YES announce 24th studio album ‘Aurora’

YES, who is Steve Howe, Geoff Downes, Jon Davison, Billy Sherwood & Jay Schellen, are proud to announce their 24th studio album ‘Aurora’ will be released on the 12th June 2026 via InsideOutMusic/Sony Music.

Steve Howe: “Making this record was joyful, a chance to play, explore and give everything to the music. It’s always been about collaboration, somebody can write a song, but until everybody puts their contribution in it isn’t really a YES song. We’re not trying to echo the past; we’re carrying the spirit of YES forward and turning it into something new.”

The band are also launching the first single from the album, and you can watch the beautiful animated video for the title track, created by Matt Hutchings (Greg Lake, Oasis, Iron Maiden).

 
‘Aurora’ will be available as a Limited Deluxe 180g Light Green 2LP+2CD+Blu-ray Artbook & Poster, as well as a Ltd Deluxe 2CD+Blu-ray Artbook, both featuring the stunning artwork of Roger Dean and Freya Dean, as well as a bonus disc of instrumentals, and a blu-ray featuring Dolby Atmos, 5.1 Surround Sound & 24bit stereo mixes (by Curtis Schwartz). The album is also available as a Gatefold 180g 2LP + LP-booklet, Special Edition CD Digipak & as Digital Album.

Available exclusively in the band’s official store: Aurora 2xLP on grape-colored vinyl, housed in a gatefold sleeve. Includes a numbered certificate of authenticity. Strictly limited to 500 copies worldwide. Visit the store now to shop this release, additional variants, and exclusive merchandise.

Aurora Tracklisting

1. Aurora (07:27)
2. Turnaround Situation (05:50)
3. Love Lies Dreaming (06:24)
4. Countermovement (13:48)
5. Ariadne (06:18)
6. All Hands on Deck (03:04)
7. Outside the Box (04:20)
8. Emotional Intelligence (03:30)
9. Jambustin’ (Bonus Track) (04:24)
10. Watching the River Roll (Bonus Track) (04:42)

When YES first began sketching out ideas for what would become ‘Aurora’, the process was loose and exploratory. There was no preconceived concept at the start, just a collection of musical fragments that gradually began to find one another and take form. Among these early sketches was a piece titled “Aurora,” and it quickly became clear that the name carried certain gravity. It suggested light, emergence, and a sense of vastness, qualities that resonated deeply with the band.

Jon Davison: “The title immediately resonated with Steve Howe and sparked visual inspiration for artist Roger Dean, setting a conceptual tone that would guide the project.”

Work on ‘Aurora’ began almost as soon as the ‘Classic Tales of YES’ tour ended in 2024. The idea of a new album surfaced quickly and with the label’s encouragement, the band had the time to develop material organically. Rather than gathering in a single studio for months, they embraced a modern workflow; ideas were born in home studios, shaped independently, and then woven together through constant collaboration. Downes and Howe often acted as the central creative axis, with Howe, as producer, serving as the point through which all ideas eventually flowed.

Across ‘Aurora’, each track carries its own character. Some echo the classic YES approach, others push into new territory, but together they form a cohesive whole that honours the band’s heritage while embracing forward motion. With their 24th studio album, YES demonstrate not just longevity, but a sustained curiosity, a desire to keep exploring, keep refining and keep discovering their
capacity to create.

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Expanded and Remastered edition of recordings from 2010 recording sessions available 2LP and a 2CD Deluxe Edition

In Stores April 24
Preorder Now: https://mercury-studios.lnk.to/eYQTpbMB

YES revisit their 2019 4 song mini-album From A Page with this expanded 15-track double album, featuring the original 4 songs alongside alternate takes & demos of songs written during these sessions, many of which would appear on the band’s subsequent album Fly From Here.

In 2010, after a last-minute show in Zacatecas, Mexico, the band (Chris Squire, Steve Howe, Alan White, Benoit David & Oliver Wakeman) met up in Phoenix, Arizona to begin writing for the next YES album. This two week session would bear fruit to the 4 released songs in addition to “Into the Storm”, “Hour of Need” & “The Man You Always Wanted Me To Be”, all of which would appear on the Fly From Here album featuring Geoff Downes after Wakeman departed during the recording sessions.

Overseen by Oliver Wakeman, and mixed and remastered by Karl Groom, this expanded and remastered edition of From A Page incorporates the original 4 songs, along with alternate keyboard versions of 3 songs from Fly From Here, featuring Oliver Wakeman’s keyboard parts from the original writing sessions replacing the keyboard parts added by Geoff. Disc 1 also features the studio version of the Chris Squire-written song “Aliens”, which was played during the 2008 ‘In The Present’ tour, to create the album which was envisioned prior to Trevor Horns arrival.

Disc 2 includes demo versions of many of the songs, including “Updraft”, which became the basis for the ‘Army of Angels’ section of “Into The Storm”, “Don’t Take No For An Answer”, which was not on the original album but worked on during the sessions, along with an acoustic alternative version of “Words on a Page” and the single mix of “To The Moment”, which was previously only available on the original vinyl.

From A Page will be available as a 2CD box set and 2LP. Featuring artwork from Roger Dean, the box set includes 2CDs, booklet with expanded liner notes by Oliver Wakeman, a fold out poster and 5 art cards, packaged in a clamshell box. The double LP features the audio pressed on two 180-gram, half speed mastered vinyl, packaged in a gatefold sleeve showcasing the majestic artwork Roger Dean designed for this album.

From A Page Tracklistings

Oliver Wakeman has scheduled UK & European performances in 2026 for his “From A Page Tour”, in which he will be performing YES and selected solo works. Find out more at: https://www.oliverwakeman.co.uk/concerts

UK April 2026 – “The From A Page” Tour

(An evening of YES and original works)

UK & European November 2026 – “The From A Page” Tour

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The Fragile Tour 2026

YES Receive Stunnning Reviews from USA leg of the FRAGILE tour, which they bring to the UK in April and May 2026.

“YES, quite possibly the most important Prog Rock originators and granddaddies of the genre, delivered deep cuts and their groundbreaking classic album, “Fragile,” in its glorious, delightfully indulgent, layered, and ambitious grandiosity tonight.” – Sonic Nation, 11/10/25

“Prog-rock stalwarts YES took the stage…bringing new energy to their classic sound.” – Danielle Modica, NYS Music, 10/9/25

“Truly prog rock at its finest, if I do say so myself. They’ve still got the groove, the intensity, and the mythicality that established them as such a unique act over 50 years ago.” – Rock DNA Magazine – 5 stars – 5/10/25

Progressive Rock legends, YES, recently returned from the USA where they performed 31 shows on their Fragile Tour across the country. They hit the road in the UK once more for a 9-date trek across the country starting on 22nd April at the Royal Concert Hall in Glasgow and ending with a two-night run at the prestigious Palladium in London on 3rd and 4th May.

