Brains in jars, popcorn and clockwork angels…
Rush – SECC, Glasgow, May 30th 2013
By the time you get to about sixty years old you start to have plans for retirement and taking it easy. Especially if it’s after forty years in the job.
But this is Rush.
In an industry where most bands have either imploded or exploded in less than half that time it’s remarkable to still be hard at it, let alone to have just produced arguably your best album.
And then there’s the obligatory world tour.
I caught the London O2 Arena and Glasgow SECC dates of the UK leg of the Clockwork Angels tour and while the band put on a great show both nights the London performance was spoiled a little by the enormous size of the venue, problems with the sound and a delay caused by a fox in the arena (yes, really).
And so to Glasgow.
The Rush stage presentation is always something to behold. Pipes, horns and sundry devices adorn the stage, belching steam, fire and whatever else during crucial musical moments of the performance.
And Geddy Lee’s bass goes straight into the desk so his backline is always impressive.
In the past we have had washing machines and chicken rotisseries – this time we had an outsized brain in a jar and a popcorn machine.
The show opens with their usual Three Stooges type video before the first set begins; if the band ever tire of music surely a career in cinematic or TV comedy movies awaits, especially for class clown Alex Lifeson. Who, for a comedian, is not too shabby a guitarist. Or is it the other way round?
The first set consists of old favourites, starting off with the nearly ever-present 'Subdivisions.'
The set draws heavily from the Power Windows and Signals albums, which is somewhat unusual, but enjoyable to see those tunes played live again.
A few songs, including 'Territories' and 'Grand Designs,' get their first UK airing.
Geddy Lee, Alex Lifeson and Neil Peart look like they are having a real good time and there’s always a great rapport between the trio. It looks like fun.
Geddy Lee’s voice can’t do what it used to as regards upper range, but one of the most distinct and recognisable voices in rock has adapted; on this tour he sounded better than he has done in years (and a particularly emotional 'The Pass' brings out the best in Lee).
The instrumental 'Where’s My Thing?' allows for a fair degree of unadulterated noodling, while the first set finishes after an hour or so with a cracking rendition of 'Far Cry.'
But it’s the second set that really is the main event.
With a string section now on stage the band play an hour of Clockwork Angels material.
The strings add a completely new dimension to the sound and are much higher in the mix than on the album. It sounds great, but it looks superb as well – the lighting and video effects for the new material are simply stunning, complimented by several very large explosions.
The highlight is a beautiful version of 'Clockwork Angels' but other songs such as 'Caravan,' 'The Anarchist' and 'The Garden' also make an impact in their musicality and visual stage presentation.
The Clockwork Angels set follows pretty much the course of the album, albeit edited highlights.
The strings stay on stage to contribute to 'Dream Line,' 'Red Sector A' and 'YYZ,' again adding a whole new aspect to the sound.
And in the midst of all the flashing lights, explosions, power trio and strings showmanship, Neil "The Professor" Peart gets his customary solo spot to show off his prodigious percussive abilities.
The show closes with the inevitable yet always highly anticipated greatest hits and encores:
'Spirit of Radio,' 'Tom Sawyer' and '2112.'
Such an intense show, both musically and visually, would be hard for musicians and bands half the age of Messrs Lee, Lifeson and Peart.
And the level of technology incorporated and required brings a myriad of things that can go wrong; minds have to be focused at all times.
But it’s a truly great performance by a truly great band; showcasing one of their best ever albums in the fifth decade of their career.
All of which begs the question: how can they follow that?
But this is Rush.
Which means they probably will.
Alan Speed
for FabricationsHQ
Rush – SECC, Glasgow, May 30th 2013
By the time you get to about sixty years old you start to have plans for retirement and taking it easy. Especially if it’s after forty years in the job.
But this is Rush.
In an industry where most bands have either imploded or exploded in less than half that time it’s remarkable to still be hard at it, let alone to have just produced arguably your best album.
And then there’s the obligatory world tour.
I caught the London O2 Arena and Glasgow SECC dates of the UK leg of the Clockwork Angels tour and while the band put on a great show both nights the London performance was spoiled a little by the enormous size of the venue, problems with the sound and a delay caused by a fox in the arena (yes, really).
And so to Glasgow.
The Rush stage presentation is always something to behold. Pipes, horns and sundry devices adorn the stage, belching steam, fire and whatever else during crucial musical moments of the performance.
And Geddy Lee’s bass goes straight into the desk so his backline is always impressive.
In the past we have had washing machines and chicken rotisseries – this time we had an outsized brain in a jar and a popcorn machine.
The show opens with their usual Three Stooges type video before the first set begins; if the band ever tire of music surely a career in cinematic or TV comedy movies awaits, especially for class clown Alex Lifeson. Who, for a comedian, is not too shabby a guitarist. Or is it the other way round?
The first set consists of old favourites, starting off with the nearly ever-present 'Subdivisions.'
The set draws heavily from the Power Windows and Signals albums, which is somewhat unusual, but enjoyable to see those tunes played live again.
A few songs, including 'Territories' and 'Grand Designs,' get their first UK airing.
Geddy Lee, Alex Lifeson and Neil Peart look like they are having a real good time and there’s always a great rapport between the trio. It looks like fun.
Geddy Lee’s voice can’t do what it used to as regards upper range, but one of the most distinct and recognisable voices in rock has adapted; on this tour he sounded better than he has done in years (and a particularly emotional 'The Pass' brings out the best in Lee).
The instrumental 'Where’s My Thing?' allows for a fair degree of unadulterated noodling, while the first set finishes after an hour or so with a cracking rendition of 'Far Cry.'
But it’s the second set that really is the main event.
With a string section now on stage the band play an hour of Clockwork Angels material.
The strings add a completely new dimension to the sound and are much higher in the mix than on the album. It sounds great, but it looks superb as well – the lighting and video effects for the new material are simply stunning, complimented by several very large explosions.
The highlight is a beautiful version of 'Clockwork Angels' but other songs such as 'Caravan,' 'The Anarchist' and 'The Garden' also make an impact in their musicality and visual stage presentation.
The Clockwork Angels set follows pretty much the course of the album, albeit edited highlights.
The strings stay on stage to contribute to 'Dream Line,' 'Red Sector A' and 'YYZ,' again adding a whole new aspect to the sound.
And in the midst of all the flashing lights, explosions, power trio and strings showmanship, Neil "The Professor" Peart gets his customary solo spot to show off his prodigious percussive abilities.
The show closes with the inevitable yet always highly anticipated greatest hits and encores:
'Spirit of Radio,' 'Tom Sawyer' and '2112.'
Such an intense show, both musically and visually, would be hard for musicians and bands half the age of Messrs Lee, Lifeson and Peart.
And the level of technology incorporated and required brings a myriad of things that can go wrong; minds have to be focused at all times.
But it’s a truly great performance by a truly great band; showcasing one of their best ever albums in the fifth decade of their career.
All of which begs the question: how can they follow that?
But this is Rush.
Which means they probably will.
Alan Speed
for FabricationsHQ
