Jon Davison
Jon Davison (born January 16, 1971) is an American singer, songwriter, and multi-instrumentalist, best known as the lead vocalist of the progressive rock band Yes since 2012.[1][2] Born in Laguna Beach, California, he began his musical career singing in his mother's church choir and learning guitar and bass as a teenager, performing in high school bands alongside future Foo Fighters drummer Taylor Hawkins.[2][3] Davison's professional journey started in the early 1990s as a bassist and multi-instrumentalist for the alternative rock band Sky Cries Mary, where he contributed under the alias "Juano Davison" from 1993 to 2016, including tours in Japan and appearances on shows like Conan O'Brien and The Jon Stewart Show.[2] He later served as the lead singer for the progressive rock band Glass Hammer from 2009 to 2014, recording five albums such as If (2010) and Cor Cordium (2011), where he played a key role in songwriting.[2] In 2012, he joined Yes, replacing Benoît David, and has since contributed significantly to their output, co-writing seven of eight tracks on Heaven & Earth (2014), six tracks on The Quest (2021), and tracks on Mirror to the Sky (2023), while fronting extensive world tours and live recordings like Yes 50 Live (2019) and The Fragile Tour (2025).[2][4][5] Beyond Yes, Davison has collaborated with artists including John Lodge of the Moody Blues on the 2019 Royal Affair Tour and performed guest vocals with the Foo Fighters in 2015 and 2019.[2] He is also a member of the progressive rock supergroup Arc of Life, formed in 2020 with Billy Sherwood, Jimmy Haun, Jay Schellen, and Dave Kerzner.[1][6] His versatile tenor voice and multi-instrumental skills have solidified his place in the progressive rock genre, drawing comparisons to Yes's classic era while bringing fresh energy to the band's legacy.[2]Early life
Childhood and family background
Jon Davison was born on January 16, 1971, in Laguna Beach, California.[1][7] He grew up in this coastal small town during the 1970s and 1980s, in a family environment that fostered an early interest in music.[7][8] Davison's mother played a pivotal role in his upbringing, leading the local church youth choir where he sang as a child and began recognizing the distinct quality of his high, sweet voice.[7] At home, she introduced him to a variety of sounds through her record player, including soft rock and classical music, which shaped his initial musical palette.[8] He also encountered harmonious influences like the Beach Boys and David Gates of Bread, with his first rock album being Boston's debut, shared through family and early friendships.[7] Davison formed a close childhood friendship with Taylor Hawkins, whom he met in second grade; the two later bonded over music, dreaming of starting a band by third or fourth grade and encouraging each other's creative pursuits.[7][9] This supportive dynamic in his early years laid the groundwork for his self-directed exploration of music during adolescence.[7]Musical influences and education
Davison's interest in music emerged at an early age, beginning with singing in the church youth choir directed by his mother, who instilled in him a foundational appreciation for vocal performance and harmony. By around age 10, he was drawn to rock acts such as Queen and Foreigner through his family's record collection, which also exposed him to soft rock and classical pieces played by his mother. These early encounters, combined with radio discoveries of progressive rock bands like Yes via hits such as "Owner of a Lonely Heart" during high school in Laguna Beach, California, shaped his initial vocal aspirations and broadened his stylistic palette to include grandiose rock elements and intricate arrangements.[10][8][7] Throughout high school in the late 1980s, Davison developed his skills in a largely self-taught manner, initially focusing on guitar and bass with some lessons before transitioning to independent practice and exploration of progressive rock albums by bands like Rush, Genesis, and Yes. He performed in the church choir and began experimenting with vocals, influenced by the era's diverse sounds including U2, The Police, and ska/mod acts like Madness and The English Beat, which added rhythmic and experimental layers to his emerging style. Although he did not pursue formal musical training, these formative experiences emphasized practical vocal techniques and song interpretation over structured pedagogy.[10][8][7] After graduating high school, Davison relocated to Seattle in the early 1990s to study audio and video production at the Art Institute of Seattle, where he immersed himself in the local music scene rather than formal academia. This period marked a shift to hands-on learning through jamming sessions with peers and participation in open mic nights, blending the progressive influences of his youth with the experimental rock ethos of 1980s and early 1990s Seattle, including goth and alternative elements from bands like Bauhaus. Without attending college for music, his education remained rooted in collaborative practice and self-directed discovery, fostering a versatile approach that integrated rock, progressive, and choral traditions.[3][2][8]Career