The tour will see YES performing their 1971 classic album, ‘Fragile’, in its entirety, including such timeless songs as ‘Heart of the Sunrise’, ‘South Side of the Sky’ and the much loved ‘Roundabout’ as well as a selection of songs from right across their illustrious catalogue from their legendary 70`s releases right up to their current album, ‘Mirror To the Sky.’

‘Fragile’ was the fourth album by YES cracking the Top 10 in the UK in 1971 achieving Platinum status along the way and was the first to feature keyboardist Rick Wakeman. The single, ‘Roundabout’ was a Top 20 hit in the States with the album breaking into the Top 5 on the Billboard chart receiving a Double Platinum certification in the process.

Steve Howe: “After The Yes Album, everything seemed to align. With Eddie Offord co-producing, and each of us contributing solo pieces, Fragile became a bold statement of creativity. It was Bill Bruford’s idea to include individual showcases — it was a bit oddball, but it captured the spirit of the time.”

Each show will feature a gallery of work by esteemed artist, Roger Dean, whose paintings have graced the covers of many of YES albums over the years. ‘Fragile’ was the first YES album to feature Dean`s iconic artwork.

The current line-up of YES features Steve Howe, whose association with YES began in 1970, along with Geoff Downes, a member of the 1980 ‘Drama’ era line-up. Jon Davison has been lead vocalist in YES since 2012 while bassist, Billy Sherwood, who was hand-picked by original bassist Chris Squire, has been involved with YES since 1990’s. Jay Schellen, who worked closely with Alan White on drums, completes the line-up.

Steve Howe: “We’re all looking forward to the UK dates and will be presenting an intriguing first set then all of ‘Fragile’, in its entirety then a slight diversion before our usual final encore. See you all then”

Tickets are on sale now at yesworld.com/live

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For over fifty years, YES has stood at the forefront of rock, defined by their unmatched craftsmanship, creativity, and innovation creating symphonic masterpieces that continue to inspire. On January 23, 2026 Mercury Studios is proud to release YES Symphonic Live an outstanding 14-song live collection filmed in high definition. Vocalist Jon Anderson, bassist Chris Squire, lead guitarist Steve Howe and drummer Alan White recreated the dramatic intensity of their 2001 album Magnification, the first Yes album without keyboards and the last YES album with Anderson.

Touring to support their symphonic album Magnification, they hit the road in 2001 with a new approach to their live set. They called in the help of the European Festival Orchestra, conducted by Wilhelm Keitel, to add lush new textures to their live set, essentially bringing the spirit of their new album to life on the stage. Not only did they play tracks from Magnification, but re-imagined interpretations of their timeless hits. Classics such as “Owner Of A Lonely Heart,” “Long Distance Runaround” and “I’ve Seen All Good People” have never sounded so grand.

Previously released as a 2DVD set and Blu-ray, Symphonic Live highlights the expansive nature of YES’ music backed with a full symphony orchestra. The special edition reissue of Symphonic Live is packaged in a CD-sized clamshell box including the Blu-ray and 2CDs, each housed in their own slipcase, along with a booklet, fold out poster and 5 art cards.

The 4LP is pressed on 180-gram vinyl and mastered at half-speed. The nearly half-hour long epic “Ritual (Nous Sommes du Soleil)” is featured on vinyl for the first time. Symphonic Live features 7 sides of music, along with an etching on the B-side of LP4. Extras on Symphonic Live Blu-ray include the promotional video for “Don’t Go” and a 30-minute documentary, “Dreamtime.” 

Constantly redefining the definition of progressive rock, YES’ Symphonic Live brings a much bigger sound to their already stunning catalogue.

When pre-ordering from the Offical YES Store, once either format of Symphonic Live is added to your cart, additional discounts (30–50% off) on a wide range of select YES merchandise will be automatically unlocked.

YES Symphonic Live Tracklisting

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12CD/2LP/Blu-ray Boxed Set Includes Newly Remastered 1973 Album Plus Unreleased Studio and Live Recordings

Steven Wilson Provides New Mixes, Including Dolby Atmos

One of the most ambitious albums in rock history, YES’ Tales from Topographic Oceans arrives February 6 from Rhino as a Super Deluxe Edition boxed set.

The massive collection spans 12 CDs, 2 LPs, and a Blu-ray and features a newly remastered version of the original double album on both CD and vinyl; rarities; previously unreleased studio and live recordings; and several new mixes by Steven Wilson, including a Dolby Atmos version.

The collection is available to pre-order HERE. An exclusive lithograph signed by YES’ legendary album cover artist, Roger Dean, is offered as a gift-with-purchase from Rhino.com.

To preview the set, the single edit for “The Revealing Science Of God (Dance Of The Dawn)” is out digitally today. Listen HERE.

The origins behind Tales from Topographic Oceans trace back to a footnote in Paramahansa Yogananda’s Autobiography of a Yogi, which inspired Jon Anderson to imagine a four-part musical journey through ancient Hindu scriptures. That concept took shape across four side-long compositions: “The Revealing Science Of God (Dance of the Dawn),” “The Remembering (High the Memory),” “The Ancient (Giants Under the Sun),” and “Ritual (Nous Sommes Du Soleil).”

To capture the album’s structural and spiritual ambition, Anderson (vocals), Steve Howe (guitar), Chris Squire (bass), Rick Wakeman (keyboards), and Alan White (drums) worked with longtime producer Eddy Offord at London’s Morgan Studios, using Britain’s first 24-track console. Released December 7, 1973, Tales from Topographic Oceans topped the U.K. album chart and reached #6 in the U.S., where it earned a Gold certification.

The new Super Deluxe Edition reveals deeper dimensions of the project with previously unreleased in-progress versions of all four album tracks, providing rare insight into the creation of YES’ most audacious work.

Official Store Merch & Bundle

Super Deluxe Edition Ultimate Bundle

Super Deluxe Edition

Topographic Balloon Slipmat

Raglan Shirt

The set’s live material was recorded early in the tour for Tales and includes previously unreleased performances of all four album tracks, along with earlier favorites “And You And I” and “Close To The Edge.” The shows include Zürich (April 21, 1974), Manchester (November 28, 1973), and Cardiff (December 1, 1973).

When the album came out, it took time for some fans and critics to catch up with the band, as writer Syd Schwartz of Jazz & Coffee recalls in the set’s liner notes. “Consensus was never the point,” he says. “Tales from Topographic Oceans will continue to be debated, dismissed, defended, and rediscovered. Its resistance to easy categorization is not a failure—it’s the reason it endures. It’s a vast, unknowable ocean of sound and spirit. And it still hasn’t finished revealing itself.”

