Yes Live 2023 (Credit: Gottlieb Bros)
By Jason Barnard
Jon Davison discusses how YES will mine their rich catalogue to deliver a career spanning set of classics for their imminent ‘Classic Tales of Yes’ UK Tour, his albums with the group, influences and what the future holds for YES.
The upcoming UK tour will include a special section celebrating the 50th anniversary of ‘Tales From The Topographic Oceans.’ How do you approach performing such a monumental album?
On a practical level, I find what works best for me is incorporating lots of home rehearsing before the band assembles for pre tour rehearsals. We then practice the set list for about four or five days before our first show. This sets in place a solid self confidence, otherwise I would panic taking on such a monumental album.
Reflecting on your decade-long tenure with YES, how has the band evolved, and how do you contribute to maintaining the essence of YES’s music?
Whenever I reflect on the twelve and a half years I’ve been a part of Yes, I only hope that I’ve lived up to delivering with justice and accuracy the vocal style of Jon Anderson, yet all the while infusing my own style into it. I believe my individuality shines best through my creative songwriting contributions to the band and second, through my interpretations of not only Jon’s material, but also of Trevor Horn and Benoit David’s vocal stylistic approaches.
‘The Quest’ and ‘Mirror to the Sky’ albums have been significant successes. What have you and the group done to ensure the continued evolution in your music, maintaining a connection with both longtime fans and newer audiences?
We ensure this by following our collective ethos of finding the fine line balance between holding to Yes tradition while also allowing our creativity to flow wherever it may lead; taking us as songwriters to new and broader horizons.
After residing in England for a while, can you share your experience and connection with the UK and its influence on your personal and musical life?
I know spending a lot of time in the presence of my father-in-law, John Lodge, and absorbing the energy of his creative surroundings (which have not changed much from those early Moody Blues days,) has certainly inspired my songwriting. I find my environment in Surrey quite romantic and creatively stimulating whenever I consider how many great artists live and have lived in that beautiful area.
Can you tell us about any memorable moments from your time recording and working with John Lodge and his band?
The most rewarding thing is when I’m right next to John onstage singing ‘Nights in White Satin’ or ‘Tuesday Afternoon’ and I see him really enjoying the moment like he must have always done throughout his many years with the Moodies.
YES has been touring albums from its impressive back catalogue. Do you see the band focusing more on such performances, or can fans expect new studio albums in the future?
Based on Steve Howe’s vibrant energy level and creative output, I predict Yes will continue touring and releasing new studio albums for many years to come.
What are your earliest memories of progressive rock, and how did it shape your musical preferences?
My earliest experiences listening to progressive rock did include Yes. Metaphorically, I’ve always understood that such a listening experience was more like haute cuisine, with its many fine courses, and much less like the instant gratification of pop music, which can be compared more to fast food. Don’t get me wrong, some pop music has real merit, but in my honest opinion, nothing beats the rewarding experience of listening to progressive music.
Reflecting on your extensive career, can you share your memories of your first and latest prog gigs and how they influenced you?
Being younger, relative to those who were actually present during the emergence of prog, my first experiences were more of the 80’s era of Rush and Yes. In more recent years, especially when Yes was involved with Cruise to the Edge, I’ve witnessed live a lot of current and classic prog bands, my favorite being Steve Hackett doing his Genesis revisitation. The cruise was always an inspiring experience for me as it allowed opportunities of meeting so many great progressive musicians and by my being exposed to a plethora of amazing music.
How does being part of Arc of Life differ from your role in YES, and what creative influences do you explore within this side project?
Billy and I share more of the lead vocal role in Arc of Life and there’s definitely a spirit of exploring other avenues to Yes. This is strongly encouraged by the fact that, despite being three parts Yes with Davison, Sherwood and Schellen, so much fresh and unique energy is supplied by the creative perspectives of David Kerzner and Jimi Haun.
What do you consider the most important piece of prog music, and how has it influenced your approach to your role in YES?
I’ve really discovered much of my self style and skills as an interpreter through the process of lovingly learning and passionately performing the masterpiece, ‘Close to the Edge’. The same holds true for so much of Yes’ back catalog, but especially that entire record.
With your rich history with YES and the band’s diverse discography, are there any lesser-known tracks that you feel deserve more recognition or that you personally enjoy bringing to the forefront during live performances?
I really enjoyed performing last year our version of, ‘On the Silent Wings of Freedom’. As a deeper cut originally, I wasn’t exactly sure how it would go over, but it was well received and a blast to perform. Doing sections of The Remembering from ‘Tales’ has been a real thrill to play.
Side 2 hasn’t been performed before audiences since ’74. It’s rewarding to look out on audiences and watch their reactions hearing for the first again this music of their youth. Personally it’s a great feeling knowing I’m helping through music to bring so much joy to people.
Can you provide any insights into YES’s upcoming plans, and what can we expect from the band in the near future?
I suspect fans can expect to see us perform live and continue releasing new albums for many years to come. In both these aspects we see a lot of interesting concepts and opportunities coming into view. The creative future of Yes looks bright!
