![\"Alex](\"https:\/\/www.billboard.com\/wp-content\/uploads\/2026\/06\/Billboard-Rush-Fifty-Something-2026.jpg?w=237&h=147&crop=1\")
<\/div>\n<\/div>\n![\"Billboard](\"https:\/\/i.imgur.com\/2HpFicp.png\")
<\/p>\nAnika Nilles Makes Her Tour Debut<\/h2>\n\n\n\tNilles was simply put, incredible. It\u2019s an almost absurdly tall order to replace Peart, but if she was sweating the task, Nilles didn\u2019t let on, playing mightily and with tremendous strength and stamina as she powered through the 22-song setlist. Presiding over a sprawling drum kit, Nilles showed that she\u2019s mastered Peart\u2019s signature cascade of drums technique, with her work on especially percussion-forward songs like \u201c2112: Overture \/ The Temples of Syrinx \/ Grand Finale\u201d and \u201cYYZ\u201d drawing huge cheers, as did her name when Lee first introduced her to the audience.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\nA Refreshingly Phone-Free Environment<\/h2>\n\n\n\tAt certain points during the show, it was possible to look out into the sections of the roughly 18,000-person crowd and actually count the numbers of phones that were up filming. The dearth of elevated smart phones was even more striking considering that fans were not officially asked to keep their devices tucked away. This largely device-free atmosphere not only gave the night a throwback quality, but created a sense of real presence that made the buzzy performance feel even more kinetic. <\/p>\n
\n\tOf course, phone cameras were shooting at predicable moments \u2014 \u201cTom Sawyer\u201d\u2018s guitar solo, \u201cSpirt of the Radio\u201d\u2018s giddy \u201cooooof salesmen!\u201d \u2014 but even then it was fewer than one might\u2019ve been expected, with far more fists in the air than phones. During the tender \u201cThe Garden\u201d many people even held up battery-powered tea light candles, with at least one guy lifting a lighter, just like the old days.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\nJason Segal & Paul Rudd Return to Slappa Da Bass<\/h2>\n\n\n\tWhile the Rush oeuvre is both materially grand and conceptually heady, the night contained a lot of light moments as well. The visual motifs for much of the show were centered around a gothic castle and a spooky circus and amusement park, imagery that at times came off as overtly cartoonish. Things got even goofier and more fun when a video of the South Park <\/em>cast (playing as Lil\u2019 Rush) was used to introduce \u201cTom Sawyer,\u201d reaching back to when South Park <\/em>creators Trey Parker and Matt Stone made the clip in the aughts for use on the band\u2019s 2007 Snakes & Arrows<\/em> tour.<\/p>\n\n\tAlso making a reprise were actors Jason Segel and Paul Rudd, who appeared in the show\u2019s opening video as the Rush fanatics they played in the 2009 comedy I Love You, Man<\/em>. (Roles they also reprised for Rush\u2019s 2013 Rock & Roll Hall of Fame induction.) The duo then appeared onscreen again at the very end of the show to joke about the proper pronunciation of \u201cPeart,\u201d with the I Love You, Man<\/em> jokes also alive and well among the fans, including two custom-made \u201cSlappa da Bass\u201d t-shirts worn by men in the audience.<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nA Decade-Spanning Set<\/h2>\n\n\n\tForty percent of the setlist \u2014 which unfolded over two sets broken up by a short intermission \u2014 focused on Rush\u2019s hugely influential work from the early \u201980s. The band played three songs from 1980\u2019s Permanent Waves<\/em>, four from 1981\u2019s Moving Pictures<\/em> and two from 1984\u2019s Grace Under Pressure. <\/em>But the rest of the setlist acknowledged that Rush also did important work in four other decades, taking from 1975\u2019s Fly By Night<\/em>, 1991\u2019s Roll The Bones<\/em>, 2007\u2019s\u00a0Snakes & Arrows<\/em> and more. They also created a sort of full circle by incorporating two songs from the band\u2019s final studio LP, Clockwork Angels<\/em>, with the show closing with \u201cWorking Man\u201d from Rush\u2019s 1974 self-titled debut.<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nPeart\u2019s Omnipresence<\/h2>\n\n\n\tWhile Lee advised that the tour would \u201cpay tribute to our past and to Neil,\u201d \u201ctribute\u201d seems too small a word for how Peart was thoughtfully and frequently woven into the show. There were two separate instances when his voice came through the speakers, as he first talked about getting into drumming as a kid who was, \u201csmashing pots and pans and my parents got the idea that I liked to hit things with sticks, so for my 13th birthday they gave me drum lessons, this changed everything.\u201d The band then played \u201cBravado\u201d while a photo montage of the later drummer flashed onscreen. <\/p>\n
