It seems RUSH is really leaning into the "encore" aspect of their "Fifty Something" tour, and I couldn't be more thrilled. Witnessing them pull out the entire "2112" suite on their second night at the Kia Forum was, in my opinion, a masterstroke. This wasn't just a concert; it was a statement. For the first time in nearly 30 years, they performed the complete, epic seven-part journey. What makes this particularly fascinating is that "2112" is not a casual listen; it's a commitment. The fact that Geddy Lee and Alex Lifeson, now in their 70s, can still deliver such a powerful rendition is a testament to their enduring musicianship and sheer will.
What many people don't realize is how much "2112" has been whittled down over the years in live performances. To hear the full suite, including movements that have been absent for decades, feels like unearthing a lost treasure. Personally, I think this signals a band that isn't just going through the motions. They're actively engaging with their legacy, offering fans something truly special and unexpected. It’s a move that speaks volumes about their dedication to the music and to the people who have followed them for so long.
The setlist shake-up on night two was significant, and that's precisely what keeps a tour like this exciting. Beyond the monumental "2112," the inclusion of tracks like "The Analog Kid," "The Trees," and "A Passage to Bangkok" demonstrates a thoughtful curation. From my perspective, this isn't just about playing hits; it's about weaving a narrative through their discography. They're not afraid to dig deep, and that's what elevates a RUSH show from a good concert to an unforgettable experience.
Another detail that I find especially interesting is the continued collaboration with Aimee Mann on "Time Stand Still." This marks the second time she's joined them on this tour, and it's only the third time a guest from a studio track has performed live with the band. What this really suggests is a desire to recapture the magic of their recordings in a live setting, something that's incredibly difficult to achieve. It adds a layer of intimacy and authenticity that’s rare in stadium rock.
If you take a step back and think about it, RUSH prepared 38 songs for this tour. That's an astonishing number, and seeing them cycle through so many different pieces, especially the full "2112," shows they're not just resting on their laurels. They're actively exploring the breadth of their catalog. This raises a deeper question: what does it mean for a band with such a rich history to embark on a "reunion" tour that feels so fresh and dynamic? In my opinion, it means they're still artists, still pushing boundaries, and still committed to delivering the best possible experience for their fans. It's a beautiful thing to witness.
The "Fifty Something" tour, with new drummer Anika Nilles and keyboardist Loren Gold, feels less like a farewell and more like a triumphant celebration. The fact that they are playing multi-night residencies in each city allows them the flexibility to experiment with setlists, and I, for one, hope they continue to surprise us. It’s this willingness to evolve and to honor their past while embracing the present that makes RUSH such an enduring force in music.
