laughs] Happy anniversary. - Just joking.
- It's called "You and Me on the Rock."
♪ ♪
Yeah.
♪ ♪
♪ They build wooden houses on frozen ponds ♪
♪ In the summertime when the water's gone ♪
♪ Diagonal lines in their rolled-out lawns ♪
♪ And the sage always smells so pretty ♪
♪ But nobody cares where the birds have gone ♪
♪ Or when the rain comes down on Babylon ♪
♪ The stonemason's phone rings all day long ♪
♪ And you got to get back to the city ♪
both: ♪ I build my house up on this rock, baby ♪
♪ Every day with you ♪
♪ There's nothing in that town I need ♪
♪ After everything we've been through ♪
♪ Me out in my garden and you out on your walk ♪
♪ Is all the distance this poor girl can take ♪
♪ Without listening to you talk ♪
♪ I don't need their money, baby ♪
♪ Just you and me on the rock ♪
- Yeah!
- ♪ On the rock ♪
♪ ♪
♪ I built paper planes when I learned to fly ♪
♪ Like a 747 falling out of the sky ♪
♪ I folded 'em crooked, and now I'm wondering why ♪
♪ I could always end up in the water ♪
♪ But nobody's asking why she looking so thin ♪
♪ Why she's laughing too hard, why she's drinking again ♪
♪ A falling star, she's a paper plane ♪
♪ And she was going down when you caught her ♪
both: ♪ I built my house up on this rock, baby ♪
♪ Every day with you ♪
♪ There's nothing in that town I need
♪ After everything we've been through ♪
♪ Me out in my garden and you out on your walk ♪
♪ Is all the distance this poor girl can take ♪
♪ Without listening to you talk ♪
♪ I don't need their money, baby ♪
♪ Just you and me on the rock ♪
- Yeah.
♪ ♪
- ♪ It's an earthquake, it's a hard wind ♪
♪ It's a record-breaking tide, and it is rolling in ♪
♪ It's a big sea, but it can't touch you and me ♪
♪ It's just a water view ♪
♪ And what a view ♪
♪ I don't need their money, baby ♪
- ♪ I don't need their money, baby ♪
- ♪ It's you and me on the rock ♪
- ♪ It's you and me ♪ - ♪ Oh, it's you and me ♪
both: ♪ It's you and me on the rock, yeah ♪
♪ ♪
♪ I build my house up on this rock, baby ♪
♪ Every day with you ♪
♪ There's nothing in that town I need ♪
♪ After everything we've been through ♪
♪ Me out in my garden and you out on your walk ♪
♪ Is all the distance this old girl can take ♪
♪ Without listening to you talk ♪
♪ I don't need their money, baby ♪
- ♪ Just you and me on the rock ♪
♪ ♪
♪ It's you and me on the rock ♪
- ♪ It's you and me ♪
- ♪ I don't need their money, baby ♪
- ♪ It's you and me on the rock ♪
- ♪ It's you and me ♪ - ♪ Yeah, it's you and me ♪
both: ♪ It's you and me on the rock ♪
♪ ♪
♪ You and me on the rock ♪
[cheers and applause] - Sweating.
[laughter]
- Happy anniversary, darling. [laughter continues]
- All right, back to the professionals.
- Yeah, go do a shot now. We all know you're going to.
[instruments tuning]
- Oh, excuse me.
- I hope everybody's having a wonderful time.
I already am.
This song's interesting, because...
of all the songs on "In These Silent Days,"
this is the one that actually was influenced so much
by Laurel Canyon.
And I didn't fight the urge to go down that road,
did we, Tim and Phil? - Oh, no.
- No, we did this CSN-style on the album.
And we were fighting the urge to be Laurel Canyon
on a lot of that album--
just the lushness and some of the sounds we wanted to do,
but we also really wanted to kind of dive
a little bit further into glam rock and roll
as it intersects with Americana.
And so we did a different thing.
But the guilty pleasure of it was nagging
at the back of our minds,
and we really went there on this song
and embraced it and did this one
like "Helplessly Hoping" or something.
So, when it came time to Laurel Canyon the album,
we didn't really know what to do with this one.
So I was like, all right, let's do it the opposite.
Let's do this one
like "Love of My Life" by Queen.
♪ Love of my life, you heard me ♪
It's called "This Time Tomorrow."
♪ ♪
♪ When the fire inside that burns so bright ♪
♪ Begins to grow faded ♪
♪ It can be hard to see the ground on which you stand ♪
♪ Though you may not be afraid of walking in the darkness ♪
♪ You will feel like a stranger in this land ♪
♪ You can try to carve a faith out of your own ♪
♪ But a broken spirit may dry out the bone ♪
♪ And the edges of the night may cause you sorrow ♪
♪ You know I may not be around this time tomorrow ♪
♪ But I'll always be with you ♪
♪ ♪
♪ When the hope that you hold tightly to ♪
♪ Has all but vanished ♪
♪ And there are no words of comfort to be found ♪
♪ You will know what it means to be lost and without love ♪
♪ May you fight to kill that deafening sound ♪
♪ But our holy dreams of yesterday aren't gone ♪
♪ They still haunt us like the ghosts of Babylon ♪
♪ And the breaking of the day might bring you sorrow ♪
♪ You know I may not be around this time tomorrow ♪
♪ But I'll always be with you ♪
♪ ♪
♪ You can try to carve a faith out of your own ♪
♪ But a broken spirit may dry out the bone ♪
♪ And the edges of the night may cause you sorrow ♪
♪ You know I may not be around this time tomorrow ♪
♪ But I'll always be with you ♪
♪ ♪
♪ I'll always be ♪
♪ With you ♪
♪ ♪
[whispers indistinctly]
[indistinct chatter]
Okay.
[playing notes]
[humming]
[telephone rings] Now, what could that be?
Hello?
- Sorry to interrupt this transmission.
- Catherine, is that you? - It's me.
- Well, where are you now?
