Also: op-ed is in effect as usual, caveat lector.
What's better than getting the scoop (as I did in March) that Our Boys were touring this year? Why, that they were actually going to come to my specific geographic area this time! Lucky me! (Look, you just don't know how I hate that drive to Los Angeles these days.) And so it was with a swing in my step and a (YesWest) song in my heart that I made the hour-long drive to Shelter Island as opposed to a multi-hour drive to regions beyond to see ARW for the third time since they began their life as a legacy touring band, playing the second show on this tour on August 27th at Humphreys Concerts By The Bay.
Anniversaries are A Thing
The touring cycles for this year are ostensibly to observe the 50th Anniversary of Yes as a band; however, I would say that what ARW has actually accomplished this year isn't much, really, despite their branding this outing as "Quintessential Yes: 50th Anniversary Tour." And that's my opinion, of course. One might posit that if one paid attention to various interviews and publicity and such there appeared to be any number of plans as regards the observance but in the end, not much to show for it. The airing of "Fragile," the release of Live At The Apollo, and, all told, less than an actual month's worth of touring for the entire year. And this is it because as we know - again, if you've paid attention - the principles have already revealed their plans for the rest of 2018 and none of it has anything to do with their version of Yes. If nothing else the anniversary illustrates the inherent value of the music which will always transcend the desires of the people who actually created it in the first place. So I think this was a convenient marketing strategy which somehow backfired or came to naught for whatever reason. Perhaps incompetence of a kind, perhaps self-sabotage. Certainly a missed opportunity, even a wasted one. But we have to appreciate what we do have, right? Sure, okay, so let's talk about that.
The venue
As I noted in a post on Yesfans after the show, I have lived in the San Diego area for many years now but I had never previously attended a show at Humphreys. It's an interesting venue because it's an adjunct to the Humphreys Half Moon Inn resort on Shelter Island (which isn't actually an island, in case you were wondering) and also features the Humphreys Backstage Live lounge. There is public parking across the road adjacent to the marina - and the view of downtown San Diego across the bay is one of those picture-postcard tourist moments which locals such as myself may not often experience in our day-to-day lives, however I chose to park in the paid area which was actually on the hotel grounds - I was mere yards from the entrance to the venue itself. The venue is almost like a bijou type of "shed" (though not tiered in the way a traditional amphitheatre would be) holding about 1400 with four sections of seating in front of the stage which abuts the harbor. The view of the marina at sunset is quite lovely, and some hotel guests can watch the show directly from their rooms.
I wasn't sure about the view I'd have based on the seating chart, but it turned out I could see the stage just fine from where I sat in the center section and even better, most everyone sat down during the songs (I admit it, I'm old now and not up to standing during an entire show). The evening weather was mild, the seats are close together but it wasn't too much of a hardship, the sound was good, and the crowd not nearly as distracted as I've experienced at other venues.
The setlist
The setlist for 2018 can best be described as a sort of amalgam of the previous years' setlists, with the emphasis on 2016; in fact it reprises the 2016 set almost entirely. This wasn't as much of an issue for me because I did not attend any shows in 2017 due to ARW giving Southern California a pass as far as touring was concerned. If I had, I think I would have been somewhat disappointed by the lack of true change in the setlist. However, given that we know the principles have been conservative at best, unimaginative at worst, in terms of expanding/revamping the setlist, it's not entirely unexpected. I actually predicted they would not play any new or newer songs - and for once I don't enjoy being right.
Perhaps the most disappointing aspect is it appears there was an idea to play both "Fragile" (which appears to actually be named "Fragile/Touch") and "Wondrous Stories" at their Whisky A Go-Go performance (verified by a fan posting a photo of Jon's setlist as well as a mention by Jon during their appearance on Jonesy's Jukebox on the 24th) but neither of them were performed, nor does it appear they will be unless they decide to do so within this next week. Even adding just one newer song can make a big difference for fans, I believe, as so many of us have seen at least one prior performance by now. I have more to express but I will cover that in the next section as I go through the show song-by-song.
