Over the course of six decades, Yes has survived more lineup changes than most bands. With more than 20 members and what seems like an endless series of personnel changes, the British progressive rock institution has continually found new ways to go on.
This is the English version of an interview I conducted with Yes vocalist and songwriter Jon Davison about the new Yes album Aurora. The article can be read in Norwegian here.
From the epic masterpieces of the 1970s to the unexpected MTV success of Owner of a Lonely Heart in the 1980s, Yes has repeatedly demonstrated a remarkable ability to reinvent themselves without losing its identity.
When Jon Davison took over as lead vocalist in 2012, he became the third singer to carry on the legacy of the charismatic founder and frontman Jon Anderson (one of the three being Trevor Horn, who also produced Owner of a Lonely Heart and the album 90125). The task Davison took on was anything but simple. Nevertheless, across three studio albums, he has helped guide the band into a new era, not only as a vocalist, but also as a an important songwriter.
Now Yes is set to release their new album Aurora on Friday, June 12. It is the band’s fourth album with Davison behind the microphone and, in this writer’s opinion, the strongest Yes album he has been a part of so far. In this interview, Davison and I discuss the work behind the new record, the challenge of being the voice of one of rock history’s most iconic bands, and how Yes continues to find new energy 60 years after they formed.
Hippie roots and The Beatles
When Jon Davison and I connect to the Zoom meeting scheduled for the interview, I’ve added a new picture for my meeting background. It’s a photo I took of the Aurora Borealis on the beach a ten-minute walk from where I live.
– I thought that would a good intro for the interview because the title track Aurora is my favourite track on the album. I think it’s beautiful, and it has a catchy chorus which stuck in my head the first time I heard it.
– Even after just the first listen? That’s interesting. I always encourage people to spend some time with it, because there’s so much going on. You’re taking in a lot of information at once. I usually suggest giving it three, four, or even five listens, and that’s when it really begins to reveal itself. So, I’m glad to hear you were able to connect with it after just one listen. that’s a great sign. It’s interesting, because Yes has always been such an instrumentally driven band, full of intricate passages and unusual time signatures. Yet at the heart of it all were these beautiful, sometimes delicate melodies that Jon Anderson brought to the music. That sensibility was shaped not only by his hippie roots, but also by the influence of The Beatles, and it always found its way into the band’s sound. I’ve often felt that the melodies in Yes were every bit as strong as those of The Beatles, even when surrounded by a much more complex musical framework. So, it means a great deal to me when people say I’m continuing that tradition of writing memorable, catchy melodies within that kind of musical landscape. That’s very special to hear.
– Another track on the album that I really like is Love Dies Dreaming. It opens with this beautiful, almost Mellotron-like intro.
– Steve had already developed many of the themes where the guitars enter. He had some structural ideas in place, though they were not fully assembled yet. What immediately struck me was the mood. I felt it called for atmospheric, moody vocals. There’s a distinctly minor-key quality to it. Much of Yes’s music tends to lean toward major keys, which is a significant part of the band’s sound. This piece, however, had a darker, more introspective character that connected strongly with some of my other musical influences.
– I thought so too.
– I’ve always listened to a wide range of music and gone through different phases, from goth and indie to alternative rock, and this song carried traces of those influences. In some ways, it even reminded me of something that could have appeared on the second side of Ritual de lo Habitual by Jane’s Addiction. It shares a similarly moody atmosphere. Not everyone may hear that connection, but it resonated with that side of my musical personality and brought those influences to the surface. Because of that, I wanted to write lyrics that reflected a darker, more introspective mood while also touching magical and mystical themes. It felt like a departure from what we typically do. In many ways, the song stands apart from the rest of the album. It still fits within the overall context, but it possesses a distinct identity of its own.
Still Epic
– The track all Yes fans are especially eager to hear is the 13-minute piece, The Counter Movement.It really has four distinct movements, and Steve sings quite a bit on that one.
