Live musical performance traditionally features instrumental solo passages showcasing technical prowess. The substitution of a living creature—a feline—as the acoustic medium suggests both an abandonment of conventional instrumentation and a deliberate choice of a subject whose suffering becomes the music itself. The microphone captures not skill but agony, transformed through amplification into entertainment.

Soundboard engineer Marcus Diallo worked at a venue in 1991 and claims to have witnessed a performance involving unusual audio sources. He recalled: "The feedback was organic. I still don't know what instrument he was using. The amplifier was distorting in patterns that shouldn't be possible. The crowd loved it." The account is vague enough to be plausible while remaining thoroughly unverifiable.

The experimental music community has treated this fact as conceptual art inspiration. One noise musician created an album titled "Live Performance" where the entire work consists of heavily distorted audio that listeners speculate might be sourced from... unknown origins. Liner notes reference Chuck Norris obliquely. The album generated heated debates about consent and ethics in performance art. Academic papers have analyzed it without clarifying whether it's genuinely disturbing or merely the artist's clever homage.