Early bands and Seattle scene
Davison's initial forays into music occurred during his formative years in Laguna Beach, California, where he sang in the church youth choir led by his mother, who taught him music theory and harmony from an early age, fostering his multi-octave vocal range through structured practice and performance.[2] In sixth grade, he formed his first band, The Inspectors, with childhood friend Taylor Hawkins on drums, adopting a Mod style inspired by acts like The Jam and performing original songs such as "Come My Way" at a school talent show.[10] By high school in the late 1980s, Davison and Hawkins had expanded their collaboration into several amateur bands, with Davison starting on guitar before transitioning to bass to better suit the demands of progressive rock material. These groups primarily covered songs from prog and hard rock influences including Rush, Yes, and Genesis, while also experimenting with original songwriting that allowed Davison to refine his vocal techniques and explore harmonic complexities.[3] This period marked the practical application of his early musical education, as the bands' rehearsals and local performances in California helped solidify his self-taught instrumental skills and stage presence.[2] Following high school graduation around 1989, Davison relocated to Seattle in the early 1990s to pursue audio and video studies at the Art Institute of Seattle, immersing himself in the city's vibrant underground music scene from 1989 to 1991. Amid the dominance of grunge acts, he participated in local gigs at venues like the OK Hotel, contributing to a prog-influenced niche that contrasted with the prevailing raw, alternative sound.[9] The competitive environment, characterized by the rise of bands like Nirvana, challenged non-grunge performers, prompting Davison to emphasize progressive elements in his vocal experimentation and songwriting to carve out a distinct path within the scene.[3]Sky Cries Mary
Sky Cries Mary was formed in Seattle in the late 1980s by husband-and-wife duo Roderick Wolgamott Romero and Anisa Romero as a psychedelic rock and trance project blending underground music with avant-garde theater influences.[11] The band drew from the vibrant Seattle music scene, where Davison had performed in earlier local gigs, and expanded its lineup to include multi-instrumentalists like Jon Auer and Ken Stringfellow of The Posies.[12] Jon Davison joined Sky Cries Mary in 1993 as bassist and multi-instrumentalist, credited under the nickname "Juano" Davison, contributing to recordings and tours throughout the decade.[2] In this role, he provided bass, percussion, acoustic guitar, and backing vocals, helping shape the band's expansive, atmospheric sound.[13] The band's breakthrough came with the release of their debut full-length album, A Return to the Inner Experience, in 1993 on Capitol Records, featuring dreamy, psychedelic alternative rock with lush layers and ethereal harmonies that earned praise for its spatial, mantra-like qualities.[14] This was followed by further releases, including the EP Seeds in 1999 on the independent Collective Fruit label, marking a shift to self-produced work after major-label constraints.[15] While the albums did not achieve significant national chart success, they solidified the band's reputation in the Pacific Northwest for innovative, trance-infused rock.[11] Sky Cries Mary built regional fame in the 1990s through extensive touring, including opening slots for major Seattle acts like Pearl Jam and Soundgarden, as well as international trips to Japan and appearances on shows such as Late Night with Conan O'Brien and The Jon Stewart Show.[12][2] Davison contributed to songwriting on tracks like those from the 1990 compilation This Timeless Turning, where his input helped craft the band's signature soaring, experimental edge.[16] Tensions with Warner Bros., which dropped the band two albums into a seven-record deal, combined with members pursuing individual projects, led Sky Cries Mary to go on hiatus around 2001. The band reformed in 2004 after regaining rights to their masters and has continued independently, releasing further albums such as Secrets of a Red Planet (2020) and preparing new material as of 2025.[17][18][19] During his time with the band, Davison's involvement in backing vocals supported the evolution toward more ethereal, atmospheric tones that characterized their psychedelic style.[11]Glass Hammer era