Rhino Store Signed Lithograph Bundle

Schwartz also notes the album would be a turning point for the future Rock and Roll Hall of Fame® inductees and GRAMMY® winners: “Without Tales, there’s no Relayer. No pivot to leaner, sharper structures in the later ’70s. No map gets drawn without first pushing the edges of the known world — and Tales is where YES did exactly that.”

Tales From Topographic Oceans (Super Deluxe Edition)

Track Listing

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For more than 50 years, YES has created some of the most groundbreaking music in rock history—and the accompanying visuals have been just as iconic. From Roger Dean’s otherworldly album covers to the band’s breathtaking stage productions, the artwork and design have become inseparable from the music itself. As a YES fan, you know the thrill of discovering a rare piece of the band’s intricate and fascinating history—and now it’s all been brought together in one place.

Yesstuff is a new book series giving fans a fresh chance to celebrate this incredible, ongoing legacy. Many of these treasured items, shared directly from a global network of avid collectors, have never been widely seen before. The project is curated by Douglas and Glenn Gottlieb, the Gottlieb Bros. — photographers, designers, and archivists who have worked alongside YES for almost four decades. They have meticulously gathered these exquisite pieces to create a visual archive, a collector’s dream, and a unique historical document for every fan.

A Story That Demands a Series

The Gottlieb Bros. explain that the band’s legacy is too vast for just one book. This series is a celebration of YES’ enduring artistry, told both through traditional biography and the rare items that have accompanied the band’s journey for over 50 years.

“YES are unique in all of music,” the brothers share. “Their music is legendary, and with Roger Dean, they also established an iconic visual style. This imbues these items with a singular aesthetic, making them incredibly desirable and collectible. The story is complex, full of Drama, twists and turns, and a relentless Quest for excellence. We needed a full series of books just to scratch the surface.”

A YES Time Machine

The curators note that Yesstuff is more than a memorabilia collection — it’s like time-traveling through the history of music that has become the soundtrack to so many lives. “YES has a visual mythology as compelling as their sound,” the Gottliebs explain. Each book serves as a portal to a different part of that world, offering a detailed and immersive experience.

Yesstuff Volume 1: A Compendium of YES Tour Books & Concert Programs

This comprehensive volume explores every official and unofficial tour book the band ever produced — from the humble programs of the 1960s to the incredible 148-page YES50 tour book, and continuing right up to and including the YES Fragile 2025 book—it’s a journey packed with over 300 rare images and insightful historical commentary across more than 250 pages. You can trace the evolution of the band’s live presentation, one tour at a time. The Gottliebs have been writing, photographing, and producing these books since the 1980s, offering a unique, insider perspective on these cherished collectibles.

The first official YES tour book was created for the Fragile tour, described here in a spread from Yesstuff Volume 1: A Compendium of YES Tour Books & Concert Programs.

An unofficial YES tour program created for the Fragile tour in the UK.

The YES Fragile 2025 tour book, on sale at concerts and from the YES official online store, shown here in Yesstuff Volume 1: A Compendium of YES Tour Books & Concert Programs.

Get your copy of Yesstuff Volume 1: A Compendium of YES Tour Books & Concert Programs here.

Yesstuff Volume 2: A Compendium of YES Concert Posters

This book is a detailed ride through rock history, unfolding venue by venue and city by city. It features stunning, high-resolution scans of posters that once lined venue walls and telephone poles. Many of these pieces are now prized collectibles that can sell for hundreds or even thousands of dollars at auction. With over 300 images across 228 pages, this volume preserves a vital and ephemeral part of the concert-going experience. Posters are scanned at actual size and full resolution, resulting in massive images with files of hundreds of gigabytes and incredible clarity.

Posters for YES concerts in 1970 shown on pages from Yesstuff Volume 2: A Compendium of YES Concert Posters.

A spread from Yesstuff Volume 2 features YES first ever live performance in support of Fragile, and was also the live the debut of keyboard player Rick Wakeman. The facing page shows a series of posters utilizing artist Bob Lawrie’s work.

Posters promoting YES‘ 2016 “Album Series” concerts from Yesstuff Volume 2.

Get your copy of Yesstuff Volume 2: A Compendium of YES Concert Posters here

Yesstuff Volume 3: A Compendium of YES 45 rpm Picture Sleeve Singles

Embark on a colorful, globe-trotting tour through a nearly lost format. This volume features rare and beautiful picture sleeves from Europe, Asia, South America, and beyond, showcasing unique regional designs and fascinating artistic experimentation. Discover sleeves that were printed in limited quantities and never distributed outside their home countries. This book contains more than 400 images across nearly 200 pages, documenting a unique facet of the band’s global reach.

The German picture sleeve 45 rpm record for YES‘ “Looking Around”, backed with “Every Little Thing” shown on pages from Yesstuff Volume 3: A Compendium of YES 45 rpm Picture Sleeve Singles.

YES‘ “Roundabout”, backed with “Long Distance Runaround” from Japan, in a spread from Yesstuff Volume 3.

YES‘ “Lift Me Up” from Spain shown on pages from Yesstuff Volume 3.

Get your copy of Yesstuff Volume 3: A Compendium of YES 45 rpm Picture Sleeve Singles here.

The Ultimate Collection for Every Fan

Whether you are a lifelong collector or just discovering the band’s incredible legacy, Yesstuff offers instant access to this rich history. These three full-color volumes bring you an extensive collection of artifacts that are unobtainable anywhere else.
This is the complete YES story from the very beginnings right up to present day, impeccably presented by people who love this music as much as you do.

The first three volumes of the Yesstuff series are available now exclusively on Amazon.

Additional Books Are In the Works

Visit gottliebbros.com to stay up to date on the next volumes of Yesstuff and to share your knowledge and details of rare collectibles with the global YES fan community.

The post YESSTUFF: The Ultimate YES Collection – A Visual History appeared first on Yesworld.

YES Announce “The Fragile Tour 2025, The Album Series”

Band To Perform Their Iconic ‘Fragile’ Album In Its Entirety Along With Classic Cuts

The U.S. Tour Gets Underway October 1

YES — who are Steve Howe (guitars, vocals), Geoff Downes (keyboards), Jon Davison (vocals, acoustic guitar), Billy Sherwood (bass guitar, vocals), and Jay Schellen (drums)—have today (June 10) announced their “The Fragile Tour 2025, The Album Series” set for this fall in the U.S. This “evening with YES” trek launches October 1 in Wallingford, CT and wraps November 16 in Reno, NV. Tickets go on sale June 13. See below for ticketing information.

At these shows, the progressive rock titans will perform their iconic Fragile album in its entirety along with classics cuts from their legendary body of work. The multi-platinum album features their signature songs “Roundabout,” “Long Distance Runaround,” and “Heart of the Sunrise.” Fragile, the band’s fourth studio album, was released in the UK in November 1971 and in the US in January 1972. The “Fragile Tour” is regarded as a key moment in YES’ history — it’s when the band became a headline act in the US.

