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Comments
The three lines are somewhat disconnected despite their roots being close to each other chromatically.
The first line is fm obviously, and the Bb to bbm reflects a darkening of the IV chord. Essentially it moves from f Dorian (which is a bright minor mode with a major IV chord) to f Aeolian (which is a more natural minor and has a minor IV chord) - and then we go to the C dominant chord, which is a major V chord (so you could say it moves from f Dorian to f harmonic minor if you wished).
Then it goes to that G major, E major section - which accentuates the minor to major in E (because the G note in G major moves to a G# in the E major chord - the same thing that you hear in the first 2 chords of Smoke on the Water for example (though the order is reversed).
Then it goes to f#m with a i-VI-VII progression.
The jumps from one phrase to the next are quite non sequitur-ish. I like the way he holds that G note on "anywhere", which is shared between the C chord of the first phrase and the G chord of the 2nd phrase. The 2nd-to-3rd phrase leap is less obvious, but he doesn't sing over that gap so by the time he needs to sing a note the chords are established.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.