\n\tLater, in another clip, he spoke philosophically about why the musician\u2019s life appealed to him, saying, \u201cI like to be organized, but at the same time I\u2019m restless for movement, for learning, for traveling. That\u2019s my essential contradiction, that\u2019s my yin and yang, my ideal of life is not a well-ordered environment, not a quiet room with everything in its place, but rather my dream is to have a well-packed suitcase and to be on my way somewhere interesting.\u201d<\/p>\n
\n\tPeart also appeared in various digital renderings, with illustrations of his face intermittently showing up in a cloud bank, in a rock face and, finally, with him drumming in the cosmos. While his spirit would have always been alive in the performance given how much he contributed to the music, the production did a classy and even-handed job in making him a wise recurring presence. Thus even in his sad absence during the show, Peart remained the star of it. <\/p>\n<\/div>\n<\/article>\n<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
[analyse_source url=”https:\/\/www.billboard.com\/lists\/rush-fifty-something-tour-launch-los-angeles-5-best-moments\/”]<\/p>\n","protected":false},"excerpt":{"rendered":"
[analyse_image type=”featured” src=”https:\/\/www.billboard.com\/wp-content\/uploads\/2026\/06\/Billboard-Rush-Fifty-Something-2026_41d486.jpg?w=1024″] There was a bittersweet quality to the first show of Rush\u2018s Fifty Something Tour, which began on Sunday (June 7) at Los Angeles\u2019 Kia Forum, the same place the legendary Canadian rock outfit concluded its last tour in 2015. While elements of these two performances were of course similar, including some overlap […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[],"class_list":["post-1978793","post","type-post","status-publish","format-standard","hentry","category-politics"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1978793","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1978793"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1978793\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1978793"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1978793"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1978793"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n\tNilles was simply put, incredible. It\u2019s an almost absurdly tall order to replace Peart, but if she was sweating the task, Nilles didn\u2019t let on, playing mightily and with tremendous strength and stamina as she powered through the 22-song setlist. Presiding over a sprawling drum kit, Nilles showed that she\u2019s mastered Peart\u2019s signature cascade of drums technique, with her work on especially percussion-forward songs like \u201c2112: Overture \/ The Temples of Syrinx \/ Grand Finale\u201d and \u201cYYZ\u201d drawing huge cheers, as did her name when Lee first introduced her to the audience.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
A Refreshingly Phone-Free Environment<\/h2>\n\n\n\tAt certain points during the show, it was possible to look out into the sections of the roughly 18,000-person crowd and actually count the numbers of phones that were up filming. The dearth of elevated smart phones was even more striking considering that fans were not officially asked to keep their devices tucked away. This largely device-free atmosphere not only gave the night a throwback quality, but created a sense of real presence that made the buzzy performance feel even more kinetic. <\/p>\n
\n\tOf course, phone cameras were shooting at predicable moments \u2014 \u201cTom Sawyer\u201d\u2018s guitar solo, \u201cSpirt of the Radio\u201d\u2018s giddy \u201cooooof salesmen!\u201d \u2014 but even then it was fewer than one might\u2019ve been expected, with far more fists in the air than phones. During the tender \u201cThe Garden\u201d many people even held up battery-powered tea light candles, with at least one guy lifting a lighter, just like the old days.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\nJason Segal & Paul Rudd Return to Slappa Da Bass<\/h2>\n\n\n\tWhile the Rush oeuvre is both materially grand and conceptually heady, the night contained a lot of light moments as well. The visual motifs for much of the show were centered around a gothic castle and a spooky circus and amusement park, imagery that at times came off as overtly cartoonish. Things got even goofier and more fun when a video of the South Park <\/em>cast (playing as Lil\u2019 Rush) was used to introduce \u201cTom Sawyer,\u201d reaching back to when South Park <\/em>creators Trey Parker and Matt Stone made the clip in the aughts for use on the band\u2019s 2007 Snakes & Arrows<\/em> tour.<\/p>\n\n\tAlso making a reprise were actors Jason Segel and Paul Rudd, who appeared in the show\u2019s opening video as the Rush fanatics they played in the 2009 comedy I Love You, Man<\/em>. (Roles they also reprised for Rush\u2019s 2013 Rock & Roll Hall of Fame induction.) The duo then appeared onscreen again at the very end of the show to joke about the proper pronunciation of \u201cPeart,\u201d with the I Love You, Man<\/em> jokes also alive and well among the fans, including two custom-made \u201cSlappa da Bass\u201d t-shirts worn by men in the audience.