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We wait for about half an hour as the stage is reset for
Jethro Tull. The tension of anticipation is like a physical
thing filling the arena; I feel as if I could float on it.
Then the house lights dim, and the tension boils away in the
roar of the crowd.
The arena is black as pitch, and the crowd has settled into
its final configuration, when the first notes of the piano intro
to “Locomotive Breath” push their way through the crowd noise. A
few of us recognize the song from the first few notes and cry out
in joy and appreciation. Others don’t realize what they are
listening to until the first whining guitar riffs have faded into
reverberating feedback.
Then the stage is ablaze with light as the lead guitar is
banging out the opening bar of the song proper. Ian Anderson is
dancing around the stage, twirling his silver flute as if it were
a baton. The drums and bass are hammering out the beat as the
rhythm guitar is doing that rhythm thing.

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