22 years, 10 months and 4 days ago

Saturday, December 1, 2001

Brighton, United Kingdom

Brighton Dome

2,000 capacity

Jon Anderson:
Yeah! Thank God for George. Here Comes The Sun. Thank God for George. What can I say?

Jon Anderson:
We’d like to to do a couple of new songs from the new album. We’ve got an album, this year, coming out, it came out, and there it is, somewhere out there. ‘Magnification’, yeah. We’re going to do a couple of songs. You know love is so powerful. Love is all you need. Love is all you need. Da, da, da. Love is everything, really. And this is a song about not taking love for granted. The song is called 'Don't Go'.

Jon Anderson:
Thank you. Thank you so much. When we got in the studio, ahh, I’d usually get there about midday, and ahh, as soon as I get in the studio, there’s always this guy, on the piano. Every time we go in the studio, Alan White on the piano! Practicing his new piano concerto in F and then C, and a bit of B. It goes a bit like this, then.

Jon Anderson:
It’s so wonderful to be here in Brighton, Brighton, it’s just so wonderful. With all those lights on the pier, it must be costing a fortune. I can’t believe all those lights on the pier, sparkling all over the place. And what about that beautiful building?

Jon Anderson:
Actually, who actually built that building? That kind of strange building in the middle of town. What’s that? The Moske! It’s a dome, it’s the dome. Ah! [???] Sorry. I remember they built that dome in London. What for? I’m still trying to figure that one out. Life is very strange. Anyway, one day we were, it was a Tuesday. I remember it very vividly. It was March the 8th and Alan started playing this piece of music and we all joined in. And within a couple of hours, we’d written this song about the idea that we are surrounded by the divine all the time. The song is called 'In The Presence Of'.

Jon Anderson:
Thank you so much, thank you. New song, new song! Thank you so much for listening, thank you, we appreciate that. I'd like to introduce you to Mr. Wilhelm Keitel and the European Festival Orchestra! Wonderful people, all the way from Belamucha, actually. And they don’t speak English, but they speak music, which is kind of helpful. And I hope you enjoy, thank you. Especially this next song, because we decided, we’re going to do this project, on tour with orchestra, and stuff like that. You know, and, ahh, we thought we’ll get out the history of the band, thinking of a wild and wacky, crazy piece of music we used to do in the seventies. And there was a lot, a lot (applause). Yes! There was a lot of them. And, ahh, you know in those days, in the middle of the seventies, there was chaos, corruption and war and pestilence and starvation and refugees and stuff like that. A little bit like today. So, what’s new? So, we’re going to do it again. We’re going to play this song. And there’s a little bit of light at the end of the tunnel. There always is light. The song is called 'Gates Of Delirium'.

Jon Anderson:
Thank you so much. Thank you so much. Thank you for listening, because it’s the strength of you listening that makes it work. Because, we wouldn’t be here. So, thank you. It’s kind of amazing, in so many different ways. Here we are in the year 2001, playing a piece of music from some 25 years ago, maybe more, and we’re still here together. We really appreciate you, really appreciate you very much, that we can still come out on tour, we thank you. I’d going to leave you in the capable hands, and fingers, and wonderful guitar styles of Mr. Steve Howe!

Steve Howe:
Thanks so much. [???] called ‘J’s Theme’ there from my acoustic record. I thought I might play another piece from there too. It’s called, ahh, ‘In The Course Of The Day’ and, um, I’d like to dedicate it to some of my friends here tonight, particularly Roger.

Jon Anderson:
Steve Howe! As most of you know, I used to be able to play just like that. It’s like, it was in this dream in 1972. This guy asked me backstage, he said “Can I have your autograph?” I said “yeah, okay”, so I signed. “I’m your biggest fan”. I said “yeah, you are”. “Are you going to do Starship Trooper?”. “No, no, we don’t do that anymore”. He says “Please!” I said “okay”. ‘Starship Trooper’!

Jon Anderson:
Chris Squire, bass guitar! Thank you so much. Thank you. We’re going to do, ahh, another new song actually, now. This is a song that, ahh, it’s the ahh, this is for my brother, Stuart and his kids, Sharon, Craig and Shaun, and their kids and beautiful family. The song is the title song from, ahh, the album, which is called ‘Magnification’, so the song is called ‘Magnification’! Tony! Did I say Stewart? In trouble now! Serious trouble now. Sorry, Tony. Ying tong, ying li po land. That’s all I can say.

Jon Anderson:
Thank you so much. Thank you. Thank you. I’ll never forgive myself for that. Tony! Love ya. We used to sing together in the early days, ahh, Everly Brothers songs. Or we used to take milk around Acrington. Me and my brother, Tony. And then we got into The Goons, you see, The Goon Show. I’m going to keep talking now, until ahh, this sound happens, and just comes out of thin air. This is for my honey, my lovely wife, Jane, who is with me all the time. Love ya. Love is amazing.

Jon Anderson:
Thank you. When we do that song, it reminds me that it’s been such a long time and, ahh, the idea of getting together like this in the ancient days, in future times too, it was always called a ritual. And ahh, so we’re going to do a song from ‘Tales From Topographic’ and as they say, we’re going to do a ‘Ritual’. So here we go.

Jon Anderson:
Mr. Wilhelm Keitel and the European Festival Orchestra! Thank you. Thank you, guys. Thank you. We’re going to do a song, the last song here. In the key, we’re going to do it in this key, that key. Laaaa. So, everybody sing along, and then half way through, we can get up and do the Brighton boogie.