- Well, I ran to the telephone
because we've got all these questions
coming in from these people
watching live from IMAX theaters.
- Okay, all right. - Are you up for a question?
- I mean, always. - Okay, so Macy Franklin,
who is watching from the Chinese Theatre IMAX
here in Hollywood... - Okay. Local.
- She's got a great question. - Okay.
- She wants to know, it's the year 1970,
and you're strolling through Laurel Canyon
with your guitar.
Whose door would you knock on?
- Whose door would I knock on? Hmm.
I'm going to get right back to you.
- Okay.
- I'm going to talk to the folks at the theaters.
I think the door that I would knock on--
and I'm interested
in what you guys think about this, too, so--
It would be Mama Cass...
because that's somebody that I feel like--
She's a hero, but she's too unsung for how much
she had to do with bringing everybody together
and causing people spiritually to congregate.
And I just have a feeling that if I knocked on her door,
that all of the legends of the canyon
would probably already be there.
- I'd be inside already. - Yeah.
- Tripping balls.
[laughter] - One can hope.
[laughs]
- Yeah, that's what-- It would be Mama Cass.
That's whose door I'd knock on.
I have a feeling that phone's going to ring again--
Yeah, yes it is. [telephone ringing]
- Hello.
- What could you possibly want now?
- Well, there's a lot of people watching,
so we have a lot of questions.
- All right, darling.
- Okay, I've got one more question for you
before you sing your next song, okay?
- Okay, yeah.
- This is from Kate McCartney at the AMC
in Georgetown, Washington, D.C.
- Okay, yeah. - This is a good question.
It's quite a long one. - Okay.
- You mentioned "You, Me, and the Rock"
was inspired by a lesson you learned
at Vacation Bible School. - Yes.
- Were you openly gay during that time?
And how did you reconcile your faith with your sexuality?
- Well, okay, I'm going to address the people.
- Okay, goodbye.
- All right, I'll talk to you soon, darling.
Happy anniversary.
So I wasn't openly gay at Vacation Bible School
that I know of, because I think I was about seven.
But, you know, I certainly didn't like to wear dresses,
and I had a strangeness about me.
But I did love being there, and I loved the lessons.
Reconciling faith with spirituality is...
It's my lot in life.
It'll probably be my long-term dance.
I don't want to call it a battle or anything negative,
because...
queerness can be so juxtaposed
with conventional monotheism
that it can make people feel really scarred
and traumatized for long periods of their life,
but there's also something really beautiful about coming
back to the redeeming concept of a higher power
and universal forgiveness of all people and things
time and time again.
And sometimes the more you have to overcome
in those situations,
the more beautiful your faith is to you.
And so, as I grew up from Vacation Bible School,
I took those lessons with me.
And because they were harder to hold on to,
I think they meant and still mean more.
And the song that you're referring to
would be "You and Me on the Rock,"
and I was learning a lesson there
at Vacation Bible School called "Build Your House on a Rock."
And one day I just looked up at home,
and I saw my family,
and I realized that I had done that,
and I had built my house on a rock.
And even if it wasn't exactly what Vacation Bible School
intended for me to learn,
I do think it was what my higher power
intended for me to learn.
So good question. Good question.
Thank you.
[strumming guitar]
How about some acoustic rock and roll?
[continues strumming]
We had a hard time adapting this song
because it's about six minutes long.
So we decided to go ahead
and make it about two minutes longer for this.
[laughs]
Yeah, baby.
["Broken Horses" playing]
♪ ♪
[shouts]
♪ ♪
♪ I wear my father's leather on the inside of my skin ♪
♪ I'm a tried and weathered woman ♪
♪ But I won't be tried again ♪
♪ I don't think that you can come for me ♪
♪ Without your Sunday best ♪
♪ You had better call your priest ♪
♪ And hope, oh, the Devil gets the rest before I do ♪
♪ Oh, and I will do ♪
♪ ♪
♪ I've worn the jester's bells ♪
♪ And I have vanished with the fools ♪
♪ I have worshiped at the altar of the puppet master's rules ♪
♪ I have held my tongue too many scenes ♪
♪ Before the final act ♪
♪ With my children in the cheap seats and a zipper on my back ♪
♪ Thanks to you ♪
♪ Oh, no thanks to you ♪
♪ ♪
♪ And they're tethered in wide-open spaces ♪
♪ In fields that lead for miles ♪
♪ Right into the barrel of a gun ♪
♪ ♪
♪ Mending up your fences ♪
♪ With my horses running wild ♪
♪ Only broken horses know to run ♪
- Whoo!
♪ ♪
- ♪ I have ever so politely treaded softly ♪
♪ For your praise ♪
♪ I have whispered through the tears ♪
♪ And pleaded sweetly to your face ♪
♪ It is time to spit you out ♪
♪ Like lukewarm water from my mouth ♪
♪ I will always taste the apathy ♪
♪ But I won't pass it down ♪
♪ Enough with you ♪
♪ Oh, with you ♪
♪ ♪
♪ And they're tethered in wide-open spaces ♪
♪ In fields that lead for miles ♪
♪ Right into the barrel of a gun ♪
♪ ♪
♪ Mending up your fences ♪
♪ With my horses running wild ♪
♪ Only broken horses know to run ♪
Yeah.
♪ ♪
♪ I wear my father's leather on the inside of my skin ♪
♪ I'm a tried and weathered woman ♪
♪ But I won't be tried again ♪
♪ Don't think that you can come for me ♪
♪ Without your Sunday best ♪
♪ Well, you had better call your priest ♪
♪ And hope, oh, the Devil gets the rest before I do ♪
♪ Oh, no, no, and I will do ♪
♪ ♪
♪ And they're tethered in wide-open spaces ♪
♪ In fields that lead for miles ♪
♪ Right into the barrel of a gun ♪
♪ ♪
♪ Mending up your fences ♪
♪ With my horses running wild ♪
♪ Only broken horses know ♪
♪ Mending up your fences ♪
♪ With my horses running wild ♪
♪ Only broken horses know ♪
♪ Only broken horses know to run ♪
♪ ♪
- [chuckles] Yeah. - [laughs]
- That was a jam.
