Boris Williams

People will always be drawn to Boris cos he played on the better records overall. As far as live work goes, Jason has grown and improved over the years. That's my impression anyway. One thing I would like is if there was some room for improvisation like in the old days. When they played extended versions, Forever etc. Doesn't happen much anymore. Jason is "forced" to play exactly the same way every night. If you study Boris he would change little things up now and again (especially in '92), I really enjoyed that.

Haha good spirit never say never and all that. Great choice of pic btw.

You're a stage manager too now are you?
I'll try to explain the mechanics to you if you're interested.
I worked as a stage manager for a decade. Focusing lights & plotting light shows is a pain in the a$$. Cueing the lighting to change at a precise moment is quite a tricky thing to do.
What The Cure do is sync lighting effects with projections (&, to a lesser extent, sound effects (waves, clap tracks etc))) & so a sequence of LX changes is plotted to run in conjunction with those projections. As long as the lighting op has the set list, he or she will be able to cue up each LX & projection sequence precisely.
So the band can switch around songs in the set but the LX/ projection effects will always be the same & be timed to fit the song they're being used for.
In a traditional theatre scenario, the DSM would give standby & go cues to the lighting op & cross his/ her fingers the actors are standing where they are supposed to (ie where the lights have been focused). In the orchestra pit (if a musical) there would be cue lights or even a headset for the conductor/ band leader to be able to start playing at the right time.
In a large concert scenario the DSM has to somehow cue up multiple musicians & tech crew in a very noisy environment. This is done via IEMs which both Jason & Roger wear. A count in using a click track (which can also be a pre-recorded intro sequence as has been captured on a couple of IEM recordings in the past). This is effectively the standby cue & you will often hear the drummer count the rest of the band in with stick clicks. The musicians & crew are then all in sync & can execute the go cue simultaneously.
If you look at the set lists, every song has a BPM & duration annotated beside it.
eg. Song x - (120bpm, 3:56). 
The band can mess up the start of a song & it can simply be re-cued (A Night Like This In Budapest 2016 is a recent example). But they can't go on & ad-lib a wig out solo in the middle & end as the LX & FX sequences will end after 3 minutes & 56 seconds (or whatever length they've been plotted for. 
As for Forever, typically this is played as a last song & doesn't usually have a projection assigned to it like, say, Last Day Of Summer.
It's a very ad-lib, free flowing number & can last anywhere between 3 & 10 minutes. This is where everyone (band & tech crew) get a chance to improvise with LX changes & artistic/ musical  form.
Here ends today's lesson in how lighting & stage effects are synchronised with the action.  
 

He decided to can his own account.