That said, I do wish I would have had the chance to see the 2017 setlist performed, as "South Side of the Sky" is one of my favorite Classic Yes songs. But the length of the set is what I feel it should be considering what fans are expected to pay for the privilege, it comes to just a little over two hours.
The performance
This was my first time seeing a show early in their tour, as previously I attended performances at the end of the tour (and that was better at the time, for reasons I have already articulated in my prior review) and I feel the energy level of the band - their general demeanor and their chemistry - was strong, it was fresh, and it enhanced my enjoyment of the performance that much more. I was especially determined to enjoy this evening because even if ARW do embark on a tour of the US next year at all, they wouldn't be returning to Southern California so I was thankful to have one more chance to see them, at least.
I do regret that this particular show did not feature the normal staging in terms of their backdrop, projections and lighting rig, which is much improved from the last time I saw them, but I assume Humphreys is not the type of venue which could accommodate it. The lighting and "haze" which was used did not detract from the performance, but having seen many videos and photos of what the current production does lend to the show overall made me wish I could have experienced it for myself.
The show now begins with new introductory music and some have posited they believe it's a group effort. Personally, I see it as something Trevor specifically wrote for the occasion (this year's touring) or is something perhaps previously composed for a scoring project, as it does have that vibe to it. Given that "Perpetual Change" was moved to the midpoint of the set, I can see why new music was needed, but I disagree with this strategy - "Cinema" and "Perpetual Change" are perfect partners and should always open the show. The transition between "Cinema" and "Hold On" strikes me as somewhat awkward.
Moving forward, this setlist mirrors 2016 with the next two songs, "Hold On" and "I've Seen All Good People." They were each what I expected them to be, no real surprise but solid renditions. In terms of performance the fact that this ensemble has been playing these exact songs, largely, over time means that they know them well enough not to succumb to any major gaffes now (as opposed to what occurred during the first couple weeks of touring in 2016).
"Changes" followed - this time earlier in the setlist, and I found myself thinking that its' place later in the 2016 setlist was more appropriate. It seems as though they have basically swapped the positions of "Changes" and "Lift Me Up" within the 2018 setlist. Again, it was a strong rendition with everything I expected from Trevor and they are back to playing The Game with the song, which I still don't approve of even as I understand why Rick and Trevor are amused by it.
"And You and I" is one of those songs I believe they feel they have to play, and it is a favorite of mine within the Classic Yes canon, but there's something about the way ARW perform it which just isn't that appealing anymore. I did enjoy it in 2016 but I didn't get that chill down my spine this time. It seems like there is something plodding about the way they play it now.
During "Rhythm of Love" I considered how good it sounds in a live setting, even better than the recording on Live At The Apollo. It's just so intense, and it has that compelling energy to it which makes it my continued favorite of the setlist. And I think part of that has to do with how it's the most "rock" of all the songs they play (even more than "Owner"), it has such a groove to it which makes it sound so exciting. And Trevor and Rick do a great job with their solos.
Speaking of changes, this brings us to the point where "Perpetual Change" has been placed, taking the position of where "Heart of the Sunrise" was in the 2016 setlist. And although, as I've stated, I don't approve of "Perpetual Change" in this spot I do agree with putting "Heart" where it is now, preceding the epic rendition of "Awaken." But their rendition of "Perpetual Change" continues to be another solid performance overall and I still enjoy it. It has the same propulsive energy it needs to, but I find their nuances and chemistry hold up much better when compared with their performance of "And You and I" (as example).
"Lift Me Up" has returned, and this rendition is much better than it was in 2016 so I'm fine with the return, especially as I think it's kind of a waste to have Trevor only sing one song (not to mention that those of us who had waited decades to see Trevor perform again desire his role to be much larger). But I'm still not fond of the way they're ending the song now. However, as I noted previously, dropping the drum solo ahead of the song was a very intelligent choice. Though I wish Lou got a few more bars to vamp that introductory pattern.