<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nA Decade-Spanning Set<\/h2>\n\n\n\tForty percent of the setlist \u2014 which unfolded over two sets broken up by a short intermission \u2014 focused on Rush\u2019s hugely influential work from the early \u201980s. The band played three songs from 1980\u2019s Permanent Waves<\/em>, four from 1981\u2019s Moving Pictures<\/em> and two from 1984\u2019s Grace Under Pressure. <\/em>But the rest of the setlist acknowledged that Rush also did important work in four other decades, taking from 1975\u2019s Fly By Night<\/em>, 1991\u2019s Roll The Bones<\/em>, 2007\u2019s\u00a0Snakes & Arrows<\/em> and more. They also created a sort of full circle by incorporating two songs from the band\u2019s final studio LP, Clockwork Angels<\/em>, with the show closing with \u201cWorking Man\u201d from Rush\u2019s 1974 self-titled debut.<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nPeart\u2019s Omnipresence<\/h2>\n\n\n\tWhile Lee advised that the tour would \u201cpay tribute to our past and to Neil,\u201d \u201ctribute\u201d seems too small a word for how Peart was thoughtfully and frequently woven into the show. There were two separate instances when his voice came through the speakers, as he first talked about getting into drumming as a kid who was, \u201csmashing pots and pans and my parents got the idea that I liked to hit things with sticks, so for my 13th birthday they gave me drum lessons, this changed everything.\u201d The band then played \u201cBravado\u201d while a photo montage of the later drummer flashed onscreen. <\/p>\n
\n\tLater, in another clip, he spoke philosophically about why the musician\u2019s life appealed to him, saying, \u201cI like to be organized, but at the same time I\u2019m restless for movement, for learning, for traveling. That\u2019s my essential contradiction, that\u2019s my yin and yang, my ideal of life is not a well-ordered environment, not a quiet room with everything in its place, but rather my dream is to have a well-packed suitcase and to be on my way somewhere interesting.\u201d<\/p>\n
\n\tPeart also appeared in various digital renderings, with illustrations of his face intermittently showing up in a cloud bank, in a rock face and, finally, with him drumming in the cosmos. While his spirit would have always been alive in the performance given how much he contributed to the music, the production did a classy and even-handed job in making him a wise recurring presence. Thus even in his sad absence during the show, Peart remained the star of it. <\/p>\n<\/div>\n<\/article>\n<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
[analyse_source url=”https:\/\/www.billboard.com\/lists\/rush-fifty-something-tour-launch-los-angeles-5-best-moments\/”]<\/p>\n","protected":false},"excerpt":{"rendered":"
[analyse_image type=”featured” src=”https:\/\/www.billboard.com\/wp-content\/uploads\/2026\/06\/Billboard-Rush-Fifty-Something-2026_41d486.jpg?w=1024″] There was a bittersweet quality to the first show of Rush\u2018s Fifty Something Tour, which began on Sunday (June 7) at Los Angeles\u2019 Kia Forum, the same place the legendary Canadian rock outfit concluded its last tour in 2015. While elements of these two performances were of course similar, including some overlap […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[],"class_list":["post-1978793","post","type-post","status-publish","format-standard","hentry","category-politics"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1978793","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1978793"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1978793\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1978793"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1978793"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1978793"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n\tAt certain points during the show, it was possible to look out into the sections of the roughly 18,000-person crowd and actually count the numbers of phones that were up filming. The dearth of elevated smart phones was even more striking considering that fans were not officially asked to keep their devices tucked away. This largely device-free atmosphere not only gave the night a throwback quality, but created a sense of real presence that made the buzzy performance feel even more kinetic. <\/p>\n
\n\tOf course, phone cameras were shooting at predicable moments \u2014 \u201cTom Sawyer\u201d\u2018s guitar solo, \u201cSpirt of the Radio\u201d\u2018s giddy \u201cooooof salesmen!\u201d \u2014 but even then it was fewer than one might\u2019ve been expected, with far more fists in the air than phones. During the tender \u201cThe Garden\u201d many people even held up battery-powered tea light candles, with at least one guy lifting a lighter, just like the old days.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