“All the band’s albums had a unique feel and approach,” says Steve Howe. “After ‘The Yes Album,’ so many things came together, with [co-producer] Eddie Offord steering the proceedings. While the band focused on only four main songs with full arrangements, each of us wrote and designed a solo piece, which was Bill [Bruford]’s great idea. It’s fairly ‘odd-ball,’ but we were at the height of our creativity, determined for success.” Howe adds: “It gave us confidence, further than our own in-stock belief, we’d crafted this unusual but noticeable musical twist to rock and what later became prog.”

Fragile also marks the band’s first album to be designed by Roger Dean. He would also design many of YES’ future album covers, the band’s logo, and live stage sets. This striking union of music and design is key in how YES’ sound and vision would be perceived; it also underlined how important artistic visuals were becoming in the rock world. On “The Fragile Tour 2025,” YES will perform in front of a video wall featuring animations of Dean’s art, bringing YES’ art into the 2020s. Roger Dean art will be available in the merch area at all the shows.

“Roger was and is quintessential to the look of YES,” notes Howe. “He’s still creating great paintings and design—he has no competition.”

The Fragile Tour 2025 Dates

Wednesday 01 October, 2025

Toyota Oakdale Theatre
Wallingford, CT

Tickets

 

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Thursday 02 October, 2025

Mayo PAC
Morristown, NJ

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Saturday 04 October, 2025

Hard Rock Live at Etess Arena
Atlantic City, NJ

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Sunday 05 October, 2025

The Capitol Theatre
Port Chester, NY

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Tuesday 07 October, 2025

The Paramount
Huntington, NY

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Wednesday 08 October, 2025

Keswick Theatre
Glenside, PA

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Thursday 09 October, 2025

Keswick Theatre
Glenside, PA

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Saturday 11 October, 2025

Appell Center for the Performing Arts
York, PA

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Sunday 12 October, 2025

Penn’s Peak
Jim Thorpe, PA

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Tuesday 14 October, 2025

Warner Theatre
Washington, DC

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Thursday 16 October, 2025

Carolina Theatre
Durham, NC

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Saturday 18 October, 2025

Ruth Eckerd Hall
Clearwater, FL

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Sunday 19 October, 2025

Broward Center, Au-Rene Theater
Fort Lauderdale, FL

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Tuesday 21 October, 2025

Sharon L. Morse Performing Arts Center
The Villages, FL

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Wednesday 22 October, 2025

Charleston, Music Hall
Charleston, SC

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Friday 24 October, 2025

Coca-Cola Roxy
Atlanta, GA

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Saturday 25 October, 2025

Graceland Soundstage
Memphis, TN

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Monday 27 October, 2025

The Louisville Palace
Louisville, KY

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Tuesday 28 October, 2025

Taft Theatre
Cincinnati, OH

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Thursday 30 October, 2025

Murat Theatre at Old National Centre
Indianapolis, IN

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Friday 31 October, 2025

Des Plaines Theatre
Des Plaines, IL

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Saturday 01 November, 2025

The Arcada Theatre
St Charles, IL

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Monday 03 November, 2025

Orpheum Theater
Madison, WI

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Tuesday 04 November, 2025

The Riverside Theater
Milwaukee, WI

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Thursday 06 November, 2025

Stifel Theatre
St Louis, MO

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Friday 07 November, 2025

Steelhouse Omaha
Omaha, NE

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Sunday 09 November, 2025

Paramount Theatre
Denver, CO

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Tuesday 11 November, 2025

Mesa Arts Center
Mesa, AZ

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Thursday 13 November, 2025

YouTube Theater
Inglewood, CA

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Friday 14 November, 2025

Viejas Casino Concert Stage
Alpine, CA

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Sunday 16 November, 2025

The Grand Sierra Resort
Reno, NV

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VIP Packages are available from the links above.

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5CD/LP/BLU-RAY SET FEATURES A NEWLY REMASTERED VERSION OF THE PLATINUM-CERTIFIED RECORD PLUS PREVIOUSLY UNRELEASED RARITIES

STEVEN WILSON’S 2025 ALBUM MIXES IN DOLBY ATMOS & 5.1 MIX DTS-HD MA INCLUDED ON BLU-RAY DISC
PRE-ORDER/PRE-SAVE HERE

Rock and Roll Hall of Fame® Inductees and GRAMMY® Award-winning progressive rock pioneers YES unveil a robust new Super Deluxe Edition of their massively influential classic fifth full-length album, Close to the Edge, on March 7, 2025. This definitive version comprises 5 CDs, 1 LP, and a Blu-ray. A newly remastered version of the original Close to the Edge graces both CD-1 and LP; the Blu-ray houses 2025 mixes by Steven Wilson in Dolby ATMOS and 5.1 Mix DTS-HD MA for the very first time; Wilson’s remix and instrumentals also adorn CD-2. An unearthed bevy of rare and previously unreleased recordings for the Super Deluxe Edition is featured on disc 3, and a 1972 live show on discs 4 and 5.

Pre-order/Pre-save HERE.

The Rarities disc features rough mixes, alternate versions, and edits of staple tracks from Close to the Edge, offering another perspective on this opus. Three previously unreleased Steven Wilson tracks—“Siberian Khatru,” “Cord of Life,” and “Total Mass Retain”—grace this collection. Meanwhile, the Live at the Rainbow, London, England, 12/16/72 recording spans two discs and captures the group in their prime while on tour supporting the album.

Setting the stage, the band shares today an official release of the transcending performance of “Siberian Khatru (Live at The Rainbow, London, England, 12/16/72)” as a prelude to the Super Deluxe Edition.

The collection boasts liner notes penned by Syd Schwartz of Jazz & Coffee as he dives into the process and story behind the seminal Close to the Edge, reflecting the spirit at the heart of “the ultimate YES album.”

Guitarist Steve Howe shares that “Close To The Edge is YES‘ most miraculous album; it has our first 20-minute epic, the template for many large-scale tracks that followed, accompanied by two ten-minute tracks, similarly recorded with the highest musical and technical integrity. Recording Fragile was an experience that enabled us to make Close To The Edge Yes’s career-defining album.”

Steve Howe [guitarist], Jon Anderson [lead vocals], Chris Squire [bass], Rick Wakeman [keys, piano, organ], and Bill Bruford [drums, percussion] entered Advision in London in June 1972 to bring Close To The Edge to life alongside trusted cohort and longtime producer Eddy Offord. Together, they conjured magic with the likes of the multi-part progressive suites “Close to the Edge” and “And You and I” as well as “Siberian Khatru.” The record first landed on September 8, 1972, and vaulted into the Top 3 of the Billboard 200, going RIAA platinum. Indicative of its impact and influence, the LP earned a coveted spot on Rolling Stone’s “500 Greatest Albums of All Time.” Pitchfork rated it a rare “9.0,” hailing it as “The Band’s crowning achievement.”

