Even as I did not attend a single ARW show this year (because they did not tour in Southern California this time) there is still so much to discuss, leastwise because they did play 55 dates total and it makes for lots of interesting details to ponder and comparisons to make. And I can do so because there is plenty of documentation out there to absorb. I am thankful for this consideration because, even as I understand why the tour didn't make it to my region, as someone who wants nothing more than to see at least one ARW show per year (although more than one would be nice) I was sort of dying inside.
(#fangirlproblems)
As we know, it really was a matter of two different tours: the dates in the UK, Europe and Japan were a continuation of last year's US tour as it was - for most performances - the exact same setlist. The North American tour later in the year could be considered a new(ish) tour with a few setlist changes and a beefed-up production design plus new venues and cities were visited. The primary difference, in my estimation, was touring under the new moniker and all which it implies. But I'm still not interested in engaging in the legitimacy debate so that's not happening.
First I wanted to include a few compendiums from various sources at different points during the year, to give everyone an idea of how both the performances and the staging evolved throughout the respective touring cycles. Of course those of us who have been assiduosly following along will have already watched these particular videos.
UK tour: Birmingham, England
Summer Festivals/European tour: Schio, Italy
Summer/Fall tour: Toronto, Canada
I find it easier to write about this if I break it down into subtopics so here we go; and I will continue to refer to the North American tour as "Summer/Fall."
Round the World
As someone who desires this ensemble to succeed and evolve, it was really nice to see the guys touring the world this year, with stops in Israel, the UK, Low Countries, Japan, Western Europe and North America. I can imagine many fans were grateful to have the opportunity to see them and I'm really looking forward to what could be considered a well-staged classic iteration of their performances with the release of the March 25th Manchester Apollo show on DVD.
Of those gigs elsewhere there are two I wanted to note in particular: one is the first show of the year at Menora Mivtachim Arena in Tel Aviv, the only arena ARW has played thus far and even though the gig was a bit fast-and-loose there was also a lot of energy which makes it a great show to watch, in my estimation. And the stop in Rome at Cavea Auditorium Parco della Musica was also a great performance in a beautiful setting. No offense meant to Merrie Ole but I really wish the Rome date could have been professionally filmed as well.
Territories
The Summer/Fall tour itinerary was interesting in that while there were new cities/venues included - and a three-date stint in Canada which was excellent news for fans above the lower 48 - more than a few of the exact same venues were played, and more than half the tour could be considered as being booked in the East Coast/Northeast region of North America. And I can certainly understand varying the particular regions in order to give more fans a chance to see the band, but given that there were many of the same types of bookings made - multiple dates in New Jersey, New York and Florida - it suggests to me that the East Coast is the true stronghold for the band as well as Larry Magid having a vast network of bookers and local promoters, and therefore we can expect for the life of this band that they will always have a larger presence in that area of the country. Which, if you're an East Coast-based fan, is good news for you!
Venues
As I noted, some of the same venues were visited this time around in the US, such as the Goodyear Theatre in Akron, the Count Basie Theatre in Red Hook, and Ruth Eckerd Hall in Clearwater. But interestingly there seemed to be more of an emphasis on theatre type venues, with more than a few Performing Arts centers booked rather than casinos. And then there was a winery, which was incredibly picturesque (and the show I would have chosen to attend had I been able to afford to travel to NoCal - even as its' small stage precluded the use of their backdrop, projections, and custom lighting rig), as well as Wolf Trap in Virginia and Toronto's Massey Hall which are historic venues in their own right. So I would say this enterprise is moving up in the world a bit but I expect that their preferences are not going to change in terms of the type of venues/capacity they will play in the future, and also that they will continue to tour solely on their own with no support act rather than as part of a double bill or package tour.
Fashion Watch
It seemed The Boys were each mostly committed to a uniform this year, although Rick did add a couple capes to his repertoire and Lee opted for casual with a rotating selection of t-shirts. But is it just me, or are those skinny jeans beginning to appear more and more like a tribute to Chris' black spandex? (I kid because I love.) Trevor continued his strategy of switching it up most nights, although it was primarily the same pieces as last year. But I do have to thank Whomever/Whatever it was which convinced him not to wear the track pants again for Summer/Fall. That was indeed an aesthetic too far.
However, my response to this is "Same."
