Progressive rock pioneers and Rock & Roll Hall of Famers YES are on their “Classic Tales of Yes Tour” that kicked off in September and runs through November. The Steve Howe-led quintet made a highly anticipated stop at The Wiltern Theater in Los Angeles on October 30. Howe said he was thrilled to be back in LA and the rabid YES fans showered him and the other band members with roaring applause in anticipation of the career-spanning journey through their deep catalog.
The show began with an on-site presentation by world-renowned artist and designer Roger Dean, who created several of YES’s album covers. Examples of his original work were on display and for sale in the lobby of the theater. Prior to his presentation, Dean signed posters, album covers, and t-shirts for fans.
The excited crowd was mostly Baby Boomers, but there was a sprinkling of Millennials and Gen-Xers in the audience who obviously knew they were going to get a night of historic prog-rock music. Steve Howe is the only current member who was inducted into the Rock Hall with the band and joined them in 1970. However, Geoff Downes (keyboards), Jon Davison (vocals, acoustic guitar), Billy Sherwood (bass guitar, vocals), and Jay Schellen (drums) are each accomplished musicians who played the YES material with passion and precision.
The Wiltern was an appropriate venue for the show. It has great acoustics and a modern, innovative lighting system. It was easy to see the musicians and their clean, precise sound was transmitted with loud, but clear volume. The only negative issue with the venue was that management kept the temperature at refrigerator levels. Even Howe joked about having to turn on the heat in his dressing room and wear layers for the show.
There was some concern leading up to the concert about Howe’s ability to perform. He suffered a cut on his left thumb just a week ago, forcing the cancellation of a few show dates. At The Wiltern, he seemed fully healed and his usual self – a trailblazing marvel along the fretboard. Howe played a variety of instruments including a Fender pedal-steel guitar, a hollow and solid body Gibson, a tripod-mounted electric guitar, an acoustic guitar, and a Spanish Laud Acoustic 12-string guitar. His variety, tone, precision, and creativity are still world-class after 50-plus years of performing.
Davison has been with the band since 2012 and has overcome the unenviable task of replacing original vocalist Jon Anderson. As in past performances, he continued to mesmerize the audience with his stunning counter-tenor vocal range. Downes had a brief stint with the band from 1980-81 and has been back with them since 2011. His expansive, ten-keyboard rig was put to full use during the show as he frequently played a different set of keys with each hand across the U-shaped rig.
Bassist Billy Sherwood did some studio and tour work with the band in the 90s and has now been with them since 2015. His chest-pounding bass lines filled the Theatre all night. The newest member of the band is Jay Schellen. He began filling in for ailing original member Alan White in 2016. They played double drums when White was able, but after he passed away in 2022, Schellen became the full-time drummer. He pounded out all of the classic beats that, together with Sherwood’s bass lines, formed the backbone of YES’ distinctive sound.
There were no surprises in the night’s setlist – the band performed the same show at every stop throughout this tour. The crowd got loud during the more popular songs like the opener, “Going for the One.” A little later, Howe told the crowd that “I’ve Seen All Good People” was one of the songs on the setlist during his first performance with the band in 1970. Howe started that song beautifully with his Spanish Laud Acoustic 12-String and switched to the hollow body Gibson for the electric part. That song also had sweet harmonization by Howe, Downes, and Sherwood.
“Time and a Word” was a showcase for both Davison and Downes. The vocalist played acoustic guitar, sang enthusiastically, and hit every note, while Downes’ organ solo was both dramatic and roaring. “South Side of the Sky” was another dramatic anthem. Howe’s rapid finger picking, Downes’ big piano section, and Sherwood’s heavy bass line ran under the operatic-like harmonies supporting Davison’s lead vocals. The song concluded with an intense interplay between Howe’s electric guitar and Downes’ organ.
The show’s climax was a 20-plus minute, edited highlight of 1973’s album Tales from Topographic Oceans. Howe told the audience that parts of it have not been played since 1974 and he decided to give it a fresh interpretation. Howe switched to acoustic and was alone on stage for the album’s side 2 portion, “The Ancient (Giants Under the Sun).” Eventually, Davison, Sherwood, Downes and Schellen joined in as it went back to electric. Davison played his acoustic guitar for the “Ritual (Nous sommes du soleil)” final section.
The band came back for the encore that opened with Howe on the mounted electric guitar for the iconic intro to their biggest mainstream hit, “Roundabout.” Howe, who is known to be shy, sensitive, and distracted by cameras was disturbed as many of the people in the front rows recorded video with their phones (probably with the flashlights on). He seemed to shrug it off and the band played a rowdy, pleasing version of the song.
Before concluding the show, Howe asked all the “Fellinis” (famous Italian film maker) in the crowd to put away their phones. The band then launched into “Starship Trooper.” Howe played both the mounted guitar and his solid-body Gibson. The catchy beat, with Davison’s vocals, Sherwood’s bass line, Downe’s organ fill, Schellen’s beat, and Howe’s guitar riff had the crowd on their feet clapping until the very end of the satisfying performance.
Live photos courtesy of Andy J. Gordon ©2023