TRACKLISTING

YES – Close to the Edge (Super Deluxe Edition)

The post Close To The Edge – Super Deluxe Edition appeared first on Yesworld.

It’s hard to put in words how it feels to wake up one day to hear that a person who I thought was a friend has brought not only an utterly fictitious, but also, a defamatory case against me.

While my initial reaction is to say nothing in the face of these blatant lies and this frivolous lawsuit, I feel I must address the personal slander that has been included within it as I have been so deeply hurt, as have my loved ones. I would also like to express a sincere thank you for the immense support I have received both online, and personally, since this hit the press.

When we were told about this slanderous and fictitous claim, I simply couldn’t believe it, how could a friend make something like this up, so I wrote to Riz and his lawyer in good faith, and tried to show them that they had no case – and that I had evidence to support a very different story. Even in light of this dishonest claim, for the sake of the long friendship, we urged Mr Caldwell to go back to his client and get the full and truthful picture of these 12 years, and then reassess the (lack of) evidence.

I also included some notes that we made about his musicologist’s report – a report that is seriously flawed and uses deceptive methods to force a similarity that is not there. I wrote to them in the sincere hope that I could save my friend from the actual facts becoming known, and I also knew that if they made public these lies it could potentially be defamatory, and I wanted to protect him from a countersuit. Our lawyer tells me that legal costs can be claimed in frivolous and vexatious claims and I genuinely wanted to spare my friend from something that could be life-changing should we win that claim.

His lawyer, and Riz, refused to address it, even when our manager, Martin, asked them to reply. Instead of a response we received threatening emails.

And then we awoke to read in Rolling Stone that the lawsuit had been issued. It seems that the publicity of the case was more important than having any evidence or facts, and as the slander within is now being republished, I have been compelled to reply, and do so with the blessing of my fellow bandmates.

For the record I did not write ‘Dare to Know’. As anyone who studies the YES albums will know meticulous care is taken on every song to correctly credit the songwriters. On ‘The Quest’, I have credits on 6 of 11 songs, hardly the “nearly every other song” that is incorrectly stated in their claim to try and support their fiction.

Nor did I ever hear the “musical composition” supposedly called ‘Reunion’, or see the indie film ‘A Winter Rose’. Riz sent me a 2min trailer for ‘A Winter Rose’, and out of politeness I congratulated him, but had no interest in seeing the film. Frankly I was turned off by Riz’s ‘filmmaking’ after his first release was borderline pornographic in nature. I’m not even sure if ‘A Winter Rose’ had a theatrical release after the premiere, which I most certainly did not attend.

It is also a complete fabrication to suggest that I discussed the music from the film with Riz. I never saw the film. The ‘composition’ isn’t even on the soundtrack album, so I couldn’t have even stumbled across it by accident.

I can also categorically confirm I have never heard this piece of music before the film was released – our time as ‘bandmates’ lasted only a few months when we were kids.

Contrary to the narrative that has been told by Riz, Taylor and I were not founding members of his band ‘Anyone’. Riz, Taylor and I met in 1992, when Taylor and I were 20 and 21, and Riz was 26, and formed a band that Riz called ‘Blash Meth’.

I left before the band became ‘Sylvia’ with a different line-up, and it was 2001 before ‘Anyone’, again with a different line-up, made an album. Soon after our lives began their very different directions – Taylor joined Sass Jordan in 1994, then Alanis Morrisette, and then Foo Fighters, and I moved to Seattle and joined ‘Sky Cries Mary’ in 1993, and then eventually joined, as Riz described it, “my favourite band since long before I met you”, YES.

Any suggestion that I might have heard this generic melody when we were younger, let alone thought it was worthy of YES, is utterly absurd.

The first time I heard it was when Riz’s lawyer sent it to us, although bizarrely he wasn’t able to send ‘Reunion’, and only sent a link to the 2019 Director’s Cut of his film on Amazon, with a timecode. We did ask the lawyer for a copy of the actual composition, but it was not provided. We note that Riz’s company has now put the 2019 film clip up on YouTube.

As I’m sure many have now heard, this generic melody is common and predictable with origins in traditional music dating as far back as the Renaissance era. Numerous examples have been made, it is almost identical to the opening guitar riff in Santana’s ‘Black Magic Woman’, or to traditional descending melodies such as Tommaso Giordani’s ‘Caro Mio Ben’ from 1782. The list is endless. Put simply, this is a basic sequence that can be found in hundreds of compositions, and contrary to their analysis by Dr Lustig, we believe confirms how the similarity has occurred by chance alone.

With regard to Dr Lustig, we also ran our own comparison on his website’s ‘copyright checker tool’ which gave us a significantly lower percentage rating, absolutely nowhere near his own ‘expert report’! Make of that what you will.

We are also concerned that he failed to address ‘prior art’ in his analysis. It is our belief that this has been purposefully omitted, as inclusion of it would rule out any infringement, as it would bring in the fact that this is simply a sequence that can be found in numerous pieces of music over centuries.

See Appendix 1 for more details.

As for the claim of ‘stealing’, any suggestion of this is slander, and I will defend my name on this both in terms of this claim, and any republication. I take great pride in the challenge of song-writing. The rewarding part of it for me is proving to myself that I can do it. I therefore could never live with myself or have any satisfaction from the process if I was to cheat my way through it.

With the honored responsibility I’ve been tasked with to be a prominent songwriter for the band, a band known for its rich complexity of music, why on earth would I ever jeopardize all that by stealing a simple melody so commonplace? Would I then be able to convince the great Steve Howe, who helped craft YES’ finest music, to steal this melody?

I did not steal this note sequence which is now called ‘Reunion’ (if it’s actually called that, it appears to be simply a section of film score), but based on Riz’s interactions with me, it is utterly inconceivable that he could have believed this for more than three years since the release of ‘Dare to Know’.

Riz has always followed my career with YES closely, and in Sept 2021 he contacted me about our new album, and in Oct 2021, he wrote telling me how much he loved ‘The Quest’, apparently, he felt it was ‘def your best work yet’. And since then, even until August this year, Riz has written to me some 50 times or so, to which I have always replied as a friend. He even, as a guest of YES, attended the Riverside show in Oct 2022 where the band performed ‘Dare To Know’. Afterward he spent a pleasant time with me and my wife backstage.

It’s also questionable, when you review the evidence, that his lawsuit has manipulated the date that he says he discovered this to January 2022 – it was October 2021, and as he said on a facebook post on Nov 15, 2024 (subsequently deleted, but we have a record), he “instantly” recognized it.

