“All the world’s a stage, and all the men and women merely players; they have their exits and their entrances; and one man in his time plays many parts.”
That Shakespeare quote may ring a bell for those in the artistic community. For me, it also frames how music, like theater, involves evolving roles and expectations, especially for groups like Rush. My personal journey with Rush began in 1980, when a friend insisted I listen to the drum solo on a live Rush album. My first thought was, “Why would I listen to a drum solo?”
Rush’s “All the World’s a Stage” had come out in 1976; the same year Peter Frampton came alive and changed his career trajectory. “Frampton Comes Alive!” ushered in a golden age for double live albums, with Rush at the forefront.
While I may not remember the first time I heard Frampton, I definitely remember hearing Rush for the first time. I was among the many kids waiting outside a record store to buy “Moving Pictures” on release day, and later attended the tour supporting the album.
Few bands have had a drummer so crucial to their sound. Some, like Phil Collins, play drums, sing, and write, but no one was as respected for musicianship as Neil Peart was with Rush.
After Peart passed away on January 7, 2020, most people assumed that it marked the end of Rush. The following decade was quiet for Rush fans, as Geddy Lee and Alex Lifeson focused on other projects.
When Rush announced a return with touring members Anika Nilles on drums and Loren Gold on keyboards, many fans were skeptical. For obvious reasons, Nilles faced the most scrutiny.
However, much of that skepticism faded as videos from the tour’s opening night showed the band in fine form. Lee and Lifeson maintained their skills, even on their first tour in over a decade. Despite being cellphone recordings from the back of the venue, Lee’s vocals stood out. Peart was honored with multiple tributes, underlining his importance to the group.
Still, some fans will not accept the current lineup as legitimate. As with many legacy acts touring with few original members, Rush now faces this narrative.
Peart can’t tour, so he wasn’t fired or replaced by a lesser player. Some bands bring in background players to avoid comparisons with icons.
What Rush has done is not simply replace Peart, but appoint someone capable of playing the complex drum parts in her own style. They also ensured this tour would maintain the band’s legacy, and even though it has just begun, it’s clear the band remains committed.
Watching the videos, I felt happy for the fans. In Western New York, we have a special bond with Canadian bands, and it’s been a strong year for many of Canada’s legacy acts.
Now we just have to see if they’ll return to Buffalo.