– He does. In fact, all the music in that section, the Anytime Soon segment, was written by Geoff [Downes] and Steve. It was a brilliant piece of music, and the idea was that Steve and I would create a vocal melody together. I’d then go in and sing what would eventually become either my lyrics or perhaps a combination of both our contributions. We finished that day in the studio, and when I came back the next morning, Steve had already been working with Curtis, our fantastic engineer. He said, «I’ve got it! I wrote the lyrics, I had the melody and put them together. This is it. What do you think?»
Jon says he listened to it and immediately thought it was absolutely fabulous.
– Steve then said, «Alright, let’s start working on your interpretation. But I replied, «You know what? I don’t think I’m going to sing this. I think you’ve really captured something vocally.» What Steve had recorded was essentially his own vocal, a late-night demo where he was simply experimenting and feeling his way through the piece. Sometimes that’s where the purest moments emerge. You discover a real gem in a demo, and in this case, I felt we already had it. We essentially kept that original recording. I didn’t want to touch it. There was something so vulnerable, delicate, and yet emotional about it. I thought, «this must be on the album exactly as it is.» So, that’s the section you’re hearing there. In many ways, I contributed less to that particular piece because I wanted to leave space for everyone else. It became a true band collaboration, which was incredibly exciting. I do come in later in the song vocally, but it felt very special to have Steve be the first voice you hear within that larger musical landscape.
– And then, at the very end, there’s that section where everything drops out, no instrumentation at all, just your voice. How did that idea come about?
– That was Steve’s idea. He felt we should have a final vocal tag at the end that revisits an earlier theme, in this case, from the third movement, Blink of an Eye. That’s the part where I take over the lead vocal and share some interesting lines with Billy [Sherwood]. Steve simply wanted to tie the musical themes together a bit more, and quite late in the process he decided to add that closing section as an a cappella passage.
– It’s funny you mention Billy, because he sings quite a bit on a couple of the tracks. The first time I listened to the album, I remember thinking: «Oh my God, he sounds just like Chris [Squire].»
– Oh, really? That’s cool! Yes, it’s amazing how he captures that spirit and energy of Chris on so many levels. I understand exactly what you mean.
– Another track I really like is All Hands onDeck. It takes the album in a completely different direction, moving from those calmer, more melodic passages into something much more energetic, like a catchy rock and roll song. Can you tell me a bit about that track?</strong
– That one really originated with Steve. He came in with this fantastic guitar riff he’d written at his studio in Devon and brought it to the sessions. We spent some time discussing just how strong it was, even purely as an instrumental piece. I was conscious that it arrived fairly late in the process, and by that stage I already felt I’d left quite a significant imprint on the album. I’d contributed a lot of lyrics and vocal ideas, so I thought it might be refreshing to step back and allow the music a little more space to speak for itself. There were some really compelling musical themes in there, and I didn’t want to overcrowd them.
Later, Steve came back with a more fragmented vocal idea of his own.
– In the end, I thought it worked beautifully. The track developed a very distinctive character. Steve and I sang the verses in unison, something we’ve explored on songs like The Quest and Mirror to the Sky, but there was something particularly interesting about it here. The blend of our voices created a kind of hybrid sound. Within that more rock-oriented setting, it almost felt as though a mysterious third voice emerged, something that didn’t quite sound like either of us individually, but rather a completely new texture. I found that fascinating.
Jon compares it to something akin to Phil Spector’s approach.
– It reminded me of a technique often used in orchestration, where two instruments play the exact same line in unison and somehow create the impression of an entirely new sound. That’s very much what happens in those verse sections. Discovering moments like that is always exciting. They tend to appear when you step outside familiar patterns and take a few creative risks. We’ve never been particularly interested in following rules, not even our own. We are always exploring and, if necessary, make up new rules along the way.
Stop making sense
– Speaking of which, you even have a song called Outside the Box, where you are signing, but there are no lyrics. You could almost call it an instrumental, since the voice is used purely as an instrument. How did that idea come about?
– Again, we felt it was an interesting way to move away from the literal and use the voice purely as an instrument. There’s something very raw, spontaneous, and emotionally direct that comes from that approach. It reminds me of something Brian Eno used to talk about, particularly during his work with David Byrne and Talking Heads: Apparently, he’d encourage them to, “Stop Making Sense.” That idea eventually became the title of the film, but the concept itself is brilliant. Peter Gabriel explored similar territory, and of course Jon Anderson often worked that way as well.