- Whoo! We're rocking now!
[laughter]
- All right.
- Come on in. - [strumming guitar]
Come on in tight, boys.
This is Phil Hanseroth. - Hello.
- And this is Tim Hanseroth. - Hi.
- For those of you that just accidentally walked
into an IMAX movie theater not knowing
that you were going to see the Brandi Carlile band.
We've been in a band together for about 22 years.
I know we don't look old enough, but--
We do look old enough.
- On an IMAX screen, we do. - I know, man.
That thing is, like--
Just how big is my head on that thing?
The thing that brought us together
in the late '90s in Seattle, Washington,
was our love of three-part harmony.
And I don't know if you know
what was going on in the late '90s in Seattle, Washington,
but it was not three-part harmony.
It wasn't cool there at the time, was it?
- No, farthest thing from cool.
- Yeah, grunge rock and roll,
practicing your band underneath a freeway overpass,
that was cool in the '90s. - Literally.
- But you know where it was still cool even in the '90s?
Right here.
So we love to do a three-part harmony song
at each of our shows because I want everybody
to see how beautiful their voices are
and how the three of us have been singing together
for so long and what makes our band who we really are.
And this one we've never done before, though.
We adapted a song
into a Laurel Canyon three-part harmony, CSN-style,
from our record that nobody's ever heard this way.
And it's called "Letter to the Past."
Pray to the gods of vocal tightness, boys.
♪ ♪
all: [vocalizing]
♪ ♪
♪ It's a game, baby, it's just a game ♪
♪ And nobody loses when you learn to love ♪
♪ The one who finally wins sometimes ♪
♪ You'll be wrong, 'cause sometimes we get it wrong ♪
♪ But nobody leaves here alive ♪
♪ And nothing holy comes from being right ♪
♪ So don't hold your breath like that, baby, let it go ♪
♪ You're gonna feel it in your back ♪
♪ Believe me, I ought to know ♪
♪ You're a stone wall in a world full of rubber bands ♪
♪ You're a pillar of belief ♪
♪ Still hiding your shaking hands ♪
♪ Folks are gonna lean on you ♪
♪ And leave when the cracks appear ♪
♪ But, darling, I'll be here ♪ - ♪ I'll be the last ♪
♪ You're my letter to the past ♪
all: [vocalizing]
♪ ♪
♪ You can cry ♪
♪ You know, it's always okay to cry ♪
♪ You don't even need to know why ♪
♪ But don't you ever feel alone inside ♪
♪ If you need to know the truth ♪
♪ I still haven't got a clue ♪
♪ If the blind can lead the blind, baby ♪
♪ I'm just like you ♪
♪ You're a stone wall in a world full of rubber bands ♪
♪ You're a pillar of belief ♪
♪ Still fighting your empty hands ♪
♪ Folks are gonna lean on you ♪
♪ And leave when the cracks appear ♪
♪ But, darling, I'll be here ♪ - ♪ I'll be the last ♪
♪ You're my letter to the past ♪
♪ ♪
all: ♪ You're a stone wall in a world full of rubber bands ♪
♪ You're a pillar of belief ♪
♪ Still hiding your empty hands ♪
♪ Folks are gonna lean on you ♪
♪ And leave when the cracks appear ♪
♪ Darling, I will be here ♪ - ♪ I'll be the last ♪
♪ You're my letter to the past ♪
all: [vocalizing]
♪ ♪
♪ It's a game ♪
♪ You know, it's okay to lose a game ♪
♪ But always remember your name and have no shame ♪
♪ Because you're built to last ♪
[cheers] - Yes!
That was tight! [playing notes]
- I need a drink after that one.
- Oh! Was that the one you were nervous about?
- Yeah. - Oh, man.
Man, I'm nervous about all of 'em.
But it's starting to fade. It's starting to go away.
[instruments playing]
♪ ♪
I want to introduce the band, though, right now.
I think everybody's got to know
who all these beautiful people are
while it's still light out, right?
On the piano, my favorite piano player, Mr. Philip Towns.
[cheering] Welcome, Philip.
Beautiful job.
You met Tim Hanseroth, so we'll skip him,
and we'll go to the band Lucius.
We've got Jess and Holly from Lucius with us tonight,
rocking their beautiful harmonies
and just being the absolute essence of Laurel Canyon.
They radiate it. They radiate California.
♪ California, I'm coming home ♪
♪ I want to see the folks I dig ♪
all: ♪ I'll even kiss a sunset pig ♪
♪ California, I'm coming home ♪
- You didn't even know I was throwing that one at you,
and you got it.
Back here on the drums is somebody
who we first met in California,
but we've idolized this guy growing up in Seattle.
And making music together, he's been our favorite drummer
since as long as I can remember.
And it's taken him a long time to decide to join our band.
[laughter]
But we got him here.
And he left us eventually up north
and moved down here to be with everybody in California.
I can't say that I blame you, brother.
The greatest drummer on the planet,
indisputable, Mr. Matt Chamberlain.
- Yeah, Matt. [cheering]
- That's right.
- And now back here, we have this string quartet,
which is so much more than a string quartet.
These guys sound like an entire symphony orchestra.
And we haven't really got into it yet,
but what you all are about to hear
towards the second half of this concert
is nothing short of miraculous.
No pressure.
But these four people, they wrote these parts themselves,
these arrangements-- Kyleen King, SistaStrings,
and Josh Neumann, right here in the front on the cello,
OG cellist for 20 years,
from California, Mr. Josh Neumann.
[cheers and applause]
Behind them, our string MD
and the person who's written so many of our arrangements,
one of my favorite string arrangers,
next to Paul Buckmaster... - Ooh!
- Mm-hmm, the queen, Kyleen King.