I’ll be honest, it has been really hard reading through the emails, revisiting how I tried to help his career over and over, but at the same time I can hear what I believe to be his frustration that his personal success does not match his own expectations. As Riz said in his email in January this year, ”pinch yourself Juano, you became the lead singer of the greatest band that ever existed”. This comment I previously thought friendly, but in the current light, it has taken on a much darker hue.

What has resonated with me in reading the evidence, and I would note that there is only so much I can share as certain evidence needs to be retained should this frivolous lawsuit continue, is just how many times over the years Riz has attempted to work with YES, be it as Producer, Remixer, Remasterer, or as a client of our manager, or getting signed to our record label. Each attempt has led to rejection.

During 2022, 2023, and even this year, Riz asked me on at least five occasions to put him in touch with our manager, Martin Darvill, which I did. He also asked me if I could do anything to help him get a record deal with Inside Out (both of which are noted in his lawsuit). On each occasion I did what I could to help my friend, but each time he was rejected. I have an email in July 2023 where he tells me that no one has been interested, and he has been “shut down” as he titled it, going on to say “you’re very fortunate to be in a legacy band”.

He also released two songs that I recorded vocals for in 2019 on two of his albums in 2021 and 2023, abundantly using my name, and that of YES, in his press releases. While his narrative was never quite true, I remained willing to help my friend wherever possible.

In April this year he contacted me to share his exciting news about “a big move he was making”, that involved two films he was going to make for Netflix about his band ‘Anyone’, and was, as he said “in the bag”. He continued “my attorney Larry assures me that this will be the thing that garners the major musical success that has thus far eluded me”. Riz asked me to appear in both the documentary and the concert film. Finally, as recent as August this year, he wrote to ask me again to help his career, by spreading the word about his talents, and mentioned that he was working on a new album.

And all this was done while he supposedly thought I’d stolen a melody from him? If it wasn’t so heart-breaking it would be funny.

The truth, and the evidence we have to support it, show the real story, and I can only imagine what happened between August this year, and now, for him to go down such a road and invent his claim. I repeat, I did not steal this sequence, and there was no infringement.

This picture of Riz, hoping to work with YES, and, I’m sorry to say, failing, goes back to when I joined the band. While I did agree to put him forward as Producer for ‘Heaven and Earth’, I also made it clear to our manager that I didn’t feel he had the right vibe for YES. After he was then unanimously rejected, and following its release, he contacted me to say how much he loved my writing, but he wanted to express his frustration at the mix, and how he could do better. He asked me to get him the files so that he could do his own mix “free of charge just to demonstrate how much better I can make it sound”… And “as an old friend I’m eager to help”. This unsolicited offer was not welcomed by the band and went nowhere.

In 2015 he contacted me to tell me that he felt the critically acclaimed Steven Wilson remix of ‘Relayer’ was so poorly done, that he took upon himself to produce his own remix and asked me to submit it to YES for consideration. He described his version as “superior in every way”, and clearly involved many hours of work, and said he was sure if the band did a comparison that they would “take great pleasure in hearing ‘To Be Over’ how it was finally meant to be”. I eventually had to write and let him know that the band had not given any thought or enthusiasm to it.

Those of you who know me, will also know of my deep friendship with Taylor Hawkins, who I miss terribly, and so wish were here to give me some of his words of wisdom on this sorry situation. I was privy to some of the serious problems that took place over the years between Taylor and Riz, and the breakdown of their relationship, and I’m sorry to find out that Taylor was right.

Not only did Riz email me about working with YES, our manager and our record label, he also sent me congratulations on the catalogue sale to Warner Music Group, wondering if money would trickle to me, and saying “Steve must be stoked”.

I will be talking to our lawyer about the next steps, but Riz and his lawyer have made false and, I believe, defamatory statements about me, statements I know they have no evidence for, and which I can prove are untrue. There appears to be an almost reckless disregard for the truth, and we believe this has possibly been done with the intention of damaging my reputation, one that I have worked very hard to earn over so many years.

I have always shared my love of YES, and the immense privilege I feel to be part of this incredible band, and I am grateful to the fans who have come to accept me over the years, so you can imagine how it feels to have a ‘friend’ and his lawyer, put all that at risk.

Our lawyer described this as a ‘shakedown’, and I can see no better word for it. It is our belief, and perhaps a court will be the only place to demonstrate it, that this claim has arisen due to the last 12 years of rejection by, as Riz calls them, “his favourite band ever”. I wanted to help my friend, and so I did my very best for him, but every attempt that he has made has been met with polite refusal or disinterest.

Rather than me ‘stealing’ this generic piece of music, a piece of music that I have never heard before this lawsuit, it appears that they are trying to ‘steal’ a credit on our album.

In closing it is irrelevant to compare the situation with ‘The Ice Bridge’, that was an error that has been explained, and was resolved like gentlemen. If there had been any truth to this claim by Riz, then we would have done the same thing. There is not. That is why this has not been settled, and why I feel compelled to defend my honour and integrity here today – and in court if necessary.

For now, my hope remains that sense prevails.

Again, I say a deep thank you to all the loving support that surrounds me.

Jon Davison, 18 November 2024

Jon Davison did not write ‘Dare to Know’. I did, and it was based on a theme I’ve been developing since 1973. Early versions can easily be found in our demo and studio recordings from the time and on the internet – some were released on an expanded version of “Tales Of Topographic Oceans” in 2002.

Steve Howe, UK, 21 November 2024.

Appendix 1

Following are our comments on Dr Lustig’s report – we are not musicologists, but even we can see the problems in his methodology, and we have seen similar conclusions on line.