He compares it to the classic Yes album Close to the Edge.
– Anderson would frequently begin by singing syllables and sounds that carried an immediate emotional quality rather than starting with finished lyrics. He’d lay down vocal ideas instinctively, then later listen back and gradually shape those sounds into words, almost discovering meaning within them. The result was something very impressionistic, lyrics guided first by sound, phonetics, and the spontaneous energy of improvisation.
He says that’s very much what they wanted to capture with Outside the Box.
– Billy Sherwood really spearheaded that approach on this track. It was largely his idea, and we had an incredible amount of fun with it. When I came into the studio, I started adding harmonies and vocal layers, using my voice almost as a textural element to help build a richer vocal tapestry. We really committed to the concept, and in some ways, it feels reminiscent of the 90125 (1983) era, particularly a song like Leave It, where the voices become part of the arrangement itself rather than simply carrying the lyric.
– That’s really what I think about when it comes to Yes. Back in the late ’60s and early ’70s, they were very much a vocal-driven band, with a lot of emphasis on harmonies. Somehow, that aspect faded a bit during the ’70s, and then Trevor Rabin really brought it back again when he became the guitarist in the 80s.
– That’s right, you’re absolutely correct. From the very beginning in 1968, there was a strong Beach Boys influence, something the band themselves have openly acknowledged. There are countless great examples of that vocal style throughout Yes’s catalog, particularly on 90125 and Big Generator (1987). Those were the first two Yes albums I owned. They were current at the time I was a teenager, when I could finally go out and buy my own records. So, those two albums became my introduction to the band and played a huge role in shaping my appreciation of Yes.
– And then you start exploring their back-catalogue and discover Tales from Topographic Oceans (1973), a double album with four songs and you can’t believe it’s the same band.
– Exactly, it couldn’t have been more different. Compared to the bright, sharp, almost digital-sounding production of 90125, Tales from Topographic Oceans has a warm, organic, and earthy ’70s character. Everything feels softer and more natural: warmer drums, richer textures, and a greater sense of space. Then there are the lyrics, so mystical, abstract, and otherworldly. The Revealing Science of God and all that. At first, it almost felt a little eerie. I remember thinking, “What on earth is going on here?” I could hardly believe it was the same band. But I stuck with it, and over time it really grew on me. Now I absolutely love that album, along with the earlier catalogue in general. That said, it definitely took some adjustment. There was a learning curve, and a pretty steep one at that!
– When we bought an album when we were teenagers, even if you didn’t like it, you had to keep on playing it, because you had paid the money for it.
– Oh, absolutely! You invested your money in it, so you really had to give it your full attention and take the time to understand it. That’s so true.
Bee Gees, Beach Boys, Bread og Boston
– Looking back a bit, you’ve now been with the band for 14 years.
– That’s right. I joined in 2012, so this is my 14th year. Before I know it, I’ll be heading into my 15th. Someone pointed out to me the other day that this is already a longer continuous tenure than Jon Anderson ever had with Yes at any one time, which I find really interesting.
– Tell me about your musical upbringing.
– My earliest exposure to music came through the church choir conducted by my mother. That’s really where my appreciation for music began to take shape. At home, before I started buying my own records, the soundtrack of daily life was mostly soft rock. You could say it was dominated by what I like to call the three B’s: The Beach Boys, the Bee Gees, and Bread. One of my most vivid musical memories is hearing If by David Gates and Bread. My God, what a melody. I was probably only five years old, but I can still remember lying with my head against the speaker, completely mesmerized. That feeling never left me, and I know it forms part of the deep foundation of my musical influences.
Later, his brother introduced him to a fourth B.
– My brother brought home Boston’s debut album. I was absolutely captivated by it, especially, More Than a Feeling, and by Tom Scholz’s overall orchestral approach to guitar playing. That in turn led me to discover Brian May who shared a similar approach to Sholtz. From there, influences came from every direction. Sorry, am I rambling?
