The screen is pitch black for a few seconds, showing no image altogether before fading into:



The text fades out from the screen, but the black persists before having another set of words laid on it:

[There was an error with the image so it will be here later.]

The text fades out again. The scene is black and everything is silent, save for the sound of screaming fans which is getting louder and louder by the second. The blackness of the scene persists for a few seconds before an image bursts onto the scene: the scene of fans cheering while waving glow sticks and cell phones in the air. The screaming is the only sound heard in a few seconds before it is cut off, replaced by the silence of the backstage area. Reese's voice is suddenly heard, just exclaiming, "Wow."

The scene then cuts to Reese in his dressing room, staring at his own reflection in the dressing room. "It's unbelievable that it's actually happening," the sound of Reese's voice is heard again, though his reflection's mouth does not move at all, indicating that the voice is only a voice-over. "That twenty thousand people are wasting their Sunday night at Madison Square Garden, just to hear me sing and talk for one and a half hours is unbelievable."

The scene goes back to the chaotic image of screaming fans now shot from above, rather than near their faces before. "This sound," Reese says unexpectedly. A pause, then, "The sound of the crowd every time before I do a show, it just, it just puts the whole size, the whole scale of it all into perspective, you know."

A muffled knock is heard immediately after Reese finishes, making the singer turn around to face the door. A man, most likely stadium staff, opens the door and announces, “It’s showtime, Mister Hollinsworth,” before closing the door again, leaving Reese solitary once more. “Well, guess it’s showtime,” he says before going up to the camera and planting a kiss on the lens, winking at it immediately after. The camera follows him out the door, and sees him exiting the dressing room.

The scene cuts into the sight of Reese jumping up and down subtly at his place, apparently trying to calm himself down. From what we can see, Reese is alone; though the solitude only lasts three seconds before Edward Barat tiptoes towards Reese and then proceeding to move behind me. ‘The Showman’ pokes two fingers on each of Reese’s sides, making the headliner yelp and jump up, startled by the sudden poke to his sides. He snaps out of his stupor to see it was Edward who poked him. Reese slaps Edward on the arm with mock annoyance before witnessing his dancers coming towards him. “Hey,” he shouted to the oncoming troupe.

The scene fast forwards a few seconds to the sight of Reese and his dancers standing in a circle. Reese is the only one speaking at the moment, murmuring words of encouragement to the dancers around him. “Just remember this is just like any other show we’ve done,” he says, looking to his troupe. “We nailed every single one before and we are gonna kick this show’s ass,” he raises his voice, prompting a few “yeah”’s from the two taller male dancers (out of a total of four). “Now are we gonna go out there and kill this?” he asks. The entirety of his crew yells back “yeah” just as loud. “Okay, now just wait eleven minutes for the intro,” he announces, preceding a few groans.

We are brought back to the front of the stadium, a few metres from the jumbotron on the stage. The front of the jumbotron is pitch black for a moment before it blares Reese’s name, then counting down from four to one and the album title:

[There was an error with the image so it will be here later.]

The white word fades out, and the screen is pitch black again. “Love is an interesting concept,” Reese’s voice is suddenly heard amidst all the cheering the fans were making. “It’s one of the most undefinable concepts in the world, seeing as there are many people who see love different from each other.” A visual suddenly pops on, giving us a scene of a strawberry blonde woman sitting with her knees to her chest and looking outside the window. The scene outside the window shows us that it is currently raining. The woman’s eyes are red-rimmed and there are tears brimming on her eyelids, giving us the notion that she had been crying. “And with undefinable concepts come undefinable emotions,” Reese’s narrative voice plays out again.

“See, when a relationship ends, our minds are automatically set to what I call ‘reminiscent mode’,” Reese explains as the woman’s memory goes back to the sight of a bar, where she is seen talking flirtatiously to a relatively handsome man. “We reminisce about the good moments first, we always do,” Reese continues as the man whispers into the woman’s ear; the smile on her face afterwards shows that she likes what she’s hearing. She immediately gets up, the man hot on her trails.

The screen fades out to black. Immediately after, lights from all corners of the stage and above the stage light up momentarily, showing us a brief glimpse of a tall black silhouette but not much else. The set is blacked out again before the lights flicker on and off once more for a few seconds. The lights are turned on momentarily again from behind Reese before shutting off.

The familiar high-pitched sounds of “Drunk” which start the song as blue light floods through the smoke which has appeared during the intro. It is only now that we see Reese's front: he currently has on a standard tuxedo with his trademark high-heeled boots. The lights flicker again as the high-pitched sounds come to an end. As Reese starts singing, a troupe of male and female dancers (four for each gender) - the men wearing standard tuxedos like Reese and the women wearing fiery red cocktail dresses with corsets on their legs, indicating something (suggestively) sexual was about to happen onstage - file onto the stage while forming male-female pairs, assuming position: the male dancer standing behind the female dancer and holding her waist while the female dancer holds the back of the male dancer's neck and his back, as well. They stay in this position for the first four lines.



The percussion kicks in softly but suddenly. Right at that moment, the female dancers start to spread their legs and descending closer and closer to the ground as if they were performing a ballroom dance routine. This continues for the next three lines of the verse.



A sudden powerful sound snaps the female dancers back to their original position. Another couple of sounds of the same kind prompts 1) the male dancers to turn their female counterparts roughly and 2) the female dancers lean back while moving their upper torsos in a circle. The flickering of lights start again. Unseen to the audience, the female dancers start to wrap their right leg around their respective partners' waists during the lights' flickering. The finger-snap beat comes into the song and the female dancers mildly jump up to wrap their other leg around the male dancers' waists and lean their whole body down and move in the same way their upper torsos did. The beat drops and the women raise up their bodies to face the men. The beat drop only lasts two seconds before the beat comes back. At that moment, the female dancers slide down from their partners and goes behind them.



The music jumps right to the second half of the pre-hook. After Reese sings the first line, the women proceed to slowly take the men's jackets and shirts off and shove them onto the chairs that have unknowingly risen from underneath the stage while Reese finishes the pre-hook. The women come to the men's front and sits on their laps with their legs spread, apparently giving the men a lap dance as Reese sings the short hook.



After the hook, the male dancers present Reese with a chair behind the singer, on which he gracefully sits down. Immediately after, he abruptly crosses his legs. He sits there calmly while confidently singing the first half of the second verse.



After that, he gradually opens his legs from the crossing position as he sings the second half of the first verse. He starts to act ghetto with his legs spread before abruptly changing position twice at the line ‘...I'm drinking, I'm singing’. At the four-line breakdown, he rises up from his seat and starts walking towards the back of the stage as the lights flicker on and off, giving a mysterious notion. The beat comes back and Reese turns around, clapping every now and then, prompting the crowd to clap along with him. He is now singing the pre-hook again, only now he sings the full pre-hook instead of omitting a part away. The way Reese sings the hook and the production on the hook are now different from the original, with more percussion and Reese giving some of the singing to the audience every time the beat drops.



Reese lets out a laugh-giggle and proceeds to end his performance with an encore of the song’s hook, again giving the microphone to the crowd at every second and third ‘love'.