The announcement video popped up yesterday on YouTube, as Lee and Lifeson announce the decision to bring Rush back after a decade of retirement (triggered by the death of Neil Peart in 2015). In the National Post, Colby Cosh discusses the much-anticipated return:

Rush in concert, Milan 2004.
Photo by Enrico Frangi, via Wikimedia Commons

The inevitable has happened: Geddy Lee and Alex Lifeson, the living members of the legendary Canadian band Rush, have announced that they will go on a brief concert tour in 2026. They will, perhaps controversially, go out on the road as Rush rather than adopting some sort of “Lifeson and Lee and Friends” branding. The circumstances of the announcement are familiar ones: Rush had a spectacular farewell tour in 2015, with their renowned drummer Neil Peart increasingly overwhelmed by his own phenomenally intricate parts and his remorseless perfectionism. Peart died of glioblastoma in 2020, which seemed to put a permanent seal on the group.

Over the years, eleventy thousand rock bands have mourned (or just fired) a drummer and moved on, but Neil Peart was NEIL PEART. If you ever watched the crowd at a classic Rush concert, fans doing air-drumming always outnumbered the ones doing air guitar about a hundred to one. Rush in its heyday was an austere three-piece that eschewed sidemen, guest performers, and cover versions on stage almost to the point of dogmatism. They will inevitably feel incomplete or weird with a stand-in for Peart. But Lifeson and Lee say they have been playing Rush songs together privately, and that they are in good health.

They are at the apex of their own individual professions as players, especially Geddy, and … well, a looser, more open, less thoroughly programmed live Rush is something some of us have always wished for, or at least thought about. Variety‘s coverage of the announcement, delivered on Sunday at the Rock & Roll Hall of Fame in Cleveland, Ohio, reveals something almost as surprising as a Peartless Rush: they’re going to tour with a keyboard player! (Other papers are breaking the news as you read this, but Variety had the advance scoop, and has the most extensive coverage of the prospective tour.)

The question on the mind of every Rush fan, of course, is who could possibly step into the shoes (and drum kit) of Neil Peart? That would be a daunting task for any drummer, but Lee and Lifeson think that Anika Nilles will be up to the challenge. I hope she will.

If skeptics visit her YouTube channel and click randomly, they won’t need more than a few seconds to spot her technical credentials for playing Rush songs: she’s inhumanly precise and seems positively allergic to playing in 4/4. Don’t look down, Anika.

Colby Cosh, clearly a fellow long-time Rush fan, heaves a sigh and writes the musical epitaph:

Rush in concert, Milan 2004.
Photo by Enrico Frangi, via Wikimedia Commons

All of this — even Neil Peart’s remorseless flintiness — reflects the distinctive, endearing characteristics of Rush: the band has now ceased to exist for some of the same reasons it attracted adoring generations of listeners. As a commercial proposition, Rush remains a potential superpower. Other groups of similar magnitude have always been able to find ways to push on when important members, or even every member that anyone might recognize, came to the end of the road. (In a rock group there is usually at least one person who could really use the cash from a tour.)

Could Geddy Lee and Alex Lifeson find some young drummer with healthy wrists and ankles, take “Rush” to the casino circuit, and sell mountains of $75 tickets? They probably could, and they would probably put on a wonderful show. But it is unthinkable (he wrote, knocking on the wood of his desk) for them to do such a thing under the Rush name.

They could probably even devise a low-stress acoustic-heavy setlist, with slowed-down versions of the hits, that they could take to small venues with Peart in tow. Tempting as such schemes must be — Lee was publicly in denial about Peart’s second retirement for ages, and Lifeson says he would go on if it were entirely up to him — they do not suit the nature of Rush.

The group is a three-piece in which every piece counts more or less equally. And part of what their fans pay to see is physical effort of the highest intricacy. I hope it will not offend my fellow Rush fans if I compare it to juggling or acrobatics, or at least suggest that it has such an aspect. Rush songs are full of unpredictable, shifting time signatures and difficult cues. The band’s numerical paucity leaves nowhere to hide dropped chords or melodic clangers. Unlike most three- and four-piece groups, Rush has almost always refused to ever bring a hired sideman onto the live stage, even though this requires Lee to operate sequencers with foot pedals while playing what are often ludicrously difficult bass lines — AND singing like, well, like Geddy Lee.

This, I say as someone who loves Geddy like a family member, is truculence bordering on absurdity. If Rush could approach fans individually and talk it out with them, they could probably persuade them that it made sense to bring a keyboardist, or even a rhythm guitarist, along on the road. (Some groups even sneak in a second percussionist!) It may even be a bit sad that we were denied a more collegial Rush, one that participated in the life of its musical generation, strayed occasionally from its triune purity, and did fun crossovers with other groups (such as 1980’s “Battle Scar”, recorded with fellow Torontonians Max Webster for the Universal Juveniles LP).