– No, no. This is great. It makes sense to me that you were inspired by Boston. It’s something in your singing style that just fits. That’s your inspiration, but how did you end up as the lead singer and songwriter in Yes? From what I understand, Chris Squire got a tip from Foo Figter drummer Taylor Hawkins?
– Yes, that’s right. Taylor and I were best friends all through childhood.
– So Chris called you? That must have been a shock, like it was for Yes drummer Alan White when John Lennon called him?
– When Chris Squire called me, I was already prepared for it, it wasn’t an unexpected call. I knew Yes were interested in me because Paul Silvera, the band’s manager at the time, had already made contact. Steve Howe had asked Paul to reach out after the band heard my original group, Glass Hammer. That was my introduction to Yes from Steve’s side, the English side of the band. Chris Squire and Alan White, meanwhile, had developed more of an American, West Coast perspective, which had become an influence on the band’s direction since the 1980s. Taylor Hawkins, who lived in Los Angeles and was close friends with Chris, had been telling him for years that if Yes ever needed a new vocalist, he knew the perfect candidate: me. Long before Chris called, Taylor had been championing me as a potential singer for the band.
Taylor gave him heads up that Chris was about to reach out as Yes were ready and needed a singer
– It was really exciting when Chris finally called me! Suddenly, I was processing the reality that there was a tour planned in six weeks to Australia, New Zealand, Japan, and Indonesia, and the band was interested in me joining them. Of course, I agreed without hesitation. I expected there would be an audition, but Chris told me there wouldn’t be one! There was no one else under consideration. Fortunately, I was already familiar with much of Yes’s material. Taylor was thrilled for me, wanting his best friend to succeed, especially since Yes had always been my favorite band.
Jon goes on about the first meeting.
– I remember sitting in a delicatessen on a sunny day in the Valley, with Alan White and Chris Squire across the table from me. It felt completely surreal. I ordered a sandwich but could barely eat, overwhelmed by the excitement of meeting them and talking about the upcoming tour. They seemed to appreciate how deeply I knew the band’s musical history, right down to specific bootlegs and favorite performances. At one point, while discussing Yours Is No Disgrace, I mentioned a particularly great rendition from a 1976 bootleg and suggested we draw inspiration from that version. They appeared to enjoy my enthusiasm and felt I could bring fresh energy to the band. Often, when a new member joins, that renewed excitement has a positive effect on everyone involved.
Emotions can take control
– That’s one thing I wanted to ask you. You’re my age and you go on stage and sing these songs that you grew up with. What is that experience like?
– It really was empowering. I had all that confidence because I was so well-versed in their music. It felt like it was part of my DNA, so I took to it very naturally. And, of course, I was also born with a higher vocal range, so I didn’t have to strain to reach Jon Anderson’s high register, that came naturally as well. It was almost as if the universe had provided a perfect, serendipitous balance. My knowledge, my background, my natural abilities and my emotional connection to the music all helped equip me for it. I can still become quite emotional whenever I reminisce about the incredible experience.
He gives the Yes epic Awaken from the 1977 album Going for the One as an example.
– I have such vivid memories of being a teenager listening to Awaken while gazing out of my bedroom window. At the time, I was living high up in the hills of Laguna Beach, and the view was extraordinary. A sweeping canyon stretched out before me, the Pacific Ocean shimmered in the distance, and Catalina Island sat on the horizon. The sunsets were breathtaking. I would often sit there, listening to that song and simply taking it all in. Those moments, the scenery, the emotions, and the sense of wonder they inspired, stayed with me long afterward. Later, when I found myself on stage singing that very song, those feelings would naturally resurface.
He says that in some ways that could also be a challenge.
– I couldn’t allow myself to become completely swept away by the emotion. I still had a job to do, and I needed to remain focused on delivering the performance. Finding the right balance took time: being present and practical enough to perform at my best, while still conveying the emotional heart of the music without getting lost in it the way a listener might.
The old and new Yes vocalist meetup
– A couple of years ago, I interviewed [Yes founder and original Yes vocalist] Jon Anderson. He told me that you walked up to him after the ceremony when Yes were inducted into the Rock and Roll Hall of Fame and talked to him.