Mood: Trevor Rabin's semi-hawaiian shirts— Narcissus (@moodiestofblues) September 25, 2017
Photo: Cathy Poulton
The Setlist
As I had previously reported, there were changes made to the setlist for Summer/Fall but they were not extensive. Originally for the three pieces which were removed - "I've Seen All Good People," "Changes" and "Long Distance Runaround/The Fish" - there were supposed to be three additions: "South Side of the Sky," "I Am Waiting" and "It Can Happen." However, the latter song was never performed although Rick noted it had been rehearsed, as well as soundchecked at least one venue (with thanks to Judy Davis for that bit of info). "The Meeting" was also removed but as that had occurred in the previous touring cycle I wasn't considering it as part of this overall revision. Then ten dates into the tour "Lift Me Up" was directly swapped out for "Changes" and that was the extent of said changes, which resulted in a shorter setlist overall with 12 songs (when compared to the previous cycle with potentially 15 songs performed, depending on how you count).
I think "South Side" and "I Am Waiting" were great additions in terms of nods to both Classic Yes and YesWest, even as both eras are represented overall. Now there is an equal amount of material in the setlist and it would seem to me they will strike this same balance in the future. "It Can Happen" would have also been an refreshing choice and now I can't help but wonder if it partly had to do with providing something interesting for Rick to play as regards the various textures the song employs. I still believe "Hearts" would be a great choice for next year. As I don't expect the set will get any longer, I would be willing to swap out either "Hold On" or "And You and I" for it. But of course these decisions aren't up to me (or anyone else other than Jon, Rick and Trevor). As for replacing "Lift Me Up" with "Changes" although I was disappointed that Trevor was down to one song - and that is a consideration specific to those of us who were there to hear Trevor sing as well as play, and I am aware that is fewer people than those attending the show in total - I do believe perhaps the primary reason had to do with Trevor's comfort level in performance. It seems, when comparing the two, that he displayed more ease when it came to singing "Changes" versus "Lift Me Up" and given that this wasn't a one-off decision (i.e. it wasn't added on the fly at one particular show but rather was a permanent substitution) it would seem it was given ongoing consideration during those first two weeks of the tour and was an inevitable adjustment. And for those of us who pay attention to setlist statistics, the change occurred at almost exactly the same point as on last year's US tour, meaning that it was a previously agreed-upon intersection for making a change. As well as "Changes" being a signature song for Trevor in terms of both playing and singing, in the end it was the right choice, in my opinion.
As the show employed a static setlist for almost the whole of the tour, it's an interesting consideration for those fans who attended multiple shows - because fans being fans, they want to be supportive and also have that experience more than once - as to what is rewarding about such an endeavor. Good friend of the blog Cee attended three shows on this tour and she notes: "...even though the set list is the same, I find the vibe and energy are different at each show depending on the audience, and that makes them all unique."
And I would agree with this as it mirrors my experience last year in terms of the difference between the Los Angeles and Anaheim crowds and vibe in the venues.
One thing which strikes me about the Summer/Fall setlist is how it really seemed to be divided into two distinct acts (regardless of the intervals they did have at a few dates), as the first half is more YesWest-heavy and upbeat, whereas the second set has more of an epic feel to it. And that is definitely fitting for the ebb-and-flow of a progressive rock show, but the sense of two distinct moods is palpable to me now.
The Staging
One of the very best changes in my opinion was updating the lighting for the Summer/Fall tour, although this was actually enacted with the staging of the Manchester Apollo show for filming purposes, as I had previously reported. From all the photos and video I have seen - when compared with the shows I attended last year - the new lighting makes a world of difference in terms of the presentation and impact, and an engaging production is always a plus in the contemporary concert market. As well it was nice to see the use of projections throughout the tour, as this is a particularly Yes-ish type of production value. I will also say that bringing Chris Fudurich onboard as the Front of House mixer was helpful in terms of achieving a better balance of sound even as there continued to be complaints from some attendees regarding the lack of bass in the overall mix - but as the guys from Progressive Palaver noted (and I agree with this) it really did seem to depend on where you were sitting as to how dynamic and full the mix sounded.
Although dynamic production values are something we expect from any version of Yes - and even progressive rock in general - and even more specifically from tours in the 21st Century, it's not always necessary. One consideration which comes to mind when I view the It Bites concert video It Happened One Night is it features a show with a very basic presentation - not much at all in the way of lighting or staging - but what it does have are four gentlemen who are consummate professionals (with a matching palette in stage attire), great songs, and spot-on intense and upbeat performances to an appreciative crowd. The stripped-down staging of it is something you don't notice unless you've watched it multiple times (as I have of late).
