"The last time someone touched my sausage, I had to get remarried." -Alex Lifeson
There is a calm air inside the TD Bankgarden. The stage is black, all gear and stage decorations are covered for the time being. The crowd is fairly sedated, most chewing on overpriced food or passing out beers to their buddies. Though the crowd isn't making a scene, everyone is in good spirits as they settle into their seats. The majority of the people in attendence for tonight's Rush show know the drill, they've been coming out to support Rush for years and have the tour shirts to prove it. It's amazing to look around and see all Rush shirts people have- just when you think you've seen them all someone walks around the corner with a new fun design, leaving you to want to scower the internet for that same shirt. One of the fun parts at a Rush concert, for me, is people watching and seeing a couple thousand Rush fans in one place. I personally only know a few Rush fans, so it's interesting to see who else enjoys my favorite band: looks like some business execs off work, teenagers who will no doubtedly start their own bands after tonight, and is that a girl in a Rush shirt? Nah, most be a hologram.
I like to get to Rush shows early, not only to people watch a snag a new tour shirt, but to hear the pre-show music. For most of Rush's career Neil Peart has been the one making the pre-show playlists for their shows. And tonight, the playlist is a whose who of the Progressive rock elite that came before Rush released their first album: Genesis, Jethro Tull, King Crimson, Yes, ELP. Myself and my two friends were more than happy sitting in our seats hearing some of our favorite Genesis and Tull songsp laying over a aports arens sound system.
At 7:45, it's go time. The big screen at the back of the stage comes alive with a humorous video intro depicting actors playing a young version of Rush playing at a stingy sousage establishment. The real members of Rush, are sitting in the resteraunt watching their young counterparts while sporting fake facial hair, fake European accents, and in Alex Lifeson's case, a fat suit. All three have aare in character as they watch and critisize the young Rush (or, Rash, as the movie insists they were once called). As the video ends the lights turn on to reveal Alex center stage as he goes into the opening chaotic riff of "The Spirit of Radio." The band, and the crowd, are now going at full force. There's a lot to take in during that first song, between Geddy Lee's fancy free dance steps and the suit Alex Lifeson sports and he strums and plugs his guitar. Notably, where stacks of amplifiers usually would be have been replaced by steampunk time machine technology, to go with the theme of the tour. If H.G. Wells was here he'd be very happy with the stage setup.
This is the sixth Rush concert I've been to, so obviously, I pretty much knew what to expect from then in terms of a set list. This time around, the first set list of the night was full of suprise after suprise. After the first song, the band went straight ahead into "Time Stands Still" (complete with Alex helping out with some of the synth partds), "Presto," and "Stick It Out," three songs that are awesome and I was thrilled to finally hear live. Without stopping for breath the three of then continued with "Working Them Angels," "Leave That Thing Alone," and "Faithless" before trying out one of their new tunes, "BU2B," which proved to be a hard and heavy rocker in a live setting complete with some video montages on the big screen, no doubt a foreshadowing of what's to come on next years Clockwork Angels album. "Freewill" was next on the roster and sent the crowd into a frenzy, especially when Geddy Lee proved that he can still hit the high notes he was singing in 1980.
Next up was another suprise from the Power Windows album, "Marathon," another gem I got to hear live for the first time. Whereas most of the songs were accompanied by some animation on the big screen, or some close up camera angles of the masters at work, the only thing that accompanied this song was a fantastic lighting show, and it was the best song to do it to. With lyrics like "a lucky shot in the dark," "Let the streak of lighting that flashes and fades" and "More than just a spark," this song is a lighting designer's dream for all kinds of lighting effects. And as the song reached it's final chorus complete with Geddy Lee playing a synthesized choral part on his keyboard, the lighting trusks above the stage began to lower themselves closer to the stage and the lights on them moved in everywhich direction as the light beams cut through all the smoke in and around the stage. I ask you, how could you possibly follow a magnificent display like that? By playing "Subdivisions," one of my favorite songs, that's how! As "Subdivisions" played, b-roll footage of the 1982 music video played over the screen. With that, the first act was done.
As intermission hit, the big screen showed a timer that started at 1974. By the time intermission was over the time said 1981, and as promised, after a short intro video (once again sporting the three band members in fun costumes and accents), the band took the stage to play their Moving Pictures album from beginning to end, starting with the one and only "Tom Sawyer." you have not heard this song until you've heard it live. As the band continued through the album, each song included a ten second video showing the three men in jumpsuits from the Moving Pictures cover doing something relevant to the song, whether sppeding in a slick looking red car ("Red Barchetta"), landing an airplan in a Toronto airport ("YYZ"), or tracking down a witch in the middle of the forest ("Witch Hunt"). During "YYZ" the lighting tusks above them began to mold and transform into something that strongly resembled the giant mechanical spider from Wild Wild West, only instead of holding Kenneth Branagh this giant spider held LED lights of all shapes and sizes lighting up the stage and audience simultaneously.
