Yes, at Westbury, New York, July 14th, 2012

I've never taken the time to write a detailed review of a live show, but in light of some uncertainty on the part of Yes fans due to recent, and somewhat uncomfortable personnel shifts in the band, I found this particular performance a good candidate for some detailed consideration.

Having seen the last lineup with Oliver Wakeman and Benoit David a number of times, my overall impression of those shows was something along the lines of: Oliver Wakeman was a session player - he played all of the keyboard parts accurately enough, but lacked any passion, and didn't add anything to the chemistry of the band. Perhaps that was all they wanted or expected of him - maybe he was just a hired gun who didn't have anything "Yes" to say musically. Benoit David was making his mark for a while. His first performances with Yes showcased his vocal skills on some of Yes' most challenging material. But, over time, apparently he lost the stamina to keep up with a rigorous touring schedule. Despite his meaningful contributions to some songs on Yes' latest studio release, Fly From Here, the band appeared to be precariously walking on ice during their last tour.

Without personally knowing the band, and having only media reports to rely on, Yes seemed to struggle for a bit, and the unceremonious firing of Oliver Wakeman appeared to be a rude surprise. Reports from Benoit David that he discovered he was replaced by Jon Davison came off as even more callous. My overall impression was that Squire, Howe and White saw a short window of opportunity to capitalize on financially lucrative touring, and so ruthlessly rushed to form a lineup that would enable their strategy.

So, it was not without some baggage and reluctance that I took attendance in Westbury last night to see this latest iteration of Yes. Some preliminary reports from attendees of the first few shows on this tour held some promise, and knowing a little about the set list changes, I had just a bit of optimism.

I cringed, at first, when I learned that their opening numbers included Yours is No Disgrace and Tempus Fugit. Not because I don't love these songs, quite to the contrary, I love them so much that I couldn't stand watching the band trudge through them at painfully slow tempos, as they did during the last few shows.

Much to my pleasant surprise, these songs were performed with gusto and aplomb. Howe wows with his wha guitar workouts on the opening number, and Tempus Fugit did not belie the Latin meaning of its moniker, with the instrumental portion of the Drama lineup intact tearing through this energetically-paced song.

I've Seen All Good People evoked an affectionate nostalgia from the crowd. Davison, with tambourine in-hand, also brought to mind visions of a young Jon Anderson, with his long hair, and somewhat retro bell-bottom look, convincingly portraying an early folk-influenced Yes. Of course, this aspect may seem shallow, but one cannot help but to sense some rejuvenation - that this singer was more than merely capable, but a good fit in a broader sense. Three songs in, and three standing ovations, we're 3-for-3, and the night is going quite well.

The inclusion of America in the setlist  was a pleasant surprise for many, and it was performed with fantastic energy. I won't go into great detail on this, as I know and love the original too much to favor this version, but it's a rendition that many Yes fans love.

Now we get to the risky part of the set, with the Fly From Here suite performed in its entirety. Can you follow such classic material with something so new without it making apparent whatever the band might have lost from their 70's peak? To me, not at all - hearing it in this context told me the most important thing that I learned from this show: this is a band that still has a lot to say musically. I searched for hints of Drama, but where Drama was a new-wave departure for the group in its time, Fly From Here may be much more like a natural progression from Going For the One, with just enough of Downe's quirky pop sensibilities effectively blended with the band's established style. Perhaps this is what Yes would have sounded like post-Tormato without the affectation and deliberate efforts to modernize that they, and so many other artists, fell victim to in the eighties.

Howe's acoustic solos are always entertaining, and usually in a "dear God, how many decades does one have to practice to play like that?" sort of way. But this time, he played his more contemplative "Sketches in the Sun", a piece centered around a pastoral melody played over a simple dropped-D continuo. This piece sounds the way Yes covers look - like something from a floral landscape speckled with dream-like colors. Followed by a quick rendition of The Clap, perhaps just to make sure that everyone had not been lulled into a trance, it was a short, tasteful, and entertaining interlude by Howe.

Wondrous Stories was a welcome addition. Here is where I appreciated for the first time Geoff Downe's genuine affection for Rick Wakeman's playing, as his interpretation was faithful to Wakeman's sounds and arrangement, which would also be evident later in the set.

Into the Storm is noteworthy for several reasons. It was the first time this song was included in the setlist for this tour, so no spoilers could have prepared us for it. Howe's pedal steel playing explored some new sounds that I have never heard from Howe, at times evoking a haunting sound not unlike a theremin. More importantly, the band connected with each other as they explored some improvisation, showing once again: this is a band that has something to say musically. Perhaps just as important, is that they have something new to say musically that does not discount nor simply repeat what they have had to say before..

Heart of the Sunrise was naturally a hit, and other than the fact that it was performed with the gusto of a much younger group, it needs no special note. But, it was the evening's performance of Awaken that marked the high-point of the night. Downes performed Wakeman's masterful piano and pipe organ arrangements with deft skill and appreciation for its composers intentions - it was easy to tell that Downes must have been a big fan of this piece, as so many keyboard players are, but few qualified to present it so well. The performance was, in a word, passionate, and that plainly resonated with the crowd, earning the most enthusiastic ovation of the night. The last time I saw Yes connect with an audience on that level was at their 35th anniversary performance of And You and I at Madison Square Garden, where Jon Anderson could not even be heard singing the final outtro over the roaring crowd.

Roundabout did not disappoint as the de-rigeur encore. No slouching tempos here, nor any sign of a band tiring of playing its best-known song, as may have been the case during the last few tours with Anderson and Wakeman, where they opted for a swinging acoustic rendition, not unlike Clapton's unfortunately unplugged reinvention of Layla.

So, it was not a flawless performance by any means, but it would be a shame to go in to such a show expecting it to be, as the essence of what makes music good was all there. There were certainly no signs of a very under-rehearsed band. It now appears that there is a genuine artistic motivation for Yes to fight to continue, and this fan is certainly thrilled that they have persevered. I cannot stress enough, the most important element, in my opinion, is that this is a band that still has a lot to say musically. The only thing you need to decide for yourself is, do you want to hear it?