Zach, I'm curious about your take on something related to passages like the one you reference above in Learning To Live. Actually, as I am typing and thinking my point through, it is more about how other things take a toll on being able to execute passages like those, but still. Let me get there...
So, when I think about passages like the buildup to the F# in Learning To Live, it strikes me how simultaneously difficult and impressively vocal-friendly that passage is. The F# is extremely challenging for most vocalists, especially since, when sung properly, the singer not only hits it, but sustains the note. At the same time, as you have pointed out, it is such a well-constructed passage that allows such a nice buildup that is actually quite friendly to the singer and helps with the transition you mention. But still, it is a challenging passage.
To me, there is an additional challenge in a live setting of that song, and consequently, that passage, coming toward the end of an already very challenging set.
Part of the challenge lies not only with the fact that the sets are long, but also with the fact that they are filled with plenty of other VERY challenging vocal passages, many of which are NOT well-written from a standpoint of being "singer-friendly." Take Metropolis, pt. I, for example. It is a great song. And one that was a fantastic vocal performance
one the album, where James had the luxury of multiple takes, rests, and being able to punch in isolated lines (as all singers do in the studio environment). But the entire second verse/bridge leading up to the instrumental can be EXTREMELY hard to deliver. Even making some of the changes James typically makes in a live setting, there is little space to breathe and get proper breath support to sing well. This leads James to push and do other things that are probably bad for his voice (as I think just about any singer would in that passage). I believe this tires his voice significantly, which can then lead to other less favorable techniques later in the set, which then impacts passages like the F# buildup in LTL. On the LSFNY set and the recent I&W tour, James has had to deal with that very challenge. And even on other tours with completely different sets, there are similar passage that have vocal passages that, even with James trying to adjust them in a live setting, just aren't not singer-friendly and cause him to tire.
What is your take on that? (sorry if the question is vague and/or broad; hopefully, you see where I am going)
EDIT: And I edited the quote tags on your previous post for you, since they made the quotes appear incorrectly. Forum coding can be a pain.