Having been to five other Rush shows, there were only two songs from moving pictures I had yet to witness in a live setting, and once "Limelight" finished I braced myself for the synth intro to the album's ten minute epic, "The Camera Eye." The big screen lights up with the picture of an eye peering over the audience, and for those with a keen eye, also saw that same eye light up and look around on the sides of Neil's drumkit riser (which only reminded me of a quote I've heard Neil Peart use periodically: "God is in the details"). The band played through "The Camera Eye" while the screen showed black and white footage of New York and London (the two cities the song makes reference to), and ended with a bang, like all songs they do. Finally, at the end of the Moving Pictures segment of the show, the band played their ode to new wave, "Vital Signs."
Even though they had run out of Moving Pictures material, that didn't mean they were planning on stopping for the night. And what better way to continue the show with a brand new song, "Caravan," another glimpse at what's to come to the Rush catalog. Then, without warning, all lights fade except for the one on the drum riser, for it's time for Neil Peart's epic drum solo, starting off with insane fill after fill under a waltz beat, leading to the entire riser turning 180 degrees so Neil can rock the electronic portion of his kit. Unlike most Rush shows I've been where the electronic kit is utilized through out, this was the only time during the night where the electronic got some love. Thankfully, this was by no means a throw away section of the solo. All the drums and cymbals were triggering various steampunk sounds (in keeping with the tour's theme), and Neil's intimate knowledge of polyrhythms created a symphony of sounds layered multiple times on top of each other. The riser then turned aorund again so the Professor could finish his solo big band swing style.
Alex Lifeson took the stage after the solo to serenade the crowd with his accoustic twelve string, and before we knew what hit us, Lifeson went straight into the opening guitar riff of "Closer To The Heart," and the band was back on stage and plowing through the 2 and a half minute song. The band closed their second set with the first two sections of "2112" and "Far Cry." The band faced a minor setback though, when half way through "Far Cry" Alex's guitar cut out all together. From the guitar solo til the end of the song all the crowd heard was bass and drums, with Alex still strumming onstage hoping for a sprak of life from his battle axe. It was awkward, but being the pros that they are the band finished the song without a fuss, said their goodbyes and walked off the stage.
The band took the stage for their encore, and immediently Neil started jamming on the drums and Geddy stepped up to the keyboard and began playing a song that sounded at home in any circus or circus training school. While circus Rush played, Alex stepped up the micophone while strumming his guitar (which still didn't work), and began to make up a song with lyrics such as "My guitar doesn't work...why doesn't my guitar doesn't work...this sucks...still no guitar...still no guitar...hey guess what?...it still doesn't work." Finally the technicians got his guitar to work and Geddy's keyboard quickly changed tones and the band went straight into "La Villa Strangiato," one of the band's more epic instrumentsls. When the song ended the band proceeded into a reggae version of their first big hit, "Working Man," which soon exploded into the classic rock guitar driven epic that it is and the band went out ewith a bang, like they always do. As the crowd left a little movie showed on the big screen depicting the main charatcers of I Love You, Man meeting Rush "backstage" complete with some of punch lines from the I Love You, Man movie. It was fun to watch, and a nice way to wind down the night, but I really hope that Rush will be remembered for their music and not for a cameo in a movie.
I like to get to Rush shows early, not only to people watch a snag a new tour shirt, but to hear the pre-show music. For most of Rush's career Neil Peart has been the one making the pre-show playlists for their shows. And tonight, the playlist is a whose who of the Progressive rock elite that came before Rush released their first album: Genesis, Jethro Tull, King Crimson, Yes, ELP. Myself and my two friends were more than happy sitting in our seats hearing some of our favorite Genesis and Tull songsp laying over a aports arens sound system.
At 7:45, it's go time. The big screen at the back of the stage comes alive with a humorous video intro depicting actors playing a young version of Rush playing at a stingy sousage establishment. The real members of Rush, are sitting in the resteraunt watching their young counterparts while sporting fake facial hair, fake European accents, and in Alex Lifeson's case, a fat suit. All three have aare in character as they watch and critisize the young Rush (or, Rash, as the movie insists they were once called). As the video ends the lights turn on to reveal Alex center stage as he goes into the opening chaotic riff of "The Spirit of Radio." The band, and the crowd, are now going at full force. There's a lot to take in during that first song, between Geddy Lee's fancy free dance steps and the suit Alex Lifeson sports and he strums and plugs his guitar. Notably, where stacks of amplifiers usually would be have been replaced by steampunk time machine technology, to go with the theme of the tour. If H.G. Wells was here he'd be very happy with the stage setup.
This is the sixth Rush concert I've been to, so obviously, I pretty much knew what to expect from then in terms of a set list. This time around, the first set list of the night was full of suprise after suprise. After the first song, the band went straight ahead into "Time Stands Still" (complete with Alex helping out with some of the synth partds), "Presto," and "Stick It Out," three songs that are awesome and I was thrilled to finally hear live. Without stopping for breath the three of then continued with "Working Them Angels," "Leave That Thing Alone," and "Faithless" before trying out one of their new tunes, "BU2B," which proved to be a hard and heavy rocker in a live setting complete with some video montages on the big screen, no doubt a foreshadowing of what's to come on next years Clockwork Angels album. "Freewill" was next on the roster and sent the crowd into a frenzy, especially when Geddy Lee proved that he can still hit the high notes he was singing in 1980.
