I'll be the first to admit that I had always kind of taken Rush for granted. When a band has been around over 35 years, it's easy to say, "Oh, Rush will be touring again, I'll catch them next time.” Well, after saying that to myself year after year, I finally went and saw Rush live and from the opening power chords of "Limelight,” I realized that I had been missing something truly spectacular all these years.
Starting the almost three-hour-long show with a crazy Kabuki inspired dream sequence video, Geddy Lee, Alex Lifeson and drum god Neil Peart were extremely high energy, and despite the cool wind that constantly flowed through the pavilion, the three of them were as electric as their music. After an already mentioned "Limelight," the band delivered what seemed to be slightly condensed versions of "Digital Man,” "Mission” and "Ghost of a Chance.” All sounded amazing, and were really brought to life by the video screens behind them, which featured not only live video of them, but also some very cool computer generated graphics as well. And although I was at first distracted by the three rotisserie chicken ovens behind Lee (I later learned that he uses the house amps, and decided to fill the void left by his missing amp cabinets, as well as show off his wacky Canadian humor, by using the ovens), I was totally mesmerized by the awe inspiring musicians in front of me. Lifeson was getting amazing sound out of his Les Paul (his guitar work on "The Main Monkey Business" off 2007’s Snakes & Arrows blew me away), while Lee showed the crowd why he is such a highly acclaimed bass player, and how he was able to effortlessly switch from bass to keyboard was beyond me. As for Neal Peart, what can one possibly say? The guy is one of the greatest drummers of all time, and his drumming was so loud and so clear, it almost seemed that the music was supporting his drums, and not the other way around. Even more mind blowing was the that Peart was actually playing two kits tonight, and just before "The Trees,” (one of my favorite Rush songs) his kit rotated 180 degrees, and he simply got up, got in front of the kit now in front of him and together with Lee and Lifeson delivered a pretty killer rendition of the song. Lee then told the crowd that it was time to travel back to the 80s, to a time of big hair, mullets and a song about a red car. Needless to say "Red Barchetta" from 1981’s Moving Pictures was next, and I don't think I've ever seen so many people air drumming in my life. After a smokin' version of "Dreamline," Lee announced to the crowd that "We ain't no spring chickens anymore,” and said it was time for a break, and the three of them left the stage. Fear not however, Rush would return.
After about a half-hour intermission, and another Canadian humor-inspired dream-sequence video, Rush returned to the stage, and pretty much picked up right were they left off. Kicking off the second set with songs off of Snakes & Arrows, including "Far Cry,” "Workin' Then Angels,” "Armor and Sword” and "Spindrift,” the band now shifted the show into high gear, and just about every song was accompanied by lasers, fireballs and explosions. With the warm smell of colitas that was now rising through the air, this show was starting to feel like a 70s arena rock concert, and by the time I heard "Subdivisions” from Signals, I could have been 13 years old and standing on the floor of The Cow Palace. And just when I started coming back to 2008, Neal Peart proceeded to put on one of the most magnificent drum solos I have every witnessed in my life. Taking full advantage of both kits, he showed the crowd why he is not just a rock drum god, but also a true master of the drums. I usually grow tired 5 minutes into a drum solo, but Peart could have performed a three-hour solo for the entire show and I don't think anyone in the crowd would have complained. Using trigger pads, it seemed that he was able to produce every sound imaginable, and his solo slowly morphed from traditional rock drumming to a much more intricate jazz sound, leaving everyone watching in total awe.
Continuing to please the crowd with the classics, Rush pumped out a nice little rendition of Permanent Waves’ "Spirit of the Radio" before the "starman" image appeared on the three giant video screens. The place absolutely erupted, and the band didn't disappoint and proceeded to deliver the goods with an amazing version of “2112 Overture/The Temples of Syrinx.” How could they have ever have topped that you may ask? Well just when it seemed Rush had finally hit their peak, the stage dimmed and the characters from South Park appeared on the video screens. I don't want to give too much away here, but let's just say the video was just as funny as any South Park episode, and a perfect prelude into "Tom Sawyer,” which was a perfect song for Rush to end the second set with. Returning to the stage one last time, Rush continued to give the audience the classics they wanted to hear, and after "One Little Victory," "A Passage to Bangkok" and "YYZ,” the evening finally came to a close.
After the show I was walking back to my car and looking for words to describe what I had just witnessed, all I could really think of was, Wow, now THAT was a rock show!
Rush – Snakes and Arrows Live is out now. Buy Now at Amazon.com.
More on Rush, including tour dates, here: www.rush.com
