Rush at The United Center 9.15.2012

Rush is the only band I know that takes an intermission, but as my friend Doug M. said on Saturday night, when a band plays with such precision and skill, you can give them fifteen minutes.

Rush has nothing to prove to anyone, ever again. The band is still going strong after thirty-eight years, since their first album in 1974 (longer if you go from their formation), has only had 5 members (one for only one performance), and has had an unchanging lineup since drummer Neil Peart joined bassist Geddy Lee and guitarist Alex Lifeson in the band (also in 1974). There is a consistency of skill, direction and vision in this band that few artists can match. Which isn't to say stagnant, far from it.

Three things were surprising on Saturday night.

The first being that for the first time in recent memory, there are significant changes to the setlist from night to night. On the past few tours, it was almost a given that the setlist that came out on the internet the night of the first show is, more or less, the exact setlist you'd see when the band reached your town. I see this as neither good nor bad, it's simply how Rush operates (operated?). With the extensive lighting and video effects that are part and parcel of their stage show, planning and synchronization are important. Much like a play performed by talented actors, the script doesn't change, but the commitment and the energy of each night would differ.

Second, I was surprised to see the band mine so much of the "synthesizer era" that encompassed most of the 80's. The first set relied heavily on this period, with synth-heavy numbers like Territories, The Big Money, and Grand Designs. While admittedly, not my "favorite" era of the band (I do love all facets of their career), it was very cool to see this period represented so strongly. Doug was in heaven, this being is favorite era of the band.

Third, for the first time, ever, Rush had additional musicians, in the fore of a string section, mainly for material from their latest (and excellent) album, Clockwork Angels, which comprised most of the second set. Being a fan of the new record, I was excited that they did nine of the albums twelve tracks. In order, as befits a concept album. I could see a few people getting the "thousand-yard stare" that sometimes accompanies new material at a "classic rock" show. Screw 'em. The band sounded terrific, the fans know this stuff, and it's at the same level of quality as every album they put out is....High.

Other changes were evident. Instead of one long drum solo, Peart took three shorter ones, incorporated into the numbers being played. It was interesting to see, instead of moving through various styles in a ten to fifteen minute solos, to attack one style aggressively, then slide back into the song. I am a fan of Peart's drum solos (and I don't, traditionally, like drum solos), but I thought this was a very, very cool variation on what the "expected" Rush show tropes are.

All-in-all, a great night. The band gave us our money's worth, and more. As long as they stay on the road, I will be making the time to see this band of consummate professionals play like few others can.

Set One
1. Subdivisions
2. The Big Money
3. Force Ten
4. Grand Designs
5. The Body Electric

6. Territories
7. The Analog Kid
8. Bravado
9. Where's My Thing? (with Drum Solo)
10. Far Cry

Set Two (with string section)
11. Caravan
12. Clockwork Angels
13. The Anarchist
14. Carnies
15. The Wreckers
16. Headlong Flight (with Drum Solo)
17. Halo Effect
18. Seven Cities of Gold
19. The Garden
20. Manhattan Project
21. Drum Solo (The Percussor)
22. Red Sector A
23. YYZ
24. The Spirit of Radio (no strings)

Encore:
25. Tom Sawyer
26. 2112 Part I: Overture
27. 2112 Part II: The Temples of Syrinx
28. 2112 Part VII: Grand Finale

CLOCKWORK ANGELS

So here it is, the first new Rush album in five years, and their first concept album, ever. It's true! Rush has never released a full album with a unifying concept. Their conceptual projects previously would, at most, consist of one side of an album, as with the classic 2112. I have to admit I was thrilled to hear that the boys had decided to undertake a more long-form project again.

We got a taste of what might be in store quite early, with the release of the first two tracks of this record, Caravan and BU2B as a "single" in 2010, to promote the "Time Machine" tour. I loved those tracks, they we heavy and classic, as well as giving an intriguing glimpse of the themes that would ultimately drive the Clockwork Angels storyline.