In 2009, Glass Hammer founder Steve Babb and keyboardist Fred Schendel discovered Jon Davison through an online video of him performing Yes covers with his tribute band Roundabout on MySpace, leading to his recruitment as the band's lead singer to replace previous vocalists such as Michelle Young.[20][3] They initially invited him to record vocals for a revised version of the track "Long and Long Ago" from the band's earlier album The Inconsolable Secret, which evolved into his full-time role.[3] Davison collaborated closely with Babb and Schendel, receiving instrumental tracks via file transfer and contributing original vocal melodies and lyrics with significant creative freedom, a process he described as exploratory and supportive.[3] Davison's tenure with Glass Hammer spanned contributions to five studio albums, each noted in progressive rock circles for evoking the symphonic style and vocal harmonies of 1970s Yes. On the 2010 release If, he provided lead vocals, crafted melodies, and co-wrote lyrics exploring themes of disillusionment and spiritual seeking, with Babb praising the album's cohesive sound as a return to the band's foundational influences.[3]) For Cor Cordium (2011), Davison handled lead vocals and acoustic guitars across tracks like "Nothing Box" and "Dear Daddy," where reviewers highlighted his Jon Anderson-esque delivery and the album's Yes-like bass and keyboard interplay as standout elements.[21][22] This was followed by Perilous (2012) and a re-recorded The Inconsolable Secret (2013). His final full contribution came on Ode to Echo (2014), where he sang lead and backing vocals on several pieces amid a larger ensemble of singers, including tracks such as "Garden of Hedon" and "I Am I," with critics commending the record's tight arrangements and his vocal presence as reminiscent of classic prog vocalists.[23][24][2] During this period, Glass Hammer, traditionally a studio-oriented project, ventured into occasional live performances, including a 2014 show at the Terra Incognita Festival documented in fan videos and later included in the 2015 release Double Live, where Davison's vocals were featured prominently in the setlist drawing from their collaborative albums.[25][26] Fan reception within progressive rock communities was enthusiastic, with Davison's high-register singing and Yes-inspired phrasing earning acclaim for revitalizing the band's sound and attracting renewed interest; this exposure ultimately caught the attention of Yes members, who cited his Glass Hammer work as a key factor in their interest.[27][22][28] Davison departed Glass Hammer in 2014 to focus on his commitments with Yes, following the release of Ode to Echo, in what was described as an amicable separation that allowed for future collaborations.[2] He has since made guest appearances with the band, including live vocals at the 2018 Cruise to the Edge festival.[29]Joining Yes
Jon Davison's path to Yes began through a recommendation from his childhood friend Taylor Hawkins, the Foo Fighters drummer, who alerted bassist Chris Squire to Davison's vocal talents after hearing him front the Yes tribute band Roundabout.[30][31] Squire, impressed by Davison's natural tenor range reminiscent of original Yes singer Jon Anderson, contacted him in early 2012 following the departure of vocalist Benoît David due to respiratory illness.[32][2] Without a formal audition, Davison was selected based on demo recordings and his prior work with progressive rock outfit Glass Hammer, joining the band officially in April 2012 to complete the ongoing Fly from Here tour. His live debut occurred on April 1, 2012, in Auckland, New Zealand, where he performed the full set alongside Steve Howe, Chris Squire, Geoff Downes, and Alan White, marking a seamless transition amid the band's post-Anderson era challenges.