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Mais oui! Yes have landed in Brussels for the promotional tour of "Fly From Here", their latest (and lovely) work. Line-up: the three historical old-timers (White, Squire, and Howe), the less aged Geoffrey Downes, and the young Canadian Francophone Benoit David. The location of the Ancienne Belgique is excellent, just a stone's throw from a Grand Place that, already adorned for the holidays, is nothing short of breathtaking.
What works? Everything. The line-up is cohesive, effective, surprising. Frankly, I was a bit worried about the ensemble's age, but I must say I was truly impressed: no crutches, no adult diapers, no wobbly dentures. First and foremost, Benoit David is not Jon Anderson, and rightly so, he doesn't try to be; he gives his all, is passionate and sings really well, without a single mishap. He even shares a charming little segment in French with the audience, with Squire following up with a braying "Merci Beaucoup," apologizing for not knowing how to say "thanks" in Flemish. Steve Howe, practically a dressed-up skeleton with a mop screwed onto his head, is a war machine and it's impressive to see him bossing around with his five or six guitars.
Geoffrey Downes is likable, always smiling and buoyant, with a red frock coat fluttering amidst a real wall of keyboards while he keeps winking at a couple of blondes in the front row. Even Alan White, who worried me the most, seems really in shape: sure, he has a face that looks half-dazed, but he doesn't miss a beat and performs smoothly, wisely avoiding any potential solos. The liveliest of the bunch is undoubtedly Squire; despite looking nothing short of grotesque (a swollen belly, a face reminiscent of Jabba the Hut, spindly legs with a prominent package, gaudy shirt and new-age jewelry), the Fish moves around splendidly. He plays divinely, hints at dance steps, and continuously thanks the (surprisingly) warm Belgian crowd.
Having discussed our heroes, let's move to the setlist. In my opinion, it is commendable that they chose to leave behind the 90125/Rabin period to focus on the new material, while classics were taken from the great successes of the Seventies, from "The Yes Album" to "Drama". The opener "Yours Is Not A Disgrace" is a bomb that sets the room on fire, with Howe triumphing above all. Real tears flow with "And You And I", almost identical to the studio version, in which Benoit David shines. Between the surprising retrieval of "Wonderous Stories" and a 10-minute acoustic set in which Howe dominates solo, lies the excellent suite of the eponymous latest album: inspired, epic, and played with great involvement. Here the pace is much faster than the studio version, and the result is undoubtedly more intriguing, as well as in the intense "Life On A Film Set".
Among the new tracks, the delightful "Into The Storm" also stands out; meanwhile, monumental and at times even unsettling is "Machine Messiah", which ranks among the best pieces of the set. The real frenzy comes with "Starship Trooper", expanded to almost a quarter of an hour: the five seem exhilarated, Downes grabs the keytar, delivers a flurry of sharp solos and mimics Howe, whose smile is even more frightening; Squire, who thrashes around like a beached sea lion, makes his bass sing while White hits hard and doesn't miss a beat even though he looks like he's about to burst into tears. All of this sends the audience—mature supporters, composed English businessmen, and a notable number of young people—into a frenzy. The screams after our heroes exit the scene are wild and guttural, but the encore doesn’t take long as Yes return to fire off a goosebump-inducing "Roundabout". Once again, Howe does as he pleases, once again Squire prances like an obese ostrich, and once again David delivers an excellent performance.
This time the show is over. I am left with, aside from the immense emotions, admiration and the pleasure of seeing these living fossils still active, enthusiastic, and happy to play; because that is the feeling their (ugly) faces and passion convey. The impression is that, like in 1980, the arrival of newer and fresher elements brought a breath of fresh air into the musty crypt that Yes had become over the past ten years; in short, returning to the studio was the right choice. Not for a minute did I miss Anderson nor, much less, the often garish Rick Wakeman. Whether it was the Belgian beer or the chocolate waffles, the fact remains that Yes enjoyed themselves and entertained and amazed, and that is what matters; with over forty years of career under their belt, excuse us if it's not much.
Final remarks. Small disappointment: no "Close To The Edge" and no "Soon", I expected them but, you know, age catches up, seniors need to go to bed early, and not everything is possible. For me, Steve Howe remains one of the greatest (and ugliest) living guitarists. Having mentioned Squire and White, kudos also to the new entries: a fun and up-front Downes with his sharp keyboards and a David who seems right at home.
Chapeau à tout le monde et bonne nuit.
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