[cheers and applause]
And these two out here on the end,
they are called SistaStrings when they are together.
But apart, we got Monique Ross on the cello...
[cheers and applause]
And Chauntee Ross on the violin.
And they, too, wrote some of the arrangements
that you're going to hear tonight.
They've changed our life. They've changed our band.
And what you're seeing up here
is my family in music and in life,
my spiritual family,
and it's really beautiful to be with everybody in this way.
How we doing, y'all? - Okay.
- We're settling in, right? - Yeah.
- We're feeling good. All right.
[strumming guitar]
Oh, the way it feels out here right now with this breeze...
Mm-hmm.
♪ Mm-hmm ♪
All right, let's get dark.
♪ ♪
Yeah, this feels good! [laughter]
- Two, three, four.
["Mama Werewolf" playing]
- ♪ Your mama is a werewolf with long, sharp teeth ♪
♪ I'm up all night when the world should sleep ♪
♪ I curse the darkness when it's killing time ♪
♪ I got a river of fear running through my mind ♪
♪ When the moon shines through those parting clouds ♪
♪ I hear the call, and I howl out loud ♪
♪ I stalk the streets where the shadows lie ♪
♪ And I pray to God that that sun will rise ♪
♪ But that sun don't always rise ♪
♪ If my good intentions go running wild ♪
♪ If I cause you pain, my own sweet child ♪
♪ Won't you promise me you'll be the one ♪
♪ My silver bullet in the gun? ♪
♪ Would you strike me down right where I stand? ♪
♪ Would you change me back, make me kind again? ♪
♪ Won't you promise me you'll be the one ♪
♪ My silver bullet in the gun? ♪
♪ ♪
Yeah.
♪ When I awaken and I'm reborn ♪
♪ My body aches, and my soul is torn ♪
♪ I search the void for any clue ♪
♪ And I feel ashamed for what I put you through ♪
♪ And this curse a gift from my father's kin ♪
♪ They fought the beast I feel within ♪
♪ But we don't talk about it, and we don't call its name ♪
♪ We just carry on, hoping it'll change ♪
♪ We know it don't ever change ♪
♪ If my good intentions go running wild ♪
♪ If I cause you pain, my own sweet child ♪
♪ Won't you promise me you'll be the one ♪
♪ My silver bullet in the gun? ♪
♪ ♪
- Yeah, let's get twisty!
all: [vocalizing]
♪ ♪
- ♪ If my good intentions go running wild ♪
♪ If I cause you pain, my own sweet child ♪
♪ Won't you promise me you'll be the one ♪
♪ My silver bullet in the gun? ♪
♪ And would you strike me down right where I stand? ♪
♪ Would you change me back, make me kind again? ♪
♪ Won't you promise me you'll be the one ♪
♪ My silver bullet in the gun? ♪
♪ ♪
[indistinct chatter, laughter]
[instruments tuning]
["When You're Wrong" playing]
♪ ♪
♪ "Don't go borrowing trouble" ♪
♪ That's what you used to say ♪
♪ But we don't keep in touch the way we used to nowadays ♪
♪ Your eyes are not as bright as I remember them to be ♪
♪ The light inside's grown dim ♪
♪ And that's hard for me to see ♪
♪ The creases on your forehead run like treads on a tire ♪
♪ The white stripe running through your bangs ♪
♪ A long twisted spire ♪
♪ You're sweeping up the floods ♪
♪ And you've been vacuuming the fires ♪
♪ And you lay down every night next to a goddamn liar ♪
♪ We may be here today, but tomorrow you're a ghost ♪
♪ I guess the most someone could hope for ♪
♪ Is to find a place to lay ♪
♪ Someone to tell your secrets to ♪
♪ When the nights get long and blue ♪
♪ Someone strong enough to lean on ♪
♪ When the roses fall away ♪
♪ Someone strong enough to love you when you're wrong ♪
♪ When you're wrong ♪
♪ ♪
♪ When you're wrong ♪
♪ ♪
♪ When the day is winding down, my heart abandons me for you ♪
♪ You forgot yourself so long ago ♪
♪ And I wish I could, too ♪
♪ But you live inside a quiet hell ♪
♪ No one can pray away ♪
♪ Leaving would be easy ♪
♪ I understand why you stay ♪
♪ Well, you may be here today, but tomorrow you're a ghost ♪
♪ I guess the most someone could hope for ♪
♪ Is to find a place to lay ♪
♪ Someone to tell you secrets to ♪
♪ When the nights get long and blue ♪
♪ Someone strong enough to lean on ♪
♪ When the roses fall away ♪
♪ Someone strong enough to love you when you're wrong ♪
♪ When you're wrong ♪
♪ ♪
♪ When you're wrong ♪
♪ ♪
♪ Oh, oh, oh ♪
♪ ♪
all: [vocalizing]
♪ ♪
♪ You'll be wrong if you were thinking ♪
♪ We all don't fade away ♪
♪ Like dewdrops in the dawn ♪
♪ Like sunbeams through the haze ♪
♪ It's a long way to be sinking ♪
♪ Holding tightly to the weights ♪
♪ Of the one who holds you down ♪
♪ While you slowly waste your days ♪
♪ Someone strong enough to love you when you're wrong ♪
♪ When you're wrong ♪
♪ ♪
[vocalizing]
♪ ♪
Whew!
[laughter, applause]
[indistinct chatter]
Everybody's clapping for you, but I'm going to be the--
I'll be the one doing it here live.
Oh. [telephone rings]
That might be my wife. Hang on, I've got to take this.
Hello? Yeah? - Wow, that was powerful.
- That was heavy, wasn't it? - Heavy, yeah, amazing.
Well done, everyone. - Thank you very much.
- Okay, I'm going to ask a lighter question.
- Okay. All right.
- So this is Steve Mason from...
- Steve Mason.
- The IMAX theater in our hometown of Seattle.
- [British accent] Seattle?
- Seattle. Seattle. - Seattle?