Jason Segal & Paul Rudd Return to Slappa Da Bass<\/h2>\n\n\n\tWhile the Rush oeuvre is both materially grand and conceptually heady, the night contained a lot of light moments as well. The visual motifs for much of the show were centered around a gothic castle and a spooky circus and amusement park, imagery that at times came off as overtly cartoonish. Things got even goofier and more fun when a video of the South Park <\/em>cast (playing as Lil\u2019 Rush) was used to introduce \u201cTom Sawyer,\u201d reaching back to when South Park <\/em>creators Trey Parker and Matt Stone made the clip in the aughts for use on the band\u2019s 2007 Snakes & Arrows<\/em> tour.<\/p>\n\n\tAlso making a reprise were actors Jason Segel and Paul Rudd, who appeared in the show\u2019s opening video as the Rush fanatics they played in the 2009 comedy I Love You, Man<\/em>. (Roles they also reprised for Rush\u2019s 2013 Rock & Roll Hall of Fame induction.) The duo then appeared onscreen again at the very end of the show to joke about the proper pronunciation of \u201cPeart,\u201d with the I Love You, Man<\/em> jokes also alive and well among the fans, including two custom-made \u201cSlappa da Bass\u201d t-shirts worn by men in the audience.<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nA Decade-Spanning Set<\/h2>\n\n\n\tForty percent of the setlist \u2014 which unfolded over two sets broken up by a short intermission \u2014 focused on Rush\u2019s hugely influential work from the early \u201980s. The band played three songs from 1980\u2019s Permanent Waves<\/em>, four from 1981\u2019s Moving Pictures<\/em> and two from 1984\u2019s Grace Under Pressure. <\/em>But the rest of the setlist acknowledged that Rush also did important work in four other decades, taking from 1975\u2019s Fly By Night<\/em>, 1991\u2019s Roll The Bones<\/em>, 2007\u2019s\u00a0Snakes & Arrows<\/em> and more. They also created a sort of full circle by incorporating two songs from the band\u2019s final studio LP, Clockwork Angels<\/em>, with the show closing with \u201cWorking Man\u201d from Rush\u2019s 1974 self-titled debut.<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nPeart\u2019s Omnipresence<\/h2>\n\n\n\tWhile Lee advised that the tour would \u201cpay tribute to our past and to Neil,\u201d \u201ctribute\u201d seems too small a word for how Peart was thoughtfully and frequently woven into the show. There were two separate instances when his voice came through the speakers, as he first talked about getting into drumming as a kid who was, \u201csmashing pots and pans and my parents got the idea that I liked to hit things with sticks, so for my 13th birthday they gave me drum lessons, this changed everything.\u201d The band then played \u201cBravado\u201d while a photo montage of the later drummer flashed onscreen. <\/p>\n
\n\tLater, in another clip, he spoke philosophically about why the musician\u2019s life appealed to him, saying, \u201cI like to be organized, but at the same time I\u2019m restless for movement, for learning, for traveling. That\u2019s my essential contradiction, that\u2019s my yin and yang, my ideal of life is not a well-ordered environment, not a quiet room with everything in its place, but rather my dream is to have a well-packed suitcase and to be on my way somewhere interesting.\u201d<\/p>\n
\n\tPeart also appeared in various digital renderings, with illustrations of his face intermittently showing up in a cloud bank, in a rock face and, finally, with him drumming in the cosmos. While his spirit would have always been alive in the performance given how much he contributed to the music, the production did a classy and even-handed job in making him a wise recurring presence. Thus even in his sad absence during the show, Peart remained the star of it. <\/p>\n<\/div>\n<\/article>\n<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
[analyse_source url=”https:\/\/www.billboard.com\/lists\/rush-fifty-something-tour-launch-los-angeles-5-best-moments\/”]<\/p>\n","protected":false},"excerpt":{"rendered":"
[analyse_image type=”featured” src=”https:\/\/www.billboard.com\/wp-content\/uploads\/2026\/06\/Billboard-Rush-Fifty-Something-2026_41d486.jpg?w=1024″] There was a bittersweet quality to the first show of Rush\u2018s Fifty Something Tour, which began on Sunday (June 7) at Los Angeles\u2019 Kia Forum, the same place the legendary Canadian rock outfit concluded its last tour in 2015. While elements of these two performances were of course similar, including some overlap […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[],"class_list":["post-1978793","post","type-post","status-publish","format-standard","hentry","category-politics"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1978793","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1978793"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1978793\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1978793"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1978793"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1978793"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n\tWhile the Rush oeuvre is both materially grand and conceptually heady, the night contained a lot of light moments as well. The visual motifs for much of the show were centered around a gothic castle and a spooky circus and amusement park, imagery that at times came off as overtly cartoonish. Things got even goofier and more fun when a video of the South Park <\/em>cast (playing as Lil\u2019 Rush) was used to introduce \u201cTom Sawyer,\u201d reaching back to when South Park <\/em>creators Trey Parker and Matt Stone made the clip in the aughts for use on the band\u2019s 2007 Snakes & Arrows<\/em> tour.