The Game
It was revealed in PROG's coverage of the 2016 tour that Rick and Trevor were playing a game (which dated back to their first experiences performing together) every night with "Changes" in that Trevor would find a way to include a word of Rick's choosing in such a way that the audience wouldn't notice - and thus his very noticeable seeming flub in the Union-era Denver concert footage was finally explained. But as "Changes" was not performed at the first nine shows it fell to "Rhythm of Love" to be the song for the game - I believe the word Rick gave Trevor in Saratoga was "crabs" - and while I get that they want to have fun and avoid tedium, look guys: don't mess with my favorite of the setlist. When "Changes" returned then so did the traditional iteration of the game but it doesn't appear they played it at every gig, unless Trevor was entirely stealthy on some nights.
The Guitars
Given that Trevor has a previously-stated preference for playing very few guitars onstage, it's not a surprise that he hadn't really changed it up much for Summer/Fall (there having been only a few changes to the setlist, so no need to change out guitars, necessarily). As usual Trevor plays the Strat on most of the material, busting out his custom Pantera for "Changes" (and previously "Lift Me Up") and "I Am Waiting" and using his signature model on "Awaken." However, he did bring along his candy apple red Strat to use for "South Side of the Sky." I imagined this was for the same reason as his choice of guitar on "Awaken" - because the song utilizes a specific tuning and therefore it's easier to use another guitar. But it was a change which also occurred mid-tour in Kettering. Prior to this Trevor was using the Strat on "South Side" so that may discount my theory altogether.
Photo: Judy Davis
Solo Spots/Bass Battle
When I first saw/heard clips from Stockton and Saratoga, the detail which struck me immediately was the lack of solo spots for Lou and Lee. As "The Fish" had been deleted from the setlist I could understand why but I originally (erroneously) believed that Lou still had his drum solo, but then I watched the Saratoga show and saw that wasn't the case. (And in relation to a comment I made last year, "Lift Me Up" sounded far better without that drum solo intro.)
I felt it was a bad decision, and I'm glad they rectified this six gigs in. It appears it may have been first performed as a substitute for the walkabout as they weren't able to enact it in Littleton (a situation which would come up several times during the course of the tour). Instead they played an extended jam within "Owner of a Lonely Heart" which included solos from Lou and Lee and this was the way in which I truly felt the song was made newly dynamic, as well as a more organic way to include a solo spot within the show. And then choosing to continue it was a great decision! The walkabout is fine but I feel it's a bit played out and therefore what I've been calling the "bass battle" was a nice addition to this section of the show. Adding a bit of comedy - something natural to Rick and Lee from their time together in English Rock Ensemble - is fun for everyone.
Old vs. New
So now that the US has two tours to compare, are they equally enjoyable? Of course most fans would reply: "Yes!" and I would be apt to agree but I'd give the edge to Summer/Fall if only for the fact that this year's version of ARW is relaxed, honed and completely in tune as an ensemble. And I understand that it's a process and a continual evolution, but I think it's reasonable to opine that some markets deserved better than a band attempting to find their way to that professionalism, consistency, and entertainment which everyone paid to see at every performance on every tour. Thankfully, some of those areas were lucky enough to have another chance this year and from the reactions I've read, were wholly gratified by the second time.
My dear friend fiendish_thingy has attended gigs for both tours and she commented: "...this year it was obvious that they were 100% focused, back to playing like they could in their prime and everything fine-tuned. The effect was less cute and more powerful. It wasn't like they weren't having fun but they were having fun because they knew they sounded so good..."
The Merch
I have an upcoming Collector's Corner entry regarding this year's merchandise but I did want to acknowledge that different merchandise was being sold on the Summer/Fall tour reflective of the name change; but also they were indeed poaching the classic Yes bubble logo design which is - according to fandom research - jointly-owned by Roger Dean and Steve Howe. As we know, things are not always what they seem in Yesland but it appears - thanks to anecdotal evidence from various individuals - that ARW's management did not have permission to sell merchandise bearing the classic logo and had to pull the two t-shirts which featured it from their inventory in the last two weeks of the tour. Fans are of course free to speculate as to why a band would produce their own bootleg merchandise.
Also: the merchandise sold in Japan was, in my opinion, far superior in design and variety to anything which was sold in any other region.
***
As always to everyone who has requested and followed the Tour Reports, I thank you for your patronage Even as it's a lot of work to produce them, I love the process of finding everything I can related to each gig and I hope you've enjoyed the journey too. I suggest, if you're interested, to go back and check the entries because I've updated nearly all of them from this year in some way as more material is made available.To everyone who attended a show (or shows) this year: I hate you.
Just kidding! 55 down, none to go, another tour and no more shows...but for everyone who continues to support Our Guys, I hope it was a blast and here's to next year and whatever musical adventure we will all embark upon with Jon, Rick, Trevor, Lou and Lee.