I'm happy I had a chance to experience "I Am Waiting" especially because I never got to see the Talk tour, so it's a special thing for me to see Trevor perform a song from this album which, as long-time readers know, I love. However, it was disappointing to me to witness it serving as the "bathroom break" song with the audience. I think it's a testament to the sentimental value of "Awaken" that it doesn't serve as that song. "Awaken" goes on forever, people. (Okay, don't come for me in email!) I fully understand how beloved and "sacred" that song is to long-time diehard fans. As someone who does not take bathroom breaks during a concert it's not a consideration for me, but I think ARW does a lovely rendition of "I Am Waiting," although I don't understand why Jon sings part of the "it happened in the water" bridge, which is Trevor's section. It seems to me he could hit those notes, but maybe he can't anymore. His register has changed for certain.
Due to the re-sequencing of the setlist as well as song changes, "Heart of the Sunrise" has now become one of the definite highlights of the set. They still play it like their version of speed metal, but that's not a bad thing at all. The contrast between the thundering 6/8 sections and the quieter interludes is more pronounced and emphasizes the song's progressive rock stylistic metier. Jon sounds wonderful even as one can discern the changes in his register but they are not pronounced enough to detract from his performance. And now it's the only opportunity Lee has to solo for those 90 seconds at the beginning or however long it is. I find this disheartening in a band which claims to be Yes, because virtuosic bass playing should be a definite feature of any band which claims to be Yes and yet it is not truly on display in this version - not now, anyway. It was, but this year they chose not to include that aspect. I don't know why, but I don't agree with that decision. I stated in fandom discussion that it seems to be ARW is squandering their resources by not allowing Lee and Lou to have their solo spots; or at least acknowledge that these guys are working as hard (if not harder) as everyone else to entertain the audience. But "Heart of the Sunrise" provoked a standing ovation in this audience which was well-deserved indeed. Along with "Rhythm of Love" it was my favorite of the night.
In reading fan reviews from last year, there seemed to be a consensus regarding "Awaken" - that it had improved and become even more dramatic with a darker tone. I don't know if I truly appreciated all the nuances therein but I found I was in a better frame of mine to enjoy it this time. It's still definitely more rock n'roll than any version I've heard prior to ARW's debut but that's part of what I do enjoy about their interpretations overall. Once again Rick was masterful in his playing on this song, even as he provides so much color and texture to all the songs, "Awaken" is the moment in which he truly shines.
I think of "Owner of a Lonely Heart" as ARW's warhorse now, rather than merely just another song in the setlist, and I would say this year it's probably the least entertaining that it's been overall. And I don't like having to state that, but that's how I feel about it. Not due to repetition or even the elements which are always there, but rather what they've done to what I consider to be the second part of the song, after they transition into Rick and Trevor's walk into the audience. I don't mind the "walkabout" and I got to see the guys this time just like I did in Anaheim, but beyond that they didn't make that section interesting this time. They omitted the solos and bass battle from last year and instead played a sort of "double-time" section seguing into "Sunshine Of Your Love" with Jon singing his own lyrics again. Some people are puzzled by this or don't approve of it but you have to remember that cover songs were a tradition within YesWest: "Gimme Some Lovin,'" "I'm Down," "Purple Haze" - this is something they've always done so the original interpolation back in 2016 did not surprise me when they started including it. Although it was fun to sing along with the chorus, that section of the show just wasn't as enlivening to me as it had been previously.
The "encore" is now and forever "Roundabout" of course, but interestingly they've changed the arrangement to the YesWest tradition of omitting the introduction but otherwise playing the full version of the song this time, rather than the way YesWest used to play a shorter version (and the way ARW has played it for most of their existence). I certainly appreciate them playing the middle section because it's the best part of the song, in my opinion (as someone who still loves this song so much even as I've been listening to it since I was 10 years old). So that was the only true surprise, but a welcome one. During the extended vamp which ends the song Lee has been interpolating a bit of "Close To The Edge" although I'm not sure if he does it at every show.