– Yes, I did. It happened at an after-party following the induction ceremony at a bar in New York. Unfortunately, it was late in the evening, and the music was incredibly loud, making conversation difficult. To be honest, I also felt I might have been coming across a bit too eagerly, as I don’t think he fully understood who I was at first. Between the noise and the atmosphere, communication was challenging. I’m also reluctant to raise my voice in loud environments because I try to protect my vocal cords, and I know he’s always been mindful of preserving his voice as well. Ultimately, I decided not to force the interaction. I did ask for a photograph, and his wife, Janie, was incredibly gracious and kind enough to take it for us. That’s the photo that can be found online.
After that, Davison said his goodbyes, thinking he would see Anderson the next day
– There were supposed to be additional events and opportunities to socialize afterward, so I assumed there would be a better chance to speak with him. I didn’t want to impose on him in a crowded bar late at night after such a long day. Unfortunately, that opportunity never materialized, and I never got the chance to properly introduce myself, express my appreciation, or tell him what his music had meant to me over the years. But are you saying that he eventually realized I was the current singer?
– He told me that he had turned to his wife after you had left, and said: «I think that’s the new singer in Yes», and she said, it is. He also said you seemed like a very sweet guy and you were travelling around keeping the Yes music alive, just like he is.
– Thank you for sharing that. I’d never heard this story before. I’ve spoken with many people who were curious about that meeting, but from my perspective it always felt rather one-sided. It’s fascinating that Jon and Jane were able to piece the whole thing together. In any case, I hope I’ll have the opportunity to meet him properly someday.
The guitarplayer is the boss
That conversation also brings to mind the long and complex history of Yes and its members. After the passing of the last remaining original member of Yes, bassist Chris Squire, in 2015, guitarist Steve Howe became the band’s longest-serving member. He first joined Yes in 1970 and remained with the band until 1980, before returning in the mid-1990s, following a brief stint during the Union era in 1991.
– Steve Howe has produced the last three Yes albums and my guess is that Steve Howe is the band leader now. What is it like working with him?
– Steve is the leader, and he’s exceptional in the way he actively embraces the spirit, enthusiasm, and perspectives of everyone around him. He’s not a dictator in any sense. He never throws his weight around or relies on the fact that he’s the central figure or a legacy member of the band. Quite the opposite, he is genuinely interested in what each of us brings to the table and how we interpret the music. Decisions are ultimately made in a highly collaborative way. While Steve does have the final say, we willingly entrust him with that responsibility because we respect him enormously and have complete confidence in his judgment. That dynamic is very much present in his role as a producer on our albums, and it’s equally evident when he takes the lead in designing the sets for our live performances.
– He’s 79 and he still has the energy for writing, producing, singing and touring. That is impressive.
– That’s absolutely true. He takes very good care of himself. Over the years, I’ve known many legacy musicians, and life on the road, combined with certain habits, can really take its toll. It’s not uncommon for people to burn out in their forties or fifties, and for their creative output to begin slowing down for any number of reasons. Steve, however, has managed to rise above all of that. He’s incredibly disciplined and very mindful of what he puts into his body. He doesn’t drink at all, at most, he might have a small glass of red wine with Christmas dinner, and that’s about it. He’s also very methodical in how he structures his day, and that approach clearly works for him. I’m not suggesting that his lifestyle is the right formula for everyone, but in his case, it’s undoubtedly a major reason why he’s maintained such remarkable consistency and vitality. Between proper nutrition, meditation, and his overall discipline, he has an extraordinary amount of energy. Honestly, he has as much vitality as I do, sometimes even more. I often find myself trying to keep up with him! What’s most impressive is that the same vitality is reflected in his creative output. The energy, focus, and enthusiasm he brings to his work today are every bit as evident as they are in the way he lives his life.
– I’ve met so many guitar players who have told me how inspirational he’s been to them with his playing. Because just like Yes have always broken the rules, he has also broken the rules when it comes to guitar playing..