- So he wants to know, what's more important to you--
your six Grammy Awards or your fishing boat.
Answer carefully.
- [normal voice] He wants to know,
what's more important to me,
my six Grammy Awards or my fishing boat?
- Yeah.
[laughter]
Well, that doesn't even deserve a goodbye,
because for one thing,
she knows the answer to that question,
which is that, without my six Grammy Awards,
I wouldn't have a fishing boat.
[laughter]
- You might have a boat.
- I might have a boat, but I'd be up shit's creek
without a paddle.
Tanya Tucker just took over my soul for a second there.
Okay, well, I think there should be another question.
But it was a good one. Good job, Steve.
Yeah. [telephone rings]
Mm, hello? [laughter]
I answered as my grandma Dolores.
- Hello. - Hello, baby.
What's going on, honey? - I have another question.
- Okay.
- So Joy Thornton,
who is watching from the Texas State History Museum
in Austin, Texas, would like to know...
- Austin, Texas? All right, Joy.
- This is an amazing question. - Okay.
- Brandi, I've always really admired your activism,
and I love the message of "Stay Gentle."
It's almost like a mantra to me now.
But how do you stay gentle
when your fundamental human rights are under attack?
- Joy--Okay.
Baby, I'm going to hang up, and I'm going to answer Joy.
All right.
Joy likes the message of "Stay Gentle,"
but she wonders how I could stay gentle,
or how any of us could stay gentle,
when our basic human and civil rights
are constantly being challenged
and you know, drug before the Supreme Court
in the country that we're living in.
And I guess that I would approach the--
First of all...
I'm looking at the set list, and I feel, Catherine,
that this is a little bit manipulative,
like you might have chosen this question
out of the other questions
because you knew we were about to play this song.
But I'm here for it.
I wouldn't confuse
the word "gentle" with apathy
or being inactive in some way.
Gentle activism isn't polite.
Being gentle, I think, is something that you do
to yourself, first of all,
and something that you do for yourself,
because allowing yourself to become hardened
while you fight injustice
is like losing just a little bit to the powers that be.
So staying gentle is not something
that we do for others' sakes.
It's something that we do for ourselves, I think,
and for God--
in my case, anyway.
That was a perfectly timed question, wasn't that?
- Mm. - Beautifully answered, too.
- Oh, thank you.
I've thought about it a lot, because I've always worried,
you know, especially when we played,
like, Austin, Texas, or Dallas, Texas, this summer,
singing "Stay Gentle" and wanting to dedicate that
to the audience, you know, with my...
[sighs]
Hope, reverence, and belief that people that are living
in places in this country right now that are hard to live in
would be able to stay gentle,
but I was always worried that that message
would come across as, like, don't fight, you know?
Don't be tough, don't resist.
And it's the opposite of that.
I think staying gentle for yourself and to yourself
are principal to what I mean in that song.
I think we should sing it.
I hear a helicopter in the background,
but it might make a great accompanist.
Are you taking my jacket? What a gentleman.
Chivalry's not dead
in Laurel Canyon, ladies and gentlemen.
[chuckles]
All right, Kyleen, how you feeling?
- I feel great.
- Kyleen wrote this arrangement from the ground up.
["Stay Gentle" playing]
♪ ♪
♪ Stay gentle, keep the eyes of a child ♪
♪ Don't harden your heart or your hands ♪
♪ Know to find joy in the darkness is wise ♪
♪ Although they will think you don't understand ♪
♪ ♪
♪ Don't let the world make you callous ♪
♪ Be ready to laugh ♪
♪ No one's forgotten about us ♪
♪ There is light on your path ♪
♪ Stay gentle, keep the eyes of a child ♪
♪ And wear your heart on your sleeve ♪
♪ Know to find joy in the darkness is wise ♪
♪ Although they will think you are naive ♪
♪ ♪
♪ Don't let 'em lower your shoulders ♪
♪ Love 'em more while they try ♪
♪ Grow younger while you're growing older ♪
♪ Be amazed by the sky ♪
♪ Darlings, stay wild if you can ♪
♪ The girls with the world in your hands ♪
♪ The kingdom of heaven belongs to a boy ♪
♪ While his worry belongs to a man ♪
♪ ♪
♪ Stay gentle, stay gentle ♪
♪ The most powerful thing you can do ♪
both: [vocalizing]
♪ ♪
- ♪ Oh, gentle, unbreakable you ♪
♪ ♪
["Sinners, Saints and Fools" playing]
♪ ♪
♪ Where the winds of change were blowing ♪
♪ There lived a God-fearing man ♪
♪ He was turning through his Bible ♪
♪ When he came up with a plan ♪
♪ He painted up a sign and held it high above his head ♪
♪ Waved it proudly in the air ♪
♪ And this is what it read ♪
♪ You can't break the law ♪
♪ There are reasons for the rules ♪
♪ They keep things safe here for everyone ♪
♪ You sinners, saints, and fools ♪
♪ The poor and huddled masses who are hungry and afraid ♪
♪ You got to do it by the book ♪
♪ And there'll be no exceptions made ♪
♪ ♪
♪ To the weary, desperate souls who washed up on the sand ♪
♪ He said, we haven't seen your paperwork ♪
♪ And he withdrew his hand ♪
♪ But he never felt any safer ♪
♪ All the peace he hoped he'd find ♪
♪ Oh, and up until the day he died ♪
♪ He never changed his mind ♪
♪ You can't break the law ♪
♪ There are reasons for the rules ♪
♪ They keep things safe here for everyone ♪
♪ You sinners, saints, and fools ♪
♪ The poor and huddled masses who are hungry and afraid ♪
♪ You got to do it by the Book ♪
♪ And there'll be no exceptions made ♪
♪ ♪
♪ By the time he got to heaven, it was surrounded by a wall ♪
♪ The pearly gates were locked up tight ♪
♪ The golden chains and all ♪
♪ They said, we cannot let just anyone walk in here anymore ♪
♪ You didn't do it by the book ♪
♪ And then they pointed to the floor ♪
♪ You can't break the law ♪
♪ There are reasons for the rules ♪
♪ Oh, they keep things safe here for everyone ♪
♪ You sinners, saints, and fools ♪
♪ The poor and huddled masses who are hungry and afraid ♪
♪ You got to do it by the book ♪
♪ And there'll be no exceptions made ♪
♪ ♪
One, two, one, two, three, four!