Regarding the mix, I listened to the audience recording of the show I was made aware of, and I would say the bass is certainly louder than it used to be. Is it ever going to reach Chris Squire levels of sonic boom? No, and that's because the focus in ARW is unequivocally on Jon's voice. And I think the harmony vocals are also better-placed in the mix, but again, they'll never be as prominent as they were in YesWest. As I noted previously, I think Chris Fudurich has done a great job with achieving a better balance in the overall mix even as fans continue to mourn the absence of those traditional Yes values. And therefore you'll never be completely happy with the way ARW does it now unless you choose to adjust your expectations. But I fully understand why some people do not choose to do this.
The merchandise
I would never suggest that any of my editorializing has any effect or influence on the decisions of this endeavor but thank goodness someone realized that the merchandising needed to improve because it was so wonderful to see this upon entering the venue.
Even as the selection was more limited than last year, the design scheme and presentation were much more enticing and professional-looking. I actually wanted to buy some merchandise this year, as opposed to my attitude regarding what was on offer last year. And of course there was no distasteful ursurping of the traditional Yes bubble logo (although they tried it again earlier in the year during the new website launch only to change the design after receiving yet another C&D, one assumes). I do think it was a good idea to offer the Live At The Apollo releases at the shows because it might have prompted a few impulse buys among the attendees. If I could have afforded it I might have bought a copy of the DVD and just canceled my preorder with Amazon, but alas that wasn't going to happen.
*~*~*
I will still rank the 2016 Los Angeles show at the Orpheum Theatre as the best experience I have had with ARW, but this show was a close second in terms of overall vibe and quality. It was fun, and that is exactly what I expect from this version of Yes. I don't expect a reverence to the continuity of the music, which I feel is what Yes official strives to provide, that is their "brand," so to speak. ARW is more about entertaining people and playing Yes music like a rock band would. In terms of a legacy touring band experience, it's all about a good time and so if that's what you experienced, then you got your money's worth. There were a lot of singalong moments for the crowd, and as I noted the guys all seemed engaged and their energy was good, I didn't get a sense that anyone was phoning it in. They performed the best they are all capable of doing. Lee and Lou continue to be the MVPs in terms of providing the engine which the principles need to make it all work, and Lee is as always a bouncy bundle of sunshine on every stage he graces (seriously, go on YouTube and watch any performance he appears in over the last ten years and he's always smiling) and I think that's invaluable to the morale of this enterprise. How can you not have fun playing with someone who's just so damn happy all the time? Now the fact that they are only playing ten shows may have something to do with the overall demeanor of the principles.
Would I see ARW again if they never changed the setlist? I honestly don't know. I don't believe I would attend multiple shows (presuming I could afford such a thing) if it was the same setlist as previous. I suppose I might succumb simply because I can't see myself turning down an opportunity to see Trevor play, and I'm thankful I have been able to experience this era of his history as a performer. Not to mention that I'd jump at any chance to see Lee play (even as I couldn't go see Jeff Lynne's ELO in August and trust me, it's killing me to say that). But it's my opinion that they are severely testing the goodwill of everyone in the US who turned out for the tours in 2016 and 2017 because how many times can you expect people to pay to see what is pretty much the exact same show? Especially now that Live At The Apollo will allow you to watch it any time you please. However, that does seem to be the trend these days, when touring rather than recording is the primary revenue stream for rock musicians.
If you can see them in the time remaining for this tour I would recommend you do so, because the future is always uncertain. But also because it's fun and if you want to have a good time hearing and seeing Yes music performed then you likely will. But I won't be among those who say you are missing out if you don't choose to attend. Everyone has their own tastes and you have to possess a certain affinity in order to enjoy this particular experience. But even for those of us who have loyally attended numerous ARW shows, there may be a limit to how much nostalgia we're willing to continue to ingest.
