Yes is a band that has always embodied paradox. For 47 years they’ve maintained a signature
sound while coping with multiple line-up shifts. The personnel on albums like “Time and Word,”
Close to the Edge,” the under-rated “Drama,” “90125” and the rejuvenated “Fly
From Here” vary widely, but the music bears the unmistakable stamp of Yes. When Chris Squire -- the sole thread
stitching these diverse efforts together – passed away it seemed not only the
end of an era, but very likely the finish of Yes too.
However, if the performance that I saw at Pier Six in
Baltimore, Maryland on August 12th is any indication, then reports
of the group’s demise appear to be greatly exaggerated. Put simply, the band I witnessed was crisp,
spirited and clearly on top of its game despite the grievous loss it suffered
just months ago.
There was a celebratory atmosphere that evening -- musicians
giving it their all to honor a fallen comrade and fans eager to applaud the
music and life of the inimitable man who revolutionized the role of the bass
guitar and stretched the boundaries of progressive rock.
But this was not just some obligatory tribute – let alone a tribute
band as some cynics might suggest – but rather a genuine exhibition and
affirmation of the musical positivity and chemistry Squire dedicated his life
to. It started with the set list, which
contained a welcome mix of overlooked gems (“Don’t Kill the Whale” and “Time
and a Word,”) progressive workouts (“America” and “Siberian Khatru”) and the
inevitable greatest hits. But it was the
spot-on performances, which conveyed more than a hint of the power and majesty
of Yesteryear, that sealed the deal as far as this Yes fan was concerned.
To begin with, Steve Howe’s fretwork was a mixture of
ferociousness and grace. His climatic
solo during the coda of “Siberian Khatru” was blistering and inspired. The rest of the band seemed equal to the
challenge. For instance, Billy Sherwood
handled his mentor’s parts with a mixture of aplomb and deference. He maintained a low-key stage presence but
his deft handling of the supporting vocals and bass duties had me thinking that
Squire would be winking with approval.
He seemed locked in with Alan White, who was nothing less than
authoritative on the drums.
Geoff Downes and Jon
Davison rounded out a configuration that seemed to hitting all the right notes –
musical and otherwise -- while nailing the spirit of the music too. I have a feeling Chris Squire was saying Yes
to this lineup on Aug 12th . . . I know I was.
