Being a Yes fan these days can be confusing. While the veteran prog rock band is undoubtedly one of the best at what they do (and have been for the better part of nearly 50 years), keeping up with their formations and lineup changes can be a real chore.
Read: Download and stream every song Yes played at Mahaffey Theater on February 11
For the version of the band that swept through St. Petersburg’s ornate Mahaffey Theater on February 11, it might have certainly been easy for fans in attendance to scratch their heads and wonder who the hell the guys who took the stage promptly at 8 p.m. were. If not for longtime guitar virtuoso Steve Howe’s small, wiry frame taking his place at stage right, it was hard to be sure this was the band who redefined the genre of orchestral rock and make it a commercially viable force.
But, alas, as the five performers who wasted no time settling into their respective spots and getting things off to a rousing start proved, these guys were here to prove a point. Fresh from their annual “Cruise to the Edge” rock boat excursion, one might have wondered how sturdy the band might have been and if they’d recovered from their journey at sea. But the answer instantly came when, without as much of an introduction or a greeting, they dove right into “Machine Messiah,” the opening track from the band’s 1980 album Drama. As one of the two featured albums on this trek, the latest installment of the band’s ongoing “Album Series” tours, this somewhat overlooked album was selected to be spotlighted.
Read: Interview — Jumping In The Deep End With Yes Drummer Alan White
While diehard fans reveled at the attention being paid to this obscure release from the band’s catalog, some in the audience seemed a bit perplexed. But what better way to introduce this album to those unfamiliar with it than by presenting it with current lead singer Jon Davison at the helm. While this version of the band doesn’t feature longtime singer Jon Anderson, this particular album being spotlighted didn’t feature Anderson’s distinctive, high-pitched vocal gifts (vocals were handled by singer/musician/producer Trevor Horn) so it might have clearly been a wise selection to show off Davison’s own skills.
The intricate, keyboard-heavy six-song album sounded fresh and energized, thanks in great part to Geoff Downes’s handy work. Surrounded by a bank of synths and stacks of keys, Downes had his hands full for the duration of the album. As the original player who was a part of the band’s lineup at the time of release, Downes seemed to revel in the presentation of this long player. Sporting a snazzy purple velvet coat and sparkly scarf, it was hard to take your eyes off the former Buggles and Asia keyboard genius thanks to his musical prowess and his sharp attire.
The clear, crisp sound in the hall also did wonders to make the complicated songs and textures soar. For every bit of amazement that this performance garnered, there was still a nagging sense of frustration among the mostly 50-plus aged audience. As many in the seats sported their souvenir, commemorative cruise shirts and cheered wildly at the close of each number, some were visibly sedate in their responses. Nonetheless, the latter half of the album benefitted from the superb delivery of the album’s sole single, “Into The Lens” and its centerpiece, the brilliant album closer, “Tempus Fugit.”
Those who were getting restless were soon given a couple of bones to gnaw on. At the conclusion of the album, this version of Yes (featuring bass guitar maestro Billy Sherwood in place of late band founder Chris Squire), presented faithful readings of two of the band's epic compositions, “And You And I” and “Perpetual Change”. What made these two (and all of the evening’s numbers for that matter) so spectacular was the downright jaw-dropping stylings of Steve Howe. The unassuming British chap, dressed in elegant dark suit and donning a long, scraggly mop of white hair pulled back in a ponytail and small round glasses looks a lot more like a literature professor than one of the greatest and most versatile rock guitarists of all time.
Again, once Howe gets into his zone and unleashes one of his many note-perfect, awe-inspiring solos, it really is a thing of amazement and wonder. Whether switching from acoustic guitar, steel guitar, sturdy hollow-bodies guitars or a Gibson Les Paul, there really isn’t anything Howe can’t do. His many years of effortless, incredible playing have more than proven his level of expertise and style but seeing and hearing him in action in a live setting is a whole nother game. Like a mad scientist sporting a stringed instrument around his neck, Howe has more than earned his guitar hero status albeit his unassuming look and style.
While Davison did a fine job of taking the reins on the two set-closing classics, it was really Howe who commanded the most attention thanks to his always-inspiring and jaw-dropping virtuosity.
A short intermission gave way to the evening’s other album spotlight, sides one and four of 1973’s double-LP set Tales From Topographic Oceans. The long, sprawling pieces drew more immediate reactions from the whole of the crowd thanks to the familiarity of the material. Aside from the detailed, complicated compositions, the band threw in an excerpt from another portion of the album, the acoustic interlude “Leaves of Green” that again showcased Howe’s many talents.
An encore that featured another Yes classic, “Starship Trooper” was met with enough fanfare that is prompted the nearly-full house to ditch their seats and rise to their feet. One of the most beloved and requested songs from the band’s catalog, this gem from the band’s 1971 The Yes Album roused the audience into a fierce sing-along and clap-along as led by Davison.
Sadly absent was original drummer Alan White who was apparently not up to the event; instead long time drum veteran and fill in drummer Jay Schellen took over duties and more than held his own throughout the night. Tricky patterns and fills were of no concern for Schellen. He played with vigor and genuine enthusiasm all night and did plenty to keep the program on track and kept precise timing.
In a classy, tasteful nod to recently deceased prog rocker/bassist/singer John Wetton (who fronted 1980’s supergroup Asia with Howe and Downes), the band ended the night with a faithful, raucous version of Asia’s debut single, 1982’s “Heat of the Moment”.
While other renowned Yes members tour simultaneously under a different moniker, this version, although featuring a small number of original members, can still do plenty to wow a crowd and show off the precision that a truly great progressive band needs to own to deliver the goods.
Yes at Mahaffey Theater (St. Petersburg, Florida) — February 11, 2017
Set One
01. Machine Messiah
02. Man In A White Car
03. Does It Really Happen?
04. Into The Lens
05. Run Through The Light
06. Tempus Fugit
07. And You And I
08. Perpetual Change
Set Two
09. The Revealing Science of God/Leaves of Green
10. Ritual
11. Roundabout
—
12. Starship Trooper
—
13. Heat of the Moment (Asia)
Stream or download a playlist featuring songs played at Mahaffey Theater here.
This article appears in Feb 9-16, 2017.