– Yes, Steve has a completely unique guitar style. This really became apparent to me when I began absorbing the earlier Yes material. His intricate Chet Atkins–influenced fingerpicking is very impressive! Very few rock guitarists possess that kind of stylistic range. His playing also draws from folk and classical traditions, all woven together in a remarkably natural way. The breadth of his musicianship is extraordinary, especially when you consider that he is completely self-taught.
He mentions the Steve Howe solo guitar piece Clap that Steve plays live on the first Yes album he played on, The Yes Album (1971).
– It’s almost unbelievable to think about, just sitting down and creating something like Clap as though it simply arrived out of nowhere. All it really took was a spark of inspiration from hearing someone like Chet Atkins, and then he worked the rest out for himself. The inspiration was so powerful that he developed the technique on his own, shaping it to express whatever mood or idea he wanted to convey, even venturing into what feels like classical territory. He had that rare ability to hear something internally and then bring it to life on the instrument. That, more than anything, is what truly amazes me.
Jon says he finds Steve to be one of the most extraordinary guitarists out there.
– There are many great ones. But what makes my experience especially meaningful is the privilege of having worked closely with Steve, having gained that insight and witnessed firsthand how he creates music.
– The last time Yes released an album, Mirror to the Sky (2023) I interviewed keyboardist Geoff Downes, who is also a founding member of and the leader of Asia. There’s a track called Ariadne, on the new album, I also really like, and that’s very Asia-like, isn’t it?
– Yes, that’s right. It’s very much a Geoff Downes composition, and it evolved across the course of the last three albums. It first emerged quite late in the making of The Quest (2021), almost at the eleventh hour, and then gradually took on a life of its own as that album came together. Later, we decided to revisit and develop it more fully for Mirror to the Sky (2023). At that stage, however, it was still missing what has since become the introduction, the almost swing-waltz, classically inspired section that also reappears in the middle and at the end of the piece. That element wasn’t part of the original composition; it arrived later and helped complete the work as we know it today.
Jon says when he first heard it, he immediately felt it would make a perfect introduction.
– It captured the mood and spirit of the Greek mythology theme beautifully. What was remarkable was how naturally it all came together. We didn’t need to change the tempo or key; we simply aligned the various sections, and everything fit seamlessly. Billy contributed the central sections, the more rock-oriented passages where he also sings, and I felt they were perfectly suited to what I think of as the “labyrinth sequence.” If you’re familiar with the myth, the hero, Theseus, enters the labyrinth to defeat the Minotaur and free his people from the rule of the mad King Minos. Along the way, Minos’s daughter, Ariadne falls deeply in love with him and ultimately helps him escape the deadly maze. In the end, the story encompasses unrequited love as much as it does the timeless themes of good versus evil and ultimate triumph. All those elements are reflected in the music. Each section feels like the soundtrack to a different chapter of the tale, which is what makes the piece so compelling. It came together in a way that feels both completely organic and strikingly cinematic.
– When do you get back to playing live? You had to cancel the tour for this spring and early summer because Steve had to have an operation. I hope he recovers soon.
– Thank you. He will, I’m sure.
– And when you do get back on the road, you should do more of the new tracks. Especially All Hands on Deck. I think that would be a great rock and roll thing to do on stage.
– Interesting. I’ve been asking people which songs they think would be good candidates for the live set, so I’ll make a note of that one. I can see it being a lot of fun to perform.
– Obviously I have all the Yes albums, and I think you’ve had a great progression from Heaven and Earth (214), your first album with the band. I got to be honest with you; I was not a fan of that album. That’s probably my least played Yes album. But the following albums have been getting better and better, I especially enjoyed the title track of the previous album. But the new album has resonated with me. I’m really enjoying it.
– Wonderful, thank you! As Steve always says, during our downtime from touring, we should keep getting into the studio, sharing ideas, and maintaining that creative momentum. That philosophy has really guided us from The Quest through Mirror to the Sky (2023) and now Aurora. We simply haven’t stopped. We’re just going to follow that energy for as long as it leads us. Our passionate plan is to keep touring for as long as possible while beginning work on another album, with the goal of releasing it within the next couple of years. Right now, Yes feels very much alive and that we’re creatively thriving. It’s incredibly exciting to be part of that!