Next up was another suprise from the Power Windows album, "Marathon," another gem I got to hear live for the first time. Whereas most of the songs were accompanied by some animation on the big screen, or some close up camera angles of the masters at work, the only thing that accompanied this song was a fantastic lighting show, and it was the best song to do it to. With lyrics like "a lucky shot in the dark," "Let the streak of lighting that flashes and fades" and "More than just a spark," this song is a lighting designer's dream for all kinds of lighting effects. And as the song reached it's final chorus complete with Geddy Lee playing a synthesized choral part on his keyboard, the lighting trusks above the stage began to lower themselves closer to the stage and the lights on them moved in everywhich direction as the light beams cut through all the smoke in and around the stage. I ask you, how could you possibly follow a magnificent display like that? By playing "Subdivisions," one of my favorite songs, that's how! As "Subdivisions" played, b-roll footage of the 1982 music video played over the screen. With that, the first act was done.
As intermission hit, the big screen showed a timer that started at 1974. By the time intermission was over the time said 1981, and as promised, after a short intro video (once again sporting the three band members in fun costumes and accents), the band took the stage to play their Moving Pictures album from beginning to end, starting with the one and only "Tom Sawyer." you have not heard this song until you've heard it live. As the band continued through the album, each song included a ten second video showing the three men in jumpsuits from the Moving Pictures cover doing something relevant to the song, whether sppeding in a slick looking red car ("Red Barchetta"), landing an airplan in a Toronto airport ("YYZ"), or tracking down a witch in the middle of the forest ("Witch Hunt"). During "YYZ" the lighting tusks above them began to mold and transform into something that strongly resembled the giant mechanical spider from Wild Wild West, only instead of holding Kenneth Branagh this giant spider held LED lights of all shapes and sizes lighting up the stage and audience simultaneously.
Having been to five other Rush shows, there were only two songs from moving pictures I had yet to witness in a live setting, and once "Limelight" finished I braced myself for the synth intro to the album's ten minute epic, "The Camera Eye." The big screen lights up with the picture of an eye peering over the audience, and for those with a keen eye, also saw that same eye light up and look around on the sides of Neil's drumkit riser (which only reminded me of a quote I've heard Neil Peart use periodically: "God is in the details"). The band played through "The Camera Eye" while the screen showed black and white footage of New York and London (the two cities the song makes reference to), and ended with a bang, like all songs they do. Finally, at the end of the Moving Pictures segment of the show, the band played their ode to new wave, "Vital Signs."
Even though they had run out of Moving Pictures material, that didn't mean they were planning on stopping for the night. And what better way to continue the show with a brand new song, "Caravan," another glimpse at what's to come to the Rush catalog. Then, without warning, all lights fade except for the one on the drum riser, for it's time for Neil Peart's epic drum solo, starting off with insane fill after fill under a waltz beat, leading to the entire riser turning 180 degrees so Neil can rock the electronic portion of his kit. Unlike most Rush shows I've been where the electronic kit is utilized through out, this was the only time during the night where the electronic got some love. Thankfully, this was by no means a throw away section of the solo. All the drums and cymbals were triggering various steampunk sounds (in keeping with the tour's theme), and Neil's intimate knowledge of polyrhythms created a symphony of sounds layered multiple times on top of each other. The riser then turned aorund again so the Professor could finish his solo big band swing style.
Alex Lifeson took the stage after the solo to serenade the crowd with his accoustic twelve string, and before we knew what hit us, Lifeson went straight into the opening guitar riff of "Closer To The Heart," and the band was back on stage and plowing through the 2 and a half minute song. The band closed their second set with the first two sections of "2112" and "Far Cry." The band faced a minor setback though, when half way through "Far Cry" Alex's guitar cut out all together. From the guitar solo til the end of the song all the crowd heard was bass and drums, with Alex still strumming onstage hoping for a sprak of life from his battle axe. It was awkward, but being the pros that they are the band finished the song without a fuss, said their goodbyes and walked off the stage.
The band took the stage for their encore, and immediently Neil started jamming on the drums and Geddy stepped up to the keyboard and began playing a song that sounded at home in any circus or circus training school. While circus Rush played, Alex stepped up the micophone while strumming his guitar (which still didn't work), and began to make up a song with lyrics such as "My guitar doesn't work...why doesn't my guitar doesn't work...this sucks...still no guitar...still no guitar...hey guess what?...it still doesn't work." Finally the technicians got his guitar to work and Geddy's keyboard quickly changed tones and the band went straight into "La Villa Strangiato," one of the band's more epic instrumentsls. When the song ended the band proceeded into a reggae version of their first big hit, "Working Man," which soon exploded into the classic rock guitar driven epic that it is and the band went out ewith a bang, like they always do. As the crowd left a little movie showed on the big screen depicting the main charatcers of I Love You, Man meeting Rush "backstage" complete with some of punch lines from the I Love You, Man movie. It was fun to watch, and a nice way to wind down the night, but I really hope that Rush will be remembered for their music and not for a cameo in a movie.