[33] Davison's integration into Yes's creative process solidified with his contributions to the band's twenty-first studio album, Heaven & Earth (2014), the first full-length release featuring him as lead vocalist. He co-wrote key tracks including "The Game" with Squire and Howe, and penned "To Be Alive (He Is)" solo, infusing the material with lyrical themes of renewal and spirituality that aligned with Yes's progressive ethos.[2][34] Vocally, Davison drew frequent comparisons to Anderson for his high-register clarity and falsetto, though he faced adaptation hurdles such as replicating Anderson's ethereal phrasing and building stage charisma in a band with deep historical expectations.[30][35] Over time, these challenges fostered band dynamics centered on collaboration, with Davison emerging as a co-songwriter on subsequent albums like The Quest (2021) and Mirror to the Sky (2023), where he provided lead vocals and contributed to compositions emphasizing intricate arrangements and thematic depth.[36][4] By 2025, Davison's tenure had evolved Yes's live performances into a dynamic showcase of their catalog, blending classic epics with newer material amid shifting lineups following the deaths of Squire (2015) and White (2022). The band, now featuring Billy Sherwood on bass and Jay Schellen on drums, undertook extensive tours including the UK and Europe "Classic Tales of Yes" run in May-June 2024 and a co-headlining U.S. arena tour with Deep Purple that summer.[37][38] In 2025, Yes launched "The Fragile Tour," performing their 1971 album Fragile in full alongside hits, with Davison's matured delivery enhancing the emotional resonance of extended suites like "Close to the Edge" and highlighting the group's post-Anderson vitality through refined harmonies and improvisational interplay.[39][40]Arc of Life project
In late 2020, Jon Davison co-founded the progressive rock supergroup Arc of Life as a side project alongside Yes bandmate Billy Sherwood on bass and vocals, with additional contributions from Yes touring alumni Jimmy Haun on guitar and Jay Schellen on drums, as well as keyboardist Dave Kerzner.[41] The band's formation stemmed from songwriting sessions that began in 2017 during Yes tours, allowing Davison to serve as primary vocalist and co-writer while exploring creative avenues outside his Yes obligations.[41] This collaboration drew on the members' shared history with Yes, blending intricate progressive structures with contemporary production.[42] The group's self-titled debut album, Arc of Life, was released on February 12, 2021, through Frontiers Music Srl.[42] Featuring tracks such as "Black Wall," the record fused Yes-inspired symphonic prog elements—like layered keyboards and dynamic shifts—with modern melodic hooks and accessible songcraft, earning praise for its polished execution.[43] Critics noted its ability to evoke classic progressive rock while incorporating fresh, radio-friendly touches, positioning it as a vibrant extension of the genre.[43] Arc of Life followed with their second album, Don't Look Down, issued on November 18, 2022, amid ongoing Yes touring commitments.[44] The release received critical acclaim for revitalizing traditional prog sounds through soaring vocals, intricate instrumentation, and thematic depth, with reviewers highlighting its emotional resonance and musicianship.[45] Live performances have remained limited, confined to select festival appearances through 2025, underscoring the project as a focused studio outlet for Davison and his collaborators beyond Yes duties.[46]Collaboration with John Lodge
Jon Davison first met John Lodge, bassist and vocalist of the Moody Blues, during the 2019 Cruise to the Edge progressive rock festival at sea, where both artists performed.[2] This encounter led to a professional partnership, with Davison joining Lodge's backing band, 10,000 Light Years, as lead and backing vocalist beginning in 2020.[47] Their collaboration centered on reviving Moody Blues material, particularly from the landmark 1967 album Days of Future Passed, allowing Lodge to perform classics with Davison's versatile tenor handling the demanding high vocal ranges originally sung by bandmates like Justin Hayward and Graeme Edge.[48] Davison contributed significantly to Lodge's performances of Days of Future Passed, providing lead vocals on tracks such as "Tuesday Afternoon (Forever Afternoon)" and backing harmonies on "Nights in White Satin" during live shows recreating the album in full.[49] He also appeared as a guest vocalist in Lodge's subsequent live renditions of the full album, joining the 10,000 Light Years Band onstage to recreate the orchestral-rock fusion that defined the Moody Blues' sound.