Some rapid alternate picking and shape 4 B minor Pentatonic way up at the 14th fret begin Eric’s second round. You can hear he’s really digging in with the pick on those high notes and exaggerating the staccato hits to emphasise the silent pauses. All that string bending can be hard on the fingers, so be sure to take regular breaks.
A pause at the end of bar 17 facilitates a shift to a kind of hybrid between an E7 arpeggio and shape 4 B minor Pentatonic. This tapers off with a long sustained note, leading to another shift that has lots in common with B minor Pentatonic shape 1, but adds a G# (the 6th in this key) plus a few major 3rds (D#). As this ambiguity between major and minor is such a key feature of the blues, there’s no one recommended way of viewing it. Play it through a few times and it will become second nature – hopefully problem solved!