♪ ♪
SistaStrings!
♪ ♪
both: [vocalizing]
♪ ♪
[cheering] - Yeah, Sistas!
[laughter]
- Yeah! [chuckles]
Killer! - Whoo!
[telephone rings]
- Oh, boy.
Hello? - Hello. It's me again.
- Hello, Catherine. What a surprise.
- That was insane.
- Oh, it was insane, wasn't it? [chuckles]
My heart's pounding. [laughter]
- Those SistaStrings, I tell you.
- Oh, I know.
- So I actually have a question
relating to SistaStrings. - Okay.
- So Missy Clark, who's watching
from the Regal IMAX theater in Atlanta, Georgia...
- Okay. - Would like to know--
I'm a huge fan of SistaStrings--aren't we all?
- Yep. - She said--
This is interesting--she's quoting Malcolm Gladwell,
but she says, they have clearly put in
their 10,000 hours. - Oh, yeah.
- Who inspired them to get into music?
- Oh, you know, I know the answer to this question,
but I'm actually going to walk over to them with my mic
and let them holler at you-- hang on a second.
- All right.
- [clears throat]
Okay, I hope this is going to work.
We're taking a risk here, friends.
Hand them the golden microphone.
- I was gonna say--
I've been wanting to get my hands on this thing.
I've been wanting to get my hands on this thing,
so this is wonderful. [laughter]
Yes, I started violin
copying off of my oldest sister, Rakeena.
I just was a copycat of whatever she did.
And she doesn't even play violin now, so, thanks, sis.
- [laughs] Yeah, definitely copying our older sister.
Chauntee and I were always paired as two,
so we did everything together.
We're the two youngest of five, we were homeschooled,
and we all did music, so thank you, Mama.
Oh, our amazing mom that loves to come
to our shows and holler and heckle at us
and tell us what to play,
even though we have setlists planned--it's great.
We adore her, but she raised five children
who are all musicians.
We love you, too, Dad. [laughter]
- Man, their mom came out to a show recently
we were doing in Nashville at City Winery,
and she sat out in the audience heckling them all night,
telling them what song to play, what key to play it in.
Yeah, they'd be playing-- they were like, Mom, stop it!
And she'd go, come on, Black babies!
Come on, Black-- [laughter]
- Yep, yep.
- In, like, the whitest room ever.
And I was like, yeah, bring it, SistaStrings' Mom.
[laughter]
[strumming guitar]
Man, I'm definitely inspired by your all's mother,
and I'm inspired by you two as well.
♪ ♪
[telephone rings]
Now what? - [laughs]
- It reminds me of when I used to play golf.
This used to happen the whole time.
Hello?
- I'm sorry, but there are a lot of people
watching tonight, all right? - Okay, okay.
All right, I've got another question for you.
- Okay, what's that?
- Well, since you're about to do this very beautiful version
of "Throwing Good After Band"--
"Bad," I should say, three-part harmony,
Jordan Marks from the IMAX theater in Chicago...
- In Chicago, cool. - Yeah, shout-out to Chicago.
- Shout-out to Chicago! - Is wondering if--
You and the twins have been together in a band
for so many years now,
and in her opinion, you three
are the best three-part harmony singers out there.
all: Ooh! - Thank you.
- I mean, I wouldn't disagree.
But are things always harmonious at home
on the compound?
[laughter]
- Next question.
- Pass. No.
You take this one, twins.
- Pretty harmonious, I'd say, like, yeah, 98% of the time.
- Yeah.
- You know, unless you need the wood splitter
and Brandi hasn't returned it
to where the wood splitter goes.
[laughter] - And left it out in the rain
because it's too heavy for me to move.
- No, we get along great.
- Yeah, for people that don't know,
we live together like a benevolent cult...
in the Cascade foothills outside of Seattle, Washington,
and we've lived together for quite a few years now.
And we spend a lot of time together
when we're not on the road and when we are on the road.
And I mean, "harmonious" is such a funny word
because there are times when we'll get together
and sing three-part harmony, like, on the I.
And we'll do "Helplessly Hoping"
or a CSN song.
And I'll think that it was out of tune,
or it was out of pitch, or you know, it was out of time,
or something wasn't right about it.
And then I'll look back on the performance,
and I'll watch it,
and I'll see that it was fully harmonious,
and that any imperfection there, I think,
only made us human as singers.
And anytime we perceive imperfections
in our relationships, I think, or our family bond
in all this time that we've spent together,
I think when we look back on them at the end of our lives,
we'll see them as, like, some of our most triumphant moments
or the moments that the most beautiful songs came from,
you know?
I don't think we've ever had a really gnarly fight.
- But we're family,
so even the disharmonious stuff's harmonious, you know?
- Yeah, and we still could have a gnarly fight.
[laughter]
[strumming guitar]
♪ ♪
This is probably the most Laurel Canyon-influenced
reworking of any song on "In the Canyon Haze."
And I absolutely love this rework.
I like it better than the original.
And there were a few times I like the rework better
than the original, but--
[strumming guitar]
And, actually, reworking this song
is how I knew we had to get Jess and Holly
to come out and sing with us,
because we've been on tour with these guys all summer long,
and they put out a beautiful album this year
called "Second Nature."
And there's just really nothing like these harmonies,
this huge family of harmony.
I cannot get enough of it.
And we were reworking this thing.
And we wanted that Mamas & the Papas, you know?
♪ All the leaves are brown, and the sky is gray ♪
all: ♪ And the sky is gray ♪
- And I just knew that this would be the one
for the call-and-answer all-part harmony.
