Rush September 18, 2012

I had the great pleasure of seeing my favorite Canadian trio play live last night at the Palace of Auburn Hills and I have to say that although overall it was a good show, I was mildly disappointed.  It should have been a diehard fan's wettest dream, as they played a whole bunch of "obscure" songs that they rarely if ever had played live, but a Rush concert that omits Freewill, Spirit of Radio, Limelight, Closer to the Heart, Xanadu, Trees, La Villa Strangiato, Natural Science, Red Barchetta, etc is to a certain extent kind of a disappointing show. 

Thanks.  I am pretty sure that to a certain extent the setlists on this tour are being played with one eye towards the next DVD release.  Which, as a fan of buying their DVDs it will be cool to have a new DVD that covers a whole number of songs played live that can't be found on any of their other DVDs.  I can also appreciate that they are a band that has been touring for almost 40 years, and for nearly the last 30 years they have been playing the aforementioned missed songs 200 nights a year or so and in order to liven things up and feel refreshed they are playing songs that they are playing.  Aside from the Clockwork Angels portion of the show, I did thoroughly enjoy it.  Unfortunately, I just haven't really warmed up to Clockwork Angels yet, and for that reason I felt that their coverage of it was overkill.  I think that if I were as enamored with Clockwork Angels as many PA Rush fans are, I would have probably felt as though I had died and gone to heaven.  For me, I am still waiting for it to click.  I like it better than I did with its first couple of listens, but it still is just an OK album for me at this point. 

Here is a review of the show that was in this morning's Detroit Free Press.  http://www.freep.com/entertainmentnews

Few bands are blessed — and pressured — by the high fan expectations that come with being Rush.

Tuesday night at the Palace of Auburn Hills, the veteran Canadian band delivered an unorthodox set of songs with typically crisp musicianship, for what just might be the lone rock audience whose air drums can nail 7/8 time to start a show.

Attendance appeared to be about 10,000. Show officials declined to release figures.

“We come bearing greetings from your neighbors from the north,” bassist-vocalist Geddy Lee said early on, as the band sunk its teeth into a night that would run more than three hours, with a 20-minute break in the middle.

Whether expectations were met might depend on your fidelity to Rush’s entire four-decade catalog: When it wasn’t focused on 2012 — and just a taste of “2112” — the set defiantly cast its lot with the 1980s, including four numbers from 1985’s oft-neglected “Power Windows.”

It was a song selection that offered a comfort zone for Lee’s 59-year-old voice, whose peaks he tested only late in the show. Still, there were musical chops aplenty — ripping solos from guitarist Alex Lifeson (“The Analog Kid”), elegant multitasking at synth and bass from Lee, and reliable drum magic from Neil Peart, complete with double handed crossovers on the first of three solos.

There remains a purity of purpose to Rush’s performances, even when the band is generously doling out winks — an Austin Powers soundbite tucked into “The Big Money,” say, or Lifeson’s funny faces during “Tom Sawyer.”

In a day when classic rock carries the load for the concert biz, Rush continues to inhabit its own distinct car on the train, with hard-earned credibility to spare: Among its ’70s-vintage peers, there is perhaps no band still as vital and forward-looking, where a new album feels less like an obligatory routine than a relevant artistic effort.

The new one, in this case, was “Clockwork Angels,” the well-reviewed summer release with a hardcover novelization published earlier this month.

Its songs comprised nearly an hour-long stretch of Tuesday’s show, more than one-third of the night’s music. And if it wasn’t a consistent high point, it was at least a chance for fans to demonstrate goodwill toward a band whose decisions they implicitly trust.

“You guys have been patient,” Lee told the crowd. “We appreciate it.”

The new material took on a fresh urgency in the live setting: The tight opening section of “The Anarchist” held its own with the night’s classics; the lurching riff of “Carnies” came bolstered with flames and firework fountains; the instrumental solos of “Headlong Flight” included a squalling bit of handiwork from Lifeson.

All was accompanied by a Rush novelty — eight string players positioned behind Peart’s drum kit, the first guest musicians ever to have toured with the band. The strings were key but subtle, providing a bed for songs like “Halo Effect” and coming to life on the multihued “The Garden,” which featured another first: Lifeson at an electric piano.

The strings stuck around a bit as Rush moved into a homestretch of chestnuts, largely mimicking Lee’s synth lines on “Red Sector A” and “YYZ,” before giving the stage back to the trio for the show’s rousing finale.

I'd like to hear that condensed version of 2112 (Overture/Temples/Finale).  Sounds like that would be a nice tight 10 minute buttkicker.  Is it on any of their live albums or DVDs?

Edited by HolyMoly - September 19 2012 at 13:31

HolyMoly wrote: I'd like to hear that condensed version of 2112 (Overture/Temples/Finale).  Sounds like that would be a nice tight 10 minute buttkicker.  Is it on any of their live albums or DVDs?

They have a 7 minute version of it on their most recent live album Time Machine 2011.  On their R30, they do a 8:24 version of it, and on Rush In Rio they do a 6:52 version of it.

Sweet.  Thanks!

I actually have Rush in Rio, I must have forgotten it was on there.

A very good review, Scott, and a pity it wasn't everything you wanted.

I enjoyed the Rush show at the Palace. I am a fan of the Clockwork Angels album. After seeing them play Spirit Of Radio, Freewill, Limelight etc on previous tours, I thought that the set list was a refreshing change of pace. I was happy that we saw Revised Set List B as opposed to A. I really didn't want to see Bravado and Manhattan Project once again and The Body Electric has never been one of my favorites. As far as the string section...I thought they did a great job! I was expecting a "traditional" sit down string section. Instead, they were up and rocking. I thought Caravan sounded amazing with strings. They also really added to the emotional darkness of Red Sector A. I also thought the decision to break up the drum solo into three smaller solos was a great idea. Prior to this, Neil's solo has been very similar in form over the past 10 years or so. I was also glad that they returned to the Overture / Temples Of Syrinx / Grand Finale version of 2112, as last performed on the R30 tour. Hearing "Attention All Planets..." always gives me goose bumps. To me, it was a fitting way to end the show. I came away from the show very pleased.

I would like to see them do a tour with an orchestra, similar to what Yes did approximately 10 years ago. They could possibly bring new life into some of their older epics, that they either simply quote, or ignore altogether. I would have faith that they could arrange the orchestra in such a way as to enhance their music without sounding like they just stuck strings on everything, like Metallica did. 

I just saw this thread. Jealousy is a curse but I would have loved to be there. Great times had by all I see. Awesome concert by the sound of it. Hope a DVD is forthcoming soon.