[50] These performances highlighted Davison's ability to blend seamlessly with Lodge's arrangements, emphasizing conceptual depth over technical replication.[51] From 2021 to 2024, Davison participated in multiple U.S. and international tours with Lodge, including runs focused on Days of Future Passed in full, alongside selections from the Moody Blues catalog.[52] Notable dates included a 2023 North American leg and a 2024 fall tour starting in West Virginia, where Davison often took lead on high-energy tracks like "Ride My See-Saw" and "I'm Just a Singer (In a Rock and Roll Band)."[53] Lodge's recovery from a stroke suffered on Christmas Eve 2023 influenced these shows; after intensive physiotherapy, he resumed touring by mid-2024, with Davison's vocal support providing stability during Lodge's gradual return to full performances.[54] The partnership underscored themes of resilience, as Lodge credited his ongoing collaborations, including with Davison, for aiding his physical and emotional rehabilitation.[55] The collaboration concluded tragically with Lodge's sudden death on October 10, 2025, at age 82, as announced by his family.[56] Davison, through the official Yes social media channels, issued a public tribute expressing profound grief over the loss of a close collaborator and mentor, noting Lodge's enduring influence on progressive rock.[57] No further joint projects were planned or initiated following Lodge's passing.[58]Other musical endeavors
In the mid-2000s, while based in Seattle, Jon Davison contributed to the local progressive rock scene through performances with the Yes tribute band Roundabout between 2006 and 2009.[2] This period allowed him to hone his vocal style in live settings, drawing on his influences from the progressive genre before his major band affiliations solidified. Davison's guest appearances began gaining prominence in the early 2010s with contributions to tribute and collaborative albums. In 2012, he provided lead vocals and tambourine on "Starship Trooper" for Tales from the Edge: A Tribute to the Music of Yes by The Samurai of Prog, showcasing his ability to interpret Yes classics outside the band.[2] That same year, he sang on "The Sick Rose" for Mogador's Absinthe Tales of Romantic Visions, a concept album exploring Romantic-era inspirations, where his ethereal tenor complemented the project's atmospheric sound.[59] Throughout the 2010s and into the 2020s, Davison lent his voice to several progressive rock tributes and side projects. On the 2020 compilation A Tribute to Keith Emerson & Greg Lake, produced by Billy Sherwood, he delivered vocals for "C'est La Vie" alongside keyboardist Larry Fast, honoring the Emerson, Lake & Palmer legacy with a faithful yet nuanced rendition.[60] He also collaborated extensively with Dave Kerzner's In Continuum project across multiple releases, including vocals on tracks from Acceleration Theory (2019), such as "Scavengers" featuring guests like Steve Rothery, where his harmonies enhanced the band's spacey, synth-driven prog.[61] Additionally, Davison returned as a guest vocalist for his early band Anyone on In Humanity (2021), Miracles in the Nothingness (2023), and Echoes of Man (2025), singing lead on "Symptom of the Miracle" for the 2023 release, which blended metal-edged prog with his soaring delivery.[62]) Davison has been a regular participant in the Cruise to the Edge festival since its inception, joining editions from 2013 through 2025 to perform alongside progressive legends like Steve Rothery, Thijs van Leer, and members of King Crimson and Marillion.[63] These shipboard events provided opportunities for impromptu collaborations and jam sessions, fostering connections within the prog community; for instance, during the 2015 cruise, Davison shared a brief, cordial encounter with former Yes vocalist Jon Anderson, later described in interviews as an anticlimactic but affirming moment that reinforced his commitment to the band's legacy without tension.[35] Beyond recordings, Davison has explored minor solo vocal experiments, though most remain unreleased demos shared in private or interview contexts, reflecting his interest in personal songwriting outside structured projects.[64] He has also taken on occasional production roles for indie progressive releases up to 2025, advising on vocal arrangements for emerging acts in the Seattle area.[64]Personal life
Marriage and family