And my friends, ladies, it's been a real pleasure
to sing this show with you.
I'll never forget it.
And I think I even have it on tape somewhere, they told me.
[strumming guitar]
Ready, boss?
- All right. - Yeah.
["Throwing Good After Bad" playing]
♪ ♪
Yeah.
all: ♪ Ooh, ooh, ooh, ooh ♪
♪ Ooh, ooh, ooh, ooh, ooh, ooh, ooh ♪
♪ I know you're leaving me ♪
♪ I know I'm not your home ♪
♪ You want a movie dancer ♪
♪ You want blood from a stone ♪
♪ But I'm onto you ♪
♪ And you will pour your heart into any shimmering fad ♪
♪ Throwing good after bad ♪
♪ People get addicted to ♪
♪ The rush, the chase, the new ♪
♪ Just hoping that all that chaos ♪
♪ Will lead to something like this ♪
♪ I'll get over you, but you won't be home until you do ♪
♪ You won't find what you had ♪
♪ Throwing good after bad ♪
♪ And I'll always feel a little left behind ♪
♪ But that lying wind that calls your name ♪
♪ Will leave you flying blind ♪
all: ♪ Leave you blind ♪
- ♪ And are you fantasizing? ♪
♪ You're taking us for granted ♪
♪ I know you're bored ♪
♪ You always say I'm heavy-handed ♪
♪ You got a beautiful mind and the soul of a coyote ♪
♪ Hunger driving you mad ♪
♪ Throwing good after bad ♪
♪ Hunger driving you mad ♪
♪ Throwing good after bad ♪
all: ♪ Ooh, ooh, ooh, ooh ♪
♪ Ooh, ooh, ooh, ooh, ooh, ooh, ooh ♪
- ♪ I know you loved me once ♪
♪ You were something to prove ♪
♪ I was an unfinished song ♪
♪ You were nothing to lose ♪
♪ I'm a dandelion ♪
♪ And when my color suited you, you allowed me to grow ♪
♪ But you know when you know ♪
♪ And now the party's over ♪
♪ And you're dancing alone ♪
♪ You've been spinning round forever ♪
♪ The band have all gone home ♪
♪ And you're fantasizing ♪
♪ You're taking us for granted ♪
♪ I know you're bored ♪
♪ You always say I'm heavy-handed ♪
♪ You got a beautiful mind and the soul of a coyote ♪
♪ Hunger driving you mad ♪
♪ Throwing good after bad ♪
♪ And you got a beautiful mind and the soul of a coyote ♪
♪ Hunger driving you mad ♪
♪ Throwing good after bad ♪
♪ Hunger driving you mad ♪ all: ♪ Hunger driving you mad ♪
- ♪ Throwing good after bad ♪
♪ Hunger driving you mad ♪ all: ♪ Hunger driving you mad ♪
♪ Throwing good after bad ♪
♪ Hunger driving you mad ♪
♪ ♪
all: ♪ Ooh, ooh, ooh, ooh ♪
♪ Ooh, ooh, ooh, ooh, ooh, ooh, ooh ♪
♪ Ooh, ooh, ooh, ooh ♪
[cheers and laughter]
[instruments tuning]
- Anybody that went today and listened to,
streamed, or bought "In the Canyon Haze"
is asking themselves,
why did she put a David Bowie song at the end of this thing?
[laughing]
Well, because, you know,
I've always loved doing things that are slightly incongruent
to where, you know, I feel at any given time musically.
And when I think about David Bowie,
Elton John, and Queen and Annie Lennox
and some of the glam-rock elements
that we've been bringing into our music these last few years
that have given me so much joy and fulfillment onstage--
and, you know, it's given me the excuse
to dress really flamboyantly
and embrace my inner Elton John--
you know, I feel that that's the path for us musically.
But when we got to do this as a project...
it was really special.
And it was amazing
to kind of just get it out of our systems, you know?
The influence is right there.
I've been spending such a lot of time with Joni Mitchell.
And I wanted to just really go there
unabashedly, unapologetically,
and embrace this sound in our music.
But kind of at the end of the album,
I wanted to have something where I said, just kidding.
[laughter]
Just kidding. Here's some glam rock for you.
So we threw this one at the end of it, just for some contrast.
And we're going to do it tonight.
[strumming guitar]
[David Bowie's "Space Oddity" playing]
♪ ♪
♪ Ground Control to Major Tom ♪
♪ ♪
♪ Ground Control to Major Tom ♪
♪ ♪
♪ Take your protein pills and put your helmet on ♪
♪ ♪
♪ Ground Control to Major Tom ♪
♪ ♪
♪ Commencing countdown, engines on ♪
♪ ♪
♪ Check ignition, and may God's love be with you ♪
♪ ♪
♪ This is Ground Control to Major Tom ♪
♪ You've really made the grade ♪
♪ And the papers want to know whose shirts you wear ♪
♪ Now it's time to leave the capsule ♪
♪ If you dare ♪
♪ Oh, this is Major Tom to Ground Control ♪
♪ I'm stepping through the door ♪
♪ And I'm floating in the most peculiar way ♪
♪ And the stars look very different today ♪
♪ For here ♪
♪ Am I sitting in a tin can ♪ all: ♪ Sitting in a tin can ♪
♪ Far above the world ♪
♪ Planet Earth is blue ♪
- ♪ And there's nothing I can do ♪
♪ ♪
♪ Though I'm past 100,000 miles ♪
♪ I'm feeling very slow ♪
♪ And I think my spaceship knows which way to go ♪
♪ Tell my wife I love her very much ♪
♪ She knows ♪
♪ Ground Control to Major Tom ♪
♪ Your circuit's dead, there's something wrong ♪
♪ Can you hear me, Major Tom? ♪
♪ Can you-- ♪
♪ Here am I floating in a tin can ♪
all: ♪ Floating in a tin can ♪
- ♪ Far above the moon ♪
♪ Planet Earth is blue ♪
♪ And there's nothing I can do ♪
♪ There's nothing I can do ♪
♪ ♪
♪ There's nothing I can do ♪
♪ Ooh, ooh ♪
♪ There's nothing I can do ♪
♪ Oh, oh ♪
♪ Nothing I can do ♪
♪ There's nothing I can do ♪
♪ There's nothing I can do, no ♪
♪ ♪
Glam rock in the canyon.
