Symphonic Live (2003)
Disc One
1. Overture
2. Close to the Edge
3. Long Distance Runaround
4. Don't Go
5. In the Presence Of
6. The Gates of Delirium
7. Steve Howe Guitar Solo
Disc Two
1. Starship Trooper
2. Magnification
3. And You And I
4. Ritual
5. I've Seen All Good People
6. Owner of a Lonely Heart
7. Roundabout
On paper, this move actually made a lot of sense—at least at first glance. Coming off 2001’s Magnification, Yes was riding a modest creative high. That album was a real swing-for-the-fences moment, bringing in a full symphony and writing songs that didn’t just layer an orchestra on top as window dressing, but actually built the orchestral elements into the core of the compositions. It worked because the band didn’t treat the orchestra as a novelty—they treated it as an essential part of the sound.
So naturally, when it came time to tour, they decided to bring the orchestra along for the ride. Makes sense, right? If the new material leaned so heavily on that lush, symphonic texture, you’d want to recreate that live. The idea was solid. The execution? Well, that’s another story. For the new songs, sure, the orchestra has its place and sounds great. But when it comes to the classics—the songs everyone knows and loves—the approach is painfully conservative. Instead of reimagining them in fresh, adventurous ways, the band opts for the safe route. You get the same old arrangements you’ve heard countless times, with the orchestra politely adding color in the background. If you like predictability, you’ll love it. But if you’re looking for something new from your umpteenth Yes live album, you’re going to be left wanting.
That’s the real problem here. It’s not that it’s bad—it’s that it’s redundant. There have been so many live Yes albums over the years that you really have to justify releasing another one. This doesn’t do that. It’s the equivalent of buying the same painting in a slightly different frame. The classics are still the classics, but there’s nothing here that reinvents or even meaningfully reframes them.
And let’s talk about the tracklist. Yes’s most beloved songs tend to be long. Really long. That’s always been both a strength and a liability for them live. It limits how much variety you can fit into a set, and that’s on full display here. Just three of the longest tracks on this album chew up more than 72 minutes. Let that sink in. And yes, you’ve heard them all before on other live albums—probably multiple times. There’s nothing wrong with Close to the Edge or The Gates of Delirium being on a setlist, but when the versions are virtually interchangeable with previous live releases, the excitement starts to wane fast.
Speaking of predictable: can we talk about the Steve Howe solo slot? Look, I love Steve Howe as much as the next fan, but do we really need Mood for a Day on every single live album? It’s a great showcase in concert—once. By the time it’s showing up on your eighth or ninth live release, the charm starts to fade. And of course, the album closes with the usual “Trifecta” of I’ve Seen All Good People, Owner of a Lonely Heart, and—wait for it—Roundabout. Safe? Check. Predictable? Absolutely. Exciting? Not really.
In the end, that’s the disappointment here. The idea of touring with an orchestra was ambitious, and it worked beautifully on Magnification. But this live album feels like a missed opportunity. Instead of reworking the classics in bold, creative ways, they played it safe and leaned on the same old arrangements. It’s not a bad album—Yes rarely delivers anything truly awful live—but it’s not an essential addition to anyone’s collection either. Unless you’re a completist, there’s just not much new here to justify the purchase.
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