Now, I have to admit, I was a little surprised that the album doesn't play more unified. It would be very easy to listen to Clockwork Angels and  just think it was another Rush album, a collection of songs, blissfully unaware of the underlying storyline. Some may be disappointed by that, but, ultimately, I find it a strength. It allows you to sink into each track, and the elements each conveys of the overall storyline.

The storyline itself is nothing overtly complicated. Typical hero's journey stuff. A farm boy moves out into a steampunk world, controlled by a figure called the watchmaker. He works with a traveling carnival and faces insidious pirates, etc, etc. It's rich, compelling stuff if you wish to dig into the album, and not just enjoy the songs as excellent rock music. If you really want to get into it, the novelization, by Kevin J. Anderson, will be available in September (just in time for the tour!).

I have to admit, while some fans are calling Clockwork Angels Rush's best work since their 70's/80's heyday, I'm not completely on board with that. For my money, they've never made a bad album. I could pick my favorite Rush record (Permanent Waves. No, wait! Signals.), but I couldn't pick their best record. I simply think these guys have somehow stayed true to themselves for all these years and continued to write and record songs that always sound fresh, alive, and exactly how Rush should sound in that moment. It's an impressive feat.

There are lots of killer tracks here, but the run from Track 5 to Track 9 is truly amazing. All five of those numbers, Carnies, Halo Effect, Seven Cities of Gold, The Wreckers and Headlong Flight, are classic Rush, heavy, technical and ultra-melodic and catchy. The whole album is great really, but that stretch, in particular, just kicks my ass.

The playing, as to be expected, is impeccable. Bassist/Vocalist Geddy Lee's voice can't quite get to the sort of upper-register notes that used to be commonplace for him, but the guy's sixty. He deserves the right to not destroy his throat, when a lower note works just as well. Plus, I can't hit those note, so what can I say? Guitarist Alex Lifeson is truly on fire on several tracks, with the opening riff of Carnies being particularly awesome. Drummer/Lyricist Neil Peart...well, he's the greatest living rock drummer.

What's interesting is the urgency that seems imbedded into the whole affair. It makes me wonder if there isn't some sense, in fact I know there is, the band has made it clear in interviews, that they can't keep going forever. Peart has said that the band's planned 2 years from now, in terms of activities, and then...we'll see.

I hope they keep going forever, because no other band in the world has proved to be so consistently connected to both themselves and their audience. The time will come when they have to hang up the instruments, as it does for everyone. On that day, the world will be a poorer place.

First reaction to new Rush tracks.

So, I've been able to listen to Caravan and BU2B a few times over now. (3 times in a row on the train this AM) I think that's enough to give first impressions.

If these tracks are indicative of the ultimate sound of the Clockwork Angels album, when it finally gets released next year, I'd generally say the boys aren't straying far from the last album. These two tracks sound, generally, like the heavier tracks on Snakes and Arrows. However, I also feel some of the chaotic energy of the previous record, Vapor Trails.

Of course, that "chaotic energy" may have just been my reaction to rather muddy mastering. Yeah, it's true it could've sounded a little cleaner, but I, personally, like Vapor Trails a whole hell of a lot. The songwriting is rock-solid.

So, these are two pretty up-front, rocking tracks. They do remind me of Far Cry, the first single from Snakes and Arrows. It's that same kind of lock-step power playing that Rush has embraced in the 21st century. Part of the joy, and frustration, of being a Rush fan is that they tend to switch things up a lot. Everyone remembers the "synth and electronic drums" period of the late 80's, and still complains about it. Me, I think they put out some classic tracks in that era, even if it was, overall, a kind of fallow period.

the new tracks are catchy and the band is really playing better than ever. It's 3 old pros, now, and I honestly believe they couldn't make a "bad" album if they tried. They've played together too long, and their rapport is too strong, to let anything get completely out of control.

But...

The band's been embracing this same, general sound since Test For Echo in 1996. You could argue even earlier than that. I know that's only 3 albums ago, but it's fourteen years. Fifteen by the time Clockwork Angels actually streets. I almost feel like I'd get excited if the synths made an aggressive return. (But leave the electronic drums out of it, Professor.)

That said, it's new Rush, and that's great news.