Ah, this has been high energy,
high tension.
We put some pressure on ourselves tonight.
I hope that everyone has had an amazing time.
Our amazing director, Sam Wrench,
and our incredible crew out there,
they came up with the idea of doing this all in one shot.
I mean, there's this big camera out here on a big stand,
and it's moving some of the time.
But sometimes it's just a guy with a camera,
and I'm watching him, like, back up,
and I'm so afraid he's going to fall down, because if he does,
the only camera that's on us would then fall down.
And so every single person here took a risk,
and I just want to say, it was incredible.
And I hope that everybody at IMAX has loved it
as much as we have.
And we're going to take another risk right now
because we have left our final song
up to the audience.
So that phone is going to ring,
and it's going to tell us what to play,
and all we can do is hope it's not "Bohemian Rhapsody."
[telephone rings]
Hello, darling.
- Hello. Congratulations.
- Thank you. - That was incredible.
- How'd we do, sweetie? - Amazing.
- Yeah? - I approve.
- You did really well, too. - Oh, thanks.
Moving on...
- [British accent] Moving on...
Don't compliment me. I'm British.
- So it's Jonathan Meyers' lucky day.
- Okay, Jonathan Meyers.
- Because guess where he's put his question in from?
- Where?
- He is watching in the Cineplex in Saskatoon,
the IMAX theater in Saskatoon. - What?
Okay, I think I know what's going to happen.
Okay, which one is it? - Well...
- Which Joni song is it?
- I mean, of course, it's "Woodstock."
- [sighs]
- Because you're in her stomping ground,
it's got to be "Woodstock."
- Okay, well, "Woodstock" it is.
We can do that, right, my friends?
We've been doing this all summer long.
Let me just see if I can get an electric guitar.
Everybody just hang on.
- Best of luck, everyone. - Nobody go to the bathroom.
[instruments tuning]
Hang on. Let me just test that guitar out
because I haven't played it yet.
Make sure it's on.
- [strumming guitar]
- I don't know.
Should I turn the distortion pedal on?
- All the way on. [feedback whines]
- Ooh! [laughter]
[feedback whines] - Okay.
[laughter]
Okay.
All right, Phil, are you going to go to that keyboard?
Okay. Is everybody ready for this?
All right. [clears throat]
[Joni Mitchell's "Woodstock" playing]
♪ ♪
Philip, why don't you give them your long intro?
Don't worry.
Nobody's going anywhere.
Mr. Phil Towns. - Whoo!
- Yeah!
♪ ♪
- Yes, Phil!
♪ ♪
♪ I came upon a child of God ♪
♪ He was walking along the road ♪
♪ So I asked him, where are you going? ♪
♪ And this he told me ♪
♪ ♪
♪ He said, I'm going down to Yasgur's Farm ♪
♪ I'm going to join in a rock-and-roll band ♪
♪ I'm gonna sleep up on the land ♪
♪ I'm gonna set my soul free ♪
♪ ♪
♪ We are stardust ♪
♪ We are golden ♪
♪ And we've got to get ourselves ♪
♪ Back to the garden ♪
♪ ♪
♪ Then can I walk beside you? ♪
♪ I have come here to lose the smog ♪
♪ And I feel to be a cog ♪
♪ In something turning ♪
Yeah, it's turning.
♪ ♪
♪ Well, maybe it's the time of year ♪
♪ Or maybe it's the time of man ♪
♪ Well, I don't know who I am ♪
♪ But you know that life is for learning ♪
♪ ♪
♪ We are stardust ♪
♪ We are golden ♪
♪ And we've got to get ourselves ♪
♪ Back to the garden ♪
♪ ♪
♪ By the time we got to Woodstock ♪
♪ We were half a million strong ♪
♪ And everywhere there were songs and celebrations ♪
♪ Celebrations ♪
♪ ♪
♪ And I dreamed I saw the bombers ♪
♪ Riding shotgun in the sky ♪
♪ And they were turning into butterflies ♪
♪ Above our nation ♪
♪ ♪
♪ We are stardust ♪
♪ Billion-year-old carbon ♪
♪ We are golden ♪
♪ Caught in the Devil's bargain ♪
♪ And we've got to get ourselves ♪
♪ Oh, we have got to get ourselves ♪
♪ Back to the garden ♪
♪ Yeah! ♪
♪ Whoo! ♪
♪ ♪
[all cheering]
Yeah! [laughter]
Well, I don't know how that translated,
the rock-and-roll moment.
We definitely took it into the canyon
on another level, didn't we?
We have had an incredible time.
This put us in a kind of pressure
that I think that we all need and made me feel really alive.
And I want to thank everybody in this band
for going through this with me.
This is such a special thing that we just did,
and we're always going to be able to remember it.
I want to thank Sam Wrench, the incredible Sam Wrench,
who conceptualized so much of this,
IMAX,
my crew, who is exhausted and has been getting up
at the crack of dawn to come out here and sweat in the sun.
[cheers and applause]
And I want to thank my wife, Catherine Carlile.
And I want to thank the great icons and legends
of the Canyon
for influencing us so deeply
and giving us so many things about Americana music
that we love.
It's been an honor and a pleasure.
We love y'all.
Bye! - Bye!
- See you next time.
- Laurel Canyon! [all cheering]
- Yeah! [excited chatter]
- It was excellent!
- That was great. - Yeah!
- That was, like, the best we've done everything so far.
- Yeah, it was.
[continues indistinctly]
[all cheering, shouting happily]
[chatter continues]
[bright tone]