Rush @ The O2 Thurs 12th May
Review: David Quinn
Photos: Natalie Byrne
As I stood on the Luas on my way to the O2, I received word that there would be no support act. Rush would be on for an estimated three hours. Yes!
Constantly described as pioneers of progressive rock, quoting such influences from The Who, Led Zeppelin and Cream to King Crimson and Pink Floyd, Rush’s back catalogue spans the genres and favours hard rock and prog-rock fans alike. The fact that Rush have never played in Ireland meant this gig had potential to blow the roof off the O2, as die-hard fans have been waiting for this moment for almost forty years. The added incentive was that, along with an array of hits, Rush would be playing their most successful album of nineteen, Moving Pictures, in its entirety.
There is no doubt that their popularity was rekindled due in part to the Rush enthused movie I Love You, Man, but the bands extensive discography and cult fan-base allow the band to fill Dublin’s most prestigious venue on their own merit. They are, in any case, Canada’s most successful band of all time.
As I stood waiting for my expensive pint, the crowd erupted and I frantically scurried to my seat (which may I add was perfect for this type of gig, and my position of dead centre towards the back could not be more ideally placed) to see if the band had indeed taken the stage. They had not, but there was a short film playing on the big screen. All three members of the band were playing characters in this old fifties diner where a travelling salesman is trying to demonstrate a supposed time machine of sorts (hence the Time Machine Tour). Geddy Lee was playing an eccentric and skeptical chef while Alex Lifeson played the part of the salesman. Neill Peart was a grumpy customer at the counter. The salesman demonstrated the time machine by showing a band attempting to play The Spirit Of Radio, using different instruments from different points in history, much to the frustration of on looking characters. The continuous attempts at a rendition of one of Rush’s most popular songs was engaging the crowd, and as they laughed along the salesman on screen declared that he had one more trick up his sleeve. He turned a dial on his contraption and the band emerged on stage playing the correct, and totally rocking version of The Spirit Of Radio from their album Permanent Waves. This kicked off the first half of the show which was approached as any standard gig by the band, playing a selection of hits and some new tracks to boot. They continued into Time Stand Still and Prestobefore taking a moment to address the crowd. Geddy’s humble and sincere admission that it was a travesty for Rush to take song long before reaching our shores was a nice touch, and I am sure the life-long fans in attendance appreciated it. Geddy then introduced the next song, the brilliant Stick It Out from the Album Counterparts, before playing Workin’ Them Angels from their 2007 album Snakes & Arrows. After this they kicked into the first of their infamous instrumentals, playing Leave That Thing Alone from Counterparts. They followed up with another song from Snakes & Arrows, Faithless, before giving the crowd a taste of what is still to come from the rock icons. They introduced the song BU2B from their upcoming 20th studio album Clockwork Angels, and it seemed to me that after over forty years in the business, they had not lost their touch. The new track could easily have been plucked from any of their previous albums, and with Geddy Lee’s voice sounding like he hadn’t aged a day, he was creating quite a buzz over the potential of this new record. Three more hits followed in the form of Freewill, Marathon and Subdivisions, before Geddy announced that due to their old age they needed to take a small break.
Queue the intermission, during which I reflected that not only had the first half blown me away, but with a second half consisting entirely of my favourite Rush Album, I knew that it was only going to get better. They opened the second half in similar fashion to the first with a short film, with the time machine now being incorporated into a music video for a rendition of, you guessed it, the opening track of Moving Pictures – Tom Sawyer. Geddy now playing the role of a disgruntled movie director, Lifeson the producer and Peart the cameraman, the attempts to play the song were failing until that faithful dial was turned once again, and the stage lit up as Rush kicked into Tom Sawyer. Geddy rocked the keyboard solo as if it was straight off the record itself, and by the end of the song the crowd was louder than I had ever previously heard. Red Barchetta followed, Lifeson melting faces with his guitar sound, and many said to me afterward that YYZ(another famed instrumental, in fact probably their best after La Villa Strangiato) was the best song of the night. So far I would have agreed, but knowing what came next I didn’t want to set that opinion in stone. My personal favourite from Moving Pictures, Limelight kicked in to the jubilation of the crowd. I even inadvertently hit the gentleman in front as I air drummed along. When The Camera Eyeplayed, everyone simply stared in awe at the masterpiece for ten full minutes. The set was nearing its close as the band finished the album with Witch Hunt and Vital Signs, Geddy simply stated ‘That was Moving Pictures’. Rush then played another new track titled Caravanbefore Lee and Lifeson left the stage, leaving Neil Peart alone at his mega structure of a drum kit. What came next would have rivaled the late great John Bonham, as Peart burst into one of the most powerful and innovative drum solos I have ever witnessed, even incorporating a MPC Sampler and electric drum pad as part of his kit to provide some backing instruments, something I have never seen done before. The solo, titled (by Peart) Love 4 Sale, could have gone on for eternity and I would have gladly stayed to watch. Once he had finished, the other two members re-emerged to play the brilliant Closer to the Heart from A Farwell To The Kings, before playing 2112’s Overture and The Temples Of The Syrinx. They ended with the opening track from Snakes & Arrows, titled Far Cry, before saying goodbye.
With everyone expecting an Encore, the band returned and played (in my opinion) one of the greatest instrumentals ever composed, their famed La Villa Strangiato from the album Hemispheres. Their final song was expected, Working Manfrom their debut album. By the time they were officially done, the crowd was elated at having finally witnessed one of the great live rock bands of all time. Anyone who complained about ticket prices before the show would no doubt be saying afterward that the cost was well worth it. They even provided an outgoing short film, featuring Paul Rudd and Jason Segel’s characters from I Love You Man wandering backstage into Rush’s green room only to be confronted by the band who, after kicking the pair out, signed Paul Rudd’s double bass with Geddy Lee even mimicking Rudd’s catchphrase of ‘Slapping the bass’.
As I left the venue, I realized something. I would have considered myself to be a big fan of Rush, but with such an extensive back catalogue I was daunted by the prospect of delving so deep into their history. To date I own the albums 2112, A Farewell to the Kings, Hemispheres, Permanent Waves, Moving Pictures and Signals. I am still missing thirteen of their albums, but there were others in attendance that new every single word to every single song. These people had no idea what the first half set list would turn out like, therefore would have to be prepared with any song from left field i.e. songs from Snakes & Arrows or unreleased album tracks like Presto, which before this tour had never been played live. For all my research and claims of genuine love for this band, I watched members of the crowd with respectful awe as the recited word after word of every track. My realization was simply this; if you love the band, you need and want to know every song from every album, regardless of the amount. I will now call myself a ‘new’ fan of Rush, until I have memorized the songs on all 19 albums. For now, I am glowing with happiness that I witnessed Rush play the songs I do know and love. The ones I can recite on queue. Living on a lighted stage, approaches the unreal…
*****