Jon Davison began a long-term relationship with Emily Lodge, the daughter of Moody Blues bassist John Lodge, in 2019 after meeting her aboard the Cruise to the Edge progressive rock festival at sea.[65][66] The couple married in December 2022 in a private ceremony, with Davison becoming the son-in-law of the late John Lodge, who passed away on October 10, 2025.[58][66] As of 2025, the couple has no children.[65] Emily Lodge, who managed production for her father's tours and events in the progressive rock scene, has helped blend their families through shared musical interests.[67][66] This connection has occasionally influenced Davison's professional collaborations with John Lodge, such as joint performances.[58] Davison maintains a high level of privacy regarding his personal life, with public discussions limited primarily to brief mentions in interviews about maintaining work-life balance amid his touring schedule.[65]Residence and recent events
In late 2019, shortly after meeting Emily Lodge at Cruise to the Edge, Davison relocated from the United States to England to be with her.[65] On October 10, 2025, John Lodge, Emily's father and Davison's father-in-law, died at age 82, surrounded by family. The Lodge family announced the news, stating that he "peacefully slipped away" while listening to music from The Everly Brothers and Buddy Holly, and expressed profound grief over the loss of his love, kindness, and unwavering support.[68] In response, the Yes band, on behalf of Davison and the group, issued a statement mourning Lodge as a longtime friend, collaborator, and family member, emphasizing his lasting legacy in progressive rock music. The family has entered a period of mourning, with Davison highlighting Lodge's profound influence on his personal and musical life. Davison has maintained a stable lifestyle in England, free from major controversies, which has allowed him to balance family life with his demanding career. In interviews, he has described his approach to vocal health during tours, including daily warm-ups, proper nutrition, rest, exercise, and meditation to preserve his performance capabilities.[69]Discography
With Yes
Jon Davison has served as the lead vocalist for Yes since 2012, contributing to all subsequent studio and live releases by the band. His discographic output with Yes includes lead vocals on every track across these recordings, along with co-writing credits on multiple songs.Studio Albums
- Heaven & Earth (2014): Davison provided lead vocals on all eight tracks. He co-wrote six tracks: "Believe Again" (with Steve Howe), "Step Beyond" (with Howe), "To Ascend" (with Billy Sherwood), "In a World of Our Own" (with Howe), "Light of the Ages" (with Geoff Downes), and "Subway Walls" (with Downes).[70][71]
- The Quest (2021): Davison delivered lead vocals on all eleven tracks. He received co-writing credits on six tracks: "Leave Well Alone" (with Sherwood), "The Western Edge" (with Sherwood), "Future Memories," "A Living Will" (with Downes), "Sister Sleeping Soul" (with Downes), and "Mystery Maze" (with Downes).[72][73]
- Mirror to the Sky (2023): Davison performed lead vocals on all twelve tracks (including bonus). He earned songwriting credits on seven songs: "Cut from the Stars" (with Howe and Sherwood), "All Connected" (with Howe and Sherwood), "Luminosity" (with Howe), "Mirror to the Sky" (with Howe), "When Love and Reason Are One" (with Howe), "Circles of Time," and "The Storm."[74][4]
Live Albums
Davison's live contributions capture Yes performances from tours supporting the above studio albums and classic material, with him handling lead vocals throughout.- Like It Is: Yes at the Bristol Hippodrome (2014): Recorded during the 2014 UK tour, featuring full sets including material from Heaven & Earth and earlier Yes catalog.
- Topographic Drama – Live Across America (2017): Captures the 2016-2017 US tour, with sets emphasizing The Yes Album, Close to the Edge, and Heaven & Earth tracks.
- Yes 50 Live (2018): Documents the 2018 anniversary tour, including rarities and staples performed with Davison on vocals.
- The Royal Affair Tour: Live from Las Vegas (2020): Recorded in 2019, highlighting a co-headlining tour setlist with progressive rock contemporaries.
Singles
Davison contributed lead vocals to select promotional singles from Yes studio albums during his tenure.- Contributions to Fly from Here (2011) sessions were unused, predating his official join but involving early vocal ideas later discarded.
- "The Ice Bridge" (2021): Lead single from The Quest, with Davison on vocals and co-writing credit (with Howe); released digitally as a promo ahead of the album.[73]