Yes
In The Present Tour @ Teatro degli Arcimboldi (MI) 06.11.2009

An evening of great music, grand old men, emotions never subsided nor forgotten, amidst doubts (plenty) and certainties (a bit less perhaps).

A little sentimental-autobiographical disclaimer (for those who don't care): it's not the best Yes concert I've ever attended, outclassed by both the Big Generator Tour (1987) and the ABWH tour (1990? Perhaps the best concert of my life after a galactic Peter Gabriel in 1987). Naturally: Oliver Wakeman is not his father (Rick, a historic "Yessy" keyboardist, editor's note) but he's not just any Tony Kaye either, he seems almost there by chance with a dazed fish look and a participation index below zero (in addition to having a decidedly secondary role designed for keyboards by the grand old men); and above all, Benoit David is not Jon Anderson. The Canadian lad is not bad, he tries hard, has a voice very similar (or has groomed one) to that of the model, he almost always reaches the heights of the old Jon but in terms of charisma and personality, well, what's there to say? Add to this the 60, 61, and 62 years respectively of Alan White, Chris Squire, and Steve Howe, and the deal is done.

But the nostalgia operation of this "In the Present Tour" eventually works, in a theater packed with old geezers like me (the average age is well above forty, among a satisfied-looking Franz Di Cioccio and an old long-haired man with evident prostate problems, the audience is teeming with people who probably saw the "real" Yes live 35-40 years ago) who almost turn up their noses considering "modern" an "Owner Of A Lonely Heart" (26 years!).

What works? First of all, without a doubt, the undisputed star, the hero of the evening is Mr. Steve Howe, aka the movable mummy. Despite a terrible appearance, with those ten straw-like hairs starting from the nape leaving a large part of the skull exposed, those skinny legs that seem devoid of flesh, basically a sort of moving corpse, when the lights go out and the music starts he magically loses 30 years and it feels like being back in the times of "Drama", not to mention "Close to the Edge". He has energy to spare, is communicative, even charming, jumps agilely, and above all, is terrifying with any of the at least six or seven guitars or similar he plays (among Fender, Gibson, mandolin, classical, steel, and so on).

The concert takes flight at the end of the opener "Siberian Khatru", when he starts weaving notes that bring tears to the eyes of the writer: from that moment, the attention can no longer be diverted from that giant, even to distract from the ugliness seen elsewhere on stage. The only moment of slight decline - which corresponds to a global decline of the band - is precisely on "Owner of a Lonely Heart", a song that doesn't belong to him (the very successful "90125" was the product of the Squire-Rabin version of the band, when our friend was busy elsewhere, read as Asia with the other greats Wetton and Palmer): he dutifully takes up the Stratocaster and fires off a solo not that bad, but it shows that it's a task he doesn't love (accompanied by a disastrous David, incapable of reaching the andersonian heights and repeatedly slipping up with colossal mistakes, while Wakeman pulls out of his synth really sad sounds compared to the original's sharp cuts).

Quite another level for the great classics, from "And You and I" to "Roundabout", from "Yours Is No Disgrace" to the old "Astral Traveller" (from the second album "Time and a Word", released before our friend joined the group). Goosebumps for the acoustic set, six minutes in which his left hand runs incredibly fast over the keys and gives us moments ranging from classical to bluegrass, from bluesy to Hispanic (with the old "Clap" played who knows how many thousands of times). And tears at the execution of "Onward", a gem from Tormato (a "minor" album from 1978) with wonderful arpeggios and eyes (mine) strictly closed trying not to see that the great cantor of Yessitude is NOT on that stage but an honest clone from Montreal, Quebec. If I have to quantify Howe's merits in keeping the concert afloat, I would certainly go above 50 percent (personal score 10 magna cum laude).

The rest? Chris Squire, good but not great. Recovering from a leg fracture that limits his former mobility (besides those 20-30 extra kilos), the "Fish" demonstrates his usual mastery with the four strings, also giving us some solo moments (beautiful the initial part of "Heart of the Sunrise") with his usual mastery, skillfully supporting with his not beautiful but still powerful and in-tune voice the moments of difficulty of the little clone, but in the end, his performance is a 6 and a half.

About Wakeman junior's difficulties (score 5), often put in crisis by his Moog (with a little scene in the middle of the stage and Squire justifying him with the audience), about Benoit's efforts (score 6 minus), a few words on Alan White. That he is not Bill Bruford was evident 35 years ago, but that old sloth sitting behind the Yes drums in 2009 is no longer a drummer. He looks like an old newly-retired clerk recovering from an evening of pub boozing, his gaze is half-closed, his biceps lift with difficulty, even when the band gives him the inevitable solo (on "Astral Traveller") the tempos are slowed down - a sensation that permeates the whole show a bit, almost as if the band had to slow down to allow the sluggish guy to keep up -, the final smile is almost dull, stunned. Score 4 plus (the plus is "for the career").

The worst? "Owner Of A Lonely Heart", Wakeman's "boiled" look, and Squire's belly. The best? The already mentioned "Onward", the acoustic set by Steve Howe, "And You and I"  and - a separate chapter - the two songs from "Drama", which represent a partial compensation for Anderson's absence (he wasn't there in 1980, on vocals was Trevor "Buggles" Horn, the album was terribly received by historical fans but - seen in hindsight - it was anything but trash. With Jon "on the team" it was even forbidden to mention it), especially the monumental Machine Messiah.

The last time live in Italy? Maybe not, the "guys" threaten to return even to the studio with new material, besides a tour for 2010. Maybe they will return, maybe even the two "new members" of the group will be replaced by dad Rick and grandpa Jon (who will turn 66 in 2010 and his health is not what it used to be), but maybe it would be better to close here. And if someone who was moved last night says so, maybe you should trust me.