• Although he states that his methodology does not affect the underlying scale degrees in the melodies (footnote 3), his method does affect the actual notes in the melody, and when you correct for this, it shows there are less identical notes than Dr Lustig says.
• The 4-note descending patterns that characterize both themes are sufficiently generic as to be found in a wide variety of music. Known as descending tetrachords, they have been used since the Renaissance era in lamentations and litanies. A clear example can be found in Tommaso Giordani’s ‘Caro Mio Ben’ from 1782 that sounds extremely similar to ‘Reunion’.
• Lustig’s methodology for determining pitch similarity percentage is flawed when one considers that accidentals change the actual pitch of a note. The conclusion of the report will be very different when this flawed methodology is corrected.
• Dr Lustig puts the melodies into ‘scale degrees’. However, a scale degree comparison is an inaccurate method to determine the similarity of two melodies when the modes differ since the two melodies will contain notes of different pitch (as is the case with ‘Reunion’ and ‘Dare To Know’).
• Dr Lustig confirms that ‘Reunion’ is in 3/4 meter, and ‘Dare to Know’ in 4/4, and he then ‘factors out’ meter in his comparison. One cannot simply ‘factor out’ meter in an analysis of rhythmic structure, since the rhythmic structure of a melody is itself informed by the number and distribution of strong and weak beats within the meter. Where the notes of the melody fall in relation to those beats determines the rhythmic character of the melody within the beat structure, and when you include meter, you can see that these two compositions are clearly different. Additionally, the melody of ‘Dare To Know’ has more syncopation as compared to the melody of ‘Reunion’, it has notes that fall on two off-beats, whereas ‘Reunion’ has notes that fall on one off beat.
• Dr Lustig suggests that the unique harmonic progression is similar, however this particular harmonic progression is not unusual at all. Examples that share this sequence include ‘(You Make Me Feel Like) A Natural Woman’ by Carole King, ‘Cinnamon Girl’ By Neil Young, and ‘Don’t Tell Me’ by Madonna.
• In fact, the use of this sequence in ‘Dare To Know’ is more unusual in that it begins on the 4th scale degree, in contrast to ‘Reunion’ and the previous songs listed, which begin on the tonic, or 1st scale degree. Additionally, the melody of ‘Dare To Know’ is harmonized in such a way as to accentuate the 7th scale degree of each chord, resulting in a harmonic progression of 4-note chords or ‘7th chords’ as they are known in music theory. In contrast, the melody of ‘Reunion’ is harmonized in such a way as to accentuate the 3rd scale degree of each chord, and no 7th chords are present in the harmony.

While the analysis put forth by Lustig may appear on paper to show close musical similarity between ‘Reunion’ and ‘Dare To Know’, his methodology is extremely flawed, and a closer inspection reveals that the two songs are actually significantly different in terms of harmony, rhythmic pattern and harmonics. The actual notes and rhythmic structure are sufficiently dissimilar as to make each melody distinguishable from the other. The harmonic sequences, while very common in popular music, are used in different ways such as to make each theme differentiable. The generic 4-note descending motif in each melody could have easily been independently composed, especially considering the other differences highlighted and the musical character of each song.

Therefore, there is no evidence that ‘Dare to Know’ is based directly on ‘Reunion’. Should this meritless action proceed then we will obtain a full musicologist report that we believe will include the above, and a deeper analysis of the flaws in the report by Dr Lustig, further confirming the irrefutable conclusion that ‘Dare to Know’ has nothing to do with ‘Reunion’.

Appendix 2

To those of you interested, check out this ‘Giants under the Sun’ rehearsal from 1973 (formally released as a bonus track in 2003) in particular at 4.59, and ask yourself where Steve more likely had the influence of those 4 note descending patterns.

Appendix 3

This comparison, uploaded by aux pheonix on Soundcloud, demonstrates how Steve Howe has a version of this exact same melody in a 1974 recording (The Ancient).

Here is proof of Steve exploring that very same idea in 1974 and it should be obvious that it’s much more likely the source of this melody.

The guitar part from The Ancient on top of Dare To Know. Dare To Know is panned to the left and The Ancient to the right.

The Ancient was pitched up by 3 semitones to make it match, and the relationship between any of the notes was not edited or adjusted.

The post Jon Davison Statement, November 2024 appeared first on Yesworld.

On Facebook, X and Instagram… You asked… and he answered.
In this Q&A, Billy Sherwood answers questions from YESfans ahead of The Classic Tales of YES Tour 2024 – tickets available now!

#askYES: Billy Sherwood

Lennon Ashton:

Hey Billy! I was wondering if you have a favorite YES song to play on the bass and which one you find to be the greatest challenge.

Billy:

“On The Silent Wings Of Freedom“. We played an edited version of the song on a recent YES tour and it was always so much fun to play. The composition of the bass part was always something I loved. It’s such a soaring and melodic bass line, it moves around the neck of the bass in such an interesting way. There are many great bass parts within the “YES/Squire” legacy but for me personally… “Silent Wings” stands apart from all the rest. The other factor is the sound, I always loved Chris’s sense of exploration, when it came to a bass sound. That track and more songs on that same record, “Tormato“, have some of my all time favorite “Squire” bass sounds. Chris and I would speak about it a lot, mostly me asking questions like, “What device did you use on this or that?“. 

James Muir:

You are currently one of my top influences as a bass player, balancing tightness in the band with a significant level of dynamic and interesting choices of tone. I want to ask how your bass playing for YES developed… Did you come into the band playing in a way that continues your own style progression, or did you at all alter the way you play to suit YES?

I notice that you have a very different way of picking, and take solo spots in songs that are completely new, so I’m curious to know a bit more about your thought process as the bass player in YES.
Thank you all, and please bring this great lineup to Australia!

Billy:

Thank you for the kind words James. I wish you the best on your bass journey!! In answer to the question…

I started playing bass when I was 16, I’d play along to YES records everyday/night. For me it was a great experience, because right out of the gate I began to understand how a bass could have it’s own “voice” within a band. As I began playing “professionally”, so to speak, I brought that line of thinking into the songs we’d play. I’d always try to compose the bass parts in a manner that were as interesting as possible and worked best for the song. This approach was due to Squire and his style. You could say… it charted the course for me, push my own boundaries and look for interesting ways to go about being a bass player. There are many other influences, great bass players I admire, Jaco Pastorious, Greg Lake, John Wetton, Tony Levin, Ray Schulman, Colin Moulding, Sting, Ross Valory, Nathan East, Lee Sklar… and many more. All of those guys found their own voice within the music, they play a huge role in creating the overall “vibe”, if you will, for whatever songs they are playing. This is what I wanted to do. It just so happens that “YES” was my favorite band and so that’s what I focused on the most in my youth, getting my chops together, playing along to records. I guess you can say… “I’ve always played this way“. 

Re: Picking style… The “angle of attack” on the string is key, depending on what type of part is being played. I’ll hold the pick stronger, so it’s a firm to attack the string with force. “Roundabout” for instance, it’s such an articulate part and I dare say a bit tricky, I find myself needing that “pressure”, holding the pick. On the other hand a more gentle piece of music, “Turn Of The Century“, I find myself with the pick almost slipping out of my fingers, this makes it so the gentle “strike” of the string happens. I’d say there’s the extremes, as far as picking goes. I go back and forth between those two extremes all night on stage with YES.

Brauer:

I’m a young fan and aspiring bassist who saw you guys in Greenboro back in October and I wanted to say the show was amazing!
 
Do you have any advice or tricks to singing while you’re while playing guitar/bass? I can do it sometimes while playing guitar but I find it very difficult, especially on bass, and I wondered if any of you had any tips. Thank you!
 
 

Billy:

Thanks Mr. Brauer, glad you enjoyed the show!! As for as playing and singing at the same time goes…
    
I’ve been doing it a long time now and ultimately it’s become second nature. I do however have an approach to putting the two very different worlds of playing and singing together. At the YES rehearsals, I’ll just be playing bass for the first few days, to get a grip on the bass stuff. Then I’ll add the singing, after that it just sort of goes into auto-pilot and “happens” for the lack of a better word. A lot of my bass hero’s were also great singers. I wanted to do that type of thing.