<\/p>\n \n\tAlso making a reprise were actors Jason Segel and Paul Rudd, who appeared in the show\u2019s opening video as the Rush fanatics they played in the 2009 comedy I Love You, Man<\/em>. (Roles they also reprised for Rush\u2019s 2013 Rock & Roll Hall of Fame induction.) The duo then appeared onscreen again at the very end of the show to joke about the proper pronunciation of \u201cPeart,\u201d with the I Love You, Man<\/em> jokes also alive and well among the fans, including two custom-made \u201cSlappa da Bass\u201d t-shirts worn by men in the audience.<\/p>\n<\/div>\n<\/article>\n<\/li>\n \n\tForty percent of the setlist \u2014 which unfolded over two sets broken up by a short intermission \u2014 focused on Rush\u2019s hugely influential work from the early \u201980s. The band played three songs from 1980\u2019s Permanent Waves<\/em>, four from 1981\u2019s Moving Pictures<\/em> and two from 1984\u2019s Grace Under Pressure. <\/em>But the rest of the setlist acknowledged that Rush also did important work in four other decades, taking from 1975\u2019s Fly By Night<\/em>, 1991\u2019s Roll The Bones<\/em>, 2007\u2019s\u00a0Snakes & Arrows<\/em> and more. They also created a sort of full circle by incorporating two songs from the band\u2019s final studio LP, Clockwork Angels<\/em>, with the show closing with \u201cWorking Man\u201d from Rush\u2019s 1974 self-titled debut.<\/p>\n<\/div>\n<\/article>\n<\/li>\n \n\tWhile Lee advised that the tour would \u201cpay tribute to our past and to Neil,\u201d \u201ctribute\u201d seems too small a word for how Peart was thoughtfully and frequently woven into the show. There were two separate instances when his voice came through the speakers, as he first talked about getting into drumming as a kid who was, \u201csmashing pots and pans and my parents got the idea that I liked to hit things with sticks, so for my 13th birthday they gave me drum lessons, this changed everything.\u201d The band then played \u201cBravado\u201d while a photo montage of the later drummer flashed onscreen. <\/p>\n \n\tLater, in another clip, he spoke philosophically about why the musician\u2019s life appealed to him, saying, \u201cI like to be organized, but at the same time I\u2019m restless for movement, for learning, for traveling. That\u2019s my essential contradiction, that\u2019s my yin and yang, my ideal of life is not a well-ordered environment, not a quiet room with everything in its place, but rather my dream is to have a well-packed suitcase and to be on my way somewhere interesting.\u201d<\/p>\n \n\tPeart also appeared in various digital renderings, with illustrations of his face intermittently showing up in a cloud bank, in a rock face and, finally, with him drumming in the cosmos. While his spirit would have always been alive in the performance given how much he contributed to the music, the production did a classy and even-handed job in making him a wise recurring presence. Thus even in his sad absence during the show, Peart remained the star of it. <\/p>\n<\/div>\n<\/article>\n<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n [analyse_source url=”https:\/\/www.billboard.com\/lists\/rush-fifty-something-tour-launch-los-angeles-5-best-moments\/”]<\/p>\n","protected":false},"excerpt":{"rendered":" [analyse_image type=”featured” src=”https:\/\/www.billboard.com\/wp-content\/uploads\/2026\/06\/Billboard-Rush-Fifty-Something-2026_41d486.jpg?w=1024″] There was a bittersweet quality to the first show of Rush\u2018s Fifty Something Tour, which began on Sunday (June 7) at Los Angeles\u2019 Kia Forum, the same place the legendary Canadian rock outfit concluded its last tour in 2015. While elements of these two performances were of course similar, including some overlap […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[],"class_list":["post-1978793","post","type-post","status-publish","format-standard","hentry","category-politics"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1978793","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1978793"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1978793\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1978793"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1978793"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1978793"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}A Decade-Spanning Set<\/h2>\n
Peart\u2019s Omnipresence<\/h2>\n