This show was marvellous. The 3 albums were superb albeit funnily enough CTTE was a little muddy. The crowd were absolutely up for it and it seemed the band enjoyed the atmosphere too. Loads of folks down at the front dancing away at the end. Their best gig in Scotland since Secc 35th tour.

Having tasted the show at the Cliff Pavilion in sunny Southend-on-Sea, I was well prepared for the Glasgow gig and very much looking forward to a fresh perspective from the stalls. When I arrived at the Armadillo I found that I was going to be stuck right at the back, whereas my friend David McLachlan, who had bought a walk-up ticket on the night, had managed to get a decent seat in the front stalls. I sat next to him for ‘Close to the Edge’, before the rightful seat-owner arrived. Spotting a gap two rows in front, I then nipped forward to join new friend Stewart Eadie, who had won a Prog Magazine competition to be there, but whose companion was not, in the end, able to make it. He graciously let me use the seat and enjoy a fine, riveting concert. It was also good to see local Yes stalwart Brian Neeson, albeit fleetingly.

The improvement in sound quality and impact eight or nine rows from the front was evident (compared to front gallery in Southend), and at the end I broke the habit of a Yes-going lifetime by going to the front for the last number and encore. The vitality in Glasgow, from band and audience alike, was particularly noticeable at close range. I have always maintained that there is a kind of ‘bubble of energy’ as you get nearer to the stage at a Yes concert: a space where you find yourself absorbed into the sound, rather than an adjunct to it. That was confirmed for me tonight.

Everyone was in good form this evening, though Downes was no more prominent in the mix at the front than further back, I discovered. Jon Davision has a great rapport with both and was clearly enjoying himself on stage. Indeed he got perhaps the loudest cheer of all at the end, when the band was introduced – not because anyone doubts the unique, axial role of Jon Anderson in this group, but because Davison is such a consummately professional singer and musician in his own right. He obviously loves the music and respects those who share that love.

This evening I particularly noticed how well a song like ‘Turn of the Century’ is coming off on this tour – one of the best live renditions I have heard, in fact. It is also a joy to hear ‘A Venture’ from the Yes Album – a little gem which is all too easy to overlook, and which is being performed live for the first time (tonight was its live Scottish premiere) on this tour. Geoff Downes adds some piano elaborations at the end, as the band move into a jazzy jam to extend the short, concluding instrumental section. For most of the songs, however, the sound and architecture choices are skewed towards fidelity to the three original albums performed.

In some circles it is still being suggested that Yes these days is virtually a clone of itself, and just ‘going through the motions’. I disagree, and so did my companions tonight. The band may not be at the height of its powers, but it still has a good deal to offer. It was wonderful to hear three complete classic albums performed in their entirety, in an accomplished fashion, four decades on from their creation. A memorable evening.

"Gig Review: Yes, Glasgow"

article by: Fiona Shepherd
uploaded to FY by: AD

For their latest live flourish, prog rock veterans Yes are playing not just one classic album, but three of their best-loved LPs in one sitting. Given their reputation for musical excess, the wonder was that the time actually flew by in their engaging company.

YES - Clyde Auditorium, Glasgow

* * * *

Always musical outsiders, they reeled in the faithful from the first bars of Close To The Edge, its weird, exotic frisson stemming from the precise and true guitar work of Steve Howe (the professor of prog), the fluidity of the rhythms, tightly woven time signature changes, haunting harmonies and baroque organ.

New vocalist Jon Davison appeared to be channelling original frontman Jon Anderson sonically, visually and spiritually with his benign hippy presence and sweet falsetto tone, but really came into his own when he had a melody to bite down on. He found his mojo on the title track of Going For The One and Wonderous Stories, turning in a subtly shamanic performance. Awaken was a mighty psychedelic summons, guest-starring Chris Squire’s magnificently ostentatious triple-necked bass.

Following the interval, the group revisited the bluesier sounds of The Yes Album, an ambitious, rangey collection encompassing Howe’s quaint solo instrumental Clap and a real meatiness at the core of Starship Trooper.

At worst, their arcane display tipped over into loveable nonsense, especially lyrically, but at best it was a reminder of the virtues of steering your own artistic course. If you make adventurous music, your audience will happily be swept along on the trip.

After the simmering negativity surrounding the current lineup, I was a tad apprehensive about this one. You know what, all doubts were blown away... one of the very best Yesshows I have ever seen (and I've seen my fair share). The much maligned Mr Downes is doing a great job in a less flamboyant style than perhaps Yes fans are used to but nothing wrong with that, and JD is simply outstanding, dealing with vocal and front man duties in his own unique and charismatic way! Calling this band a glorified tribute act is a gross insult.... this is YES in 2014 people, and with the a new album on the horizon, I just can't wait for the next chapter.!!!