Donald Thompson:

What modern artists (if any) inspire you, and why?
 

Billy:

Hi Donald…
I tend to think in terms of “music” and not so much when it was recorded. Modern, Older etc… It’s all music and so hard to chose a favorite, as there are so many. At present I’ve been listening to Peter Gabriel’s “I/O” and loving it, sounds modern, in the sense of pushing boundaries. Creativity in music inspires me to want to create music. 

Peter Sedge:

This maybe rather a basic question, but how long does it take to set up and be ready for a sound check? Looking forward to seeing you all in Southend!
 

Billy:

Hi Peter…
The amazing crew we have work very hard, they are all gifted in what they do and are part of the YES family. I don’t know the exact amount of time spent, I just know the stage is always “plug and play” by the time we arrive to do our sound check. It’s a lot of work for the guys and we greatly appreciate what they do, so we can do what we do. 

@the_media_man:

What is your favorite song to perform live?
 

Billy:

Hello Media Man….
For me, it was “Silent Wings“. Perhaps it will resurface on a future tour, I’m honored to have played it on a tour and can only hope it happens again.

Stuart Chambers:

When the album Mirror to the Sky was finished, did the band get the same vibe that YES had elevated to the next level?
 

Billy:

I think we took a step forward in a good way. It was very well received by the YES fans and even some nay sayers.

When making a YES record you can’t help but to be standing in the shadows of what’s been before. Great records were recorded. That said… you do your best to push forward with integrity and grace, the rest is what it is. I’m proud of the record, just as I am proud of any YES record I was involved with, which are many at this point, if you include all the live records. Each has a place in the grande scheme of things, each has it’s own destiny within the YES legacy of music. The amazing thing to me and the most inspiring is that YES is pushing into the future. I’m honored to be a part of the journey and have no plans of stopping. Music is the driving force and may the force be with you… always.

@DorukuNoDoruku:

Do you have a single YES-album that has a special place in your heart?
Once more congrats on the Mirror to The Sky album by the way, I enjoyed it a lot!
 

Billy:

Hi DorukuNoDoruku…
The YES “Union” record, while controversial, holds a very special place in my heart. It houses the first ever song I wrote with Chris Squire, that being, “The More We Live – Let Go“. Chris and I wrote many songs together over the decades but that particular song remains the most significant to me, hopefully one day it will be played live at a YESshow.

Jeff Cooper:

Do you write your new material by getting together collectively in the same room or studio … or because of locations is everything done via file sharing these days? How do you feel about each approach and what works best for YES in 2023-2024 etc?
 

Billy:

Hiya Jeff….
Geography plays a big role in how we go about the writing. File sharing is something I’ve grown well accustomed to. We will send ideas around, pieces of music etc… and Steve manages to formulate these ideas into an arrangement and off we go. There’s a sense of trust in what each guy does, which makes everything just flow. 

Simon Malia:

How do you know when a song you’re working on is finished?

Billy:

Hello Simon…
It’s hard to say, except that you know it when you know it. Of course with YES music the writing isn’t restricted into a format where time even matters. So the creativity can take off in directions you never imagined by this idea or that idea. Those are the determining factors as far as when it’s done. It’s a sense of knowing the beginning, middle and end. We all tend to think along those lines and so end up not so much looking at a stop watch, but rather feeling the moments and adjusting accordingly. 

Read more #askYES Q&A’s here.

The CLASSIC TALES OF YES Tour 2024

Hot on the heels of their hugely successful ‘Classic Tales Of Yes’ American Tour, YES, are poised to hit the road in Europe and the UK once more between April and June 2024.

‘The Classic Tales Of Yes Tour’ will see YES mining their rich catalogue to deliver a career spanning set of classics, rarely played vintage cuts and new songs from 1970’s ‘Time and a Word’ right up to ‘Mirror To The Sky’, their 23rd album released last year, together with a special section celebrating the 50th anniversary of their momentous ‘Tales From Topographic Oceans’ opus.

Every show will feature a Roger Dean gallery in the venue’s foyer area. Dean’s masterful artwork of striking other-worldly landscapes has graced classic album covers and posters. Roger is planning to be at each show on the tour, to meet with fans.

2024 Tour Dates:

Tuesday 30 April, 2024

Sagres Campo Pequeno
Lisbon, Portugal
Show rescheduled from 2023, all tickets remain valid.

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Thursday 2 May, 2024

Riviera
Madrid, Spain

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Friday 3 May, 2024

Sala Paral·lel 62
Barcelona, Spain

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Sunday 5 May, 2024

La Nuvola
Rome, Italy

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Monday 6 May, 2024

Teatro Arcimboldi
Milan, Italy

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Wednesday 8 May, 2024

Gran Teatro Geox
Padova, Italy

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Thursday 9 May, 2024

Kongresshaus
Zurich, Switzerland
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Saturday 11 May, 2024

Simm City
Vienna, Austria

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Sunday 12 May, 2024

Theater am Potsdamer Platz
Berlin, Germany

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Tuesday 14 May, 2024

Steintor Variete
Halle, Germany

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Wednesday 15 May, 2024

De Roma
Antwerp, Belgium

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Friday 17 May, 2024

Music Sacrum Theatre
Arnheim, Netherlands
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Saturday 18 May, 2024

Red Box
Mönchengladbach, Germany
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Monday 20 May, 2024

Salle Pleyel
Paris, France
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Tuesday 21 May, 2024

Rockhall
Luxembourg
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Thursday 23 May, 2024

Bridgewater Hall
Manchester
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Friday 24 May, 2024

Glasgow Royal Concert Hall
Glasgow
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Sunday 26 May, 2024

Liverpool Philharmonic Hall
Liverpool
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Tuesday 28 May, 2024

York Barbican
York
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Wednesday 29 May, 2024

Cliffs Pavilion
Southend
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Friday 31 May, 2024

Beacon
Bristol

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Saturday 1 June, 2024

Symphony Hall
Birmingham
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Sunday 2 June, 2024

The Glasshouse International Centre for Music (formerly known as The Sage)
Gateshead
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Tuesday 4 June, 2024

Royal Albert Hall
London

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VIP Tour Package

• Limited Edition Roger Dean Print
• Exclusive YES Coaster Set
• Tote Bag
• Commemorative Tour Laminate
• Limited Availability

VIP Tour Package can be purchased as an upgrade from On Location Live.

Please note the VIP Tour Package does not include a concert ticket. If you do not purchase a concert ticket in addition to this upgrade, you will not be admitted to the event.
 

The post #askYES: Billy Sherwood, April 2024 appeared first on Yesworld.