Walking into Bridgewater Hall, you are greeted with a vast stretch of moons, stars, serpents, clouds and elaborate rock formations. The dreamlike fantasy landscapes of Yes’s record covers, designed by Roger Dean, make up an eye-popping gallery in the foyer. Since the band’s 1971 album, Fragile, Dean’s illustrations have been synonymous with the progressive rock outfit, with his bubble Yes logo covering the chests and backs of a huge percentage of the audience tonight.
As there are no founding members left in the band, Dean’s relationship with Yes stretches further back than any of the musicians on stage tonight, with the exception of guitarist Steve Howe. However, it’s immediately clear the band’s epic legacy is in the hands of careful custodians via Geoff Downes, Jon Davison, Billy Sherwood and Jay Schellen. From the opening Machine Messiah – a multi-headed beast that runs the gauntlet from metal-esque riffs to squealing guitar solo wig-outs to acoustic breakdowns and washes of choral-like keyboards – it sets the mood for an evening filled with sprawling, intricate, occasionally exhausting yet immaculately delivered music.
