Filling The Hallowed Halls
Moving Pictures – The Pavilion, Ayr, 18th September 2026
Moving Pictures – The Pavilion, Ayr, 18th September 2026
Moving Pictures, the UK’s premier Rush tribute and known across the pond through a performance at Lakeside Park (as invited guests of the late Neil Peart’s sisters), a trip to Brazil and last year’s Massey Hall appearance (the latter two as part of RUSHfest events), made a welcome return to the seaside town of Ayr as part of their year-long, 50 Years Of 2112 UK Tour.
By acknowledging that classic album’s 50th Anniversary and playing the 2112 Suite in its entirety, Steve Brown (guitars, backing vocals), Eóin de Paor (lead vocals, bass, keys) and Jamie Dunleavey (drums, percussion) were guaranteed to have the Rush and rock-fan crowd onside from the celebratory get go.
But, as presented in well-honed and reverent style, there was a lot more to Moving Pictures two-set show than Syrinx temples and Dream-state Oracles.
Additionally, this was also a celebration down Ayr way, as the band's second visit in two years to the town was at The Pavilion, which hosted just about every major rock act in the 1980s before becoming a night club in the 90s then, latterly, a children’s soft play/ entertainment centre.
Now, under the auspices of new owner/ director of operations Curtis Briggs, with booking and promotional assistance from Plan B Events/ WinterStorm, "The Piv," as it was affectionately known back in the day, has returned, renovated and renewed, with a plan to bring live music, in all-original shapes and tribute forms, back to the beachside venue.
By acknowledging that classic album’s 50th Anniversary and playing the 2112 Suite in its entirety, Steve Brown (guitars, backing vocals), Eóin de Paor (lead vocals, bass, keys) and Jamie Dunleavey (drums, percussion) were guaranteed to have the Rush and rock-fan crowd onside from the celebratory get go.
But, as presented in well-honed and reverent style, there was a lot more to Moving Pictures two-set show than Syrinx temples and Dream-state Oracles.
Additionally, this was also a celebration down Ayr way, as the band's second visit in two years to the town was at The Pavilion, which hosted just about every major rock act in the 1980s before becoming a night club in the 90s then, latterly, a children’s soft play/ entertainment centre.
Now, under the auspices of new owner/ director of operations Curtis Briggs, with booking and promotional assistance from Plan B Events/ WinterStorm, "The Piv," as it was affectionately known back in the day, has returned, renovated and renewed, with a plan to bring live music, in all-original shapes and tribute forms, back to the beachside venue.
It was a fitting coincidence that The Piv’s 1980s heyday was reflected, in part, by Moving Pictures opening gambit of presenting Rush’s "80s keyboard era" up front and early, with a big-sounding one-two of 'Distant Early Warning' and fan favourite 'Subdivisions.'
A particularly impressive 'Marathon' (one of Rush’s finest moments) then made its mark, with Eóin de Paor in fine voice (especially on the higher Geddy, "streak of lightning" vocal lifts) and a nailed on solo from Steve Brown.
A particularly impressive 'Marathon' (one of Rush’s finest moments) then made its mark, with Eóin de Paor in fine voice (especially on the higher Geddy, "streak of lightning" vocal lifts) and a nailed on solo from Steve Brown.
The punchy and energetic 'Dreamline' pushed the Rush sound into the early 90s before 'Red Barchetta' honoured another of Rush’s finest 80s (and all-time) moments.
However it wouldn’t be any sort of Rush tribute without a dip into the 70s; 'A Farewell To Kings,' followed by 'The Trees' were back-to-back highlights, especially for those of us who are among the, shall we say, more seasoned Rush veterans.
'YYZ' is one of the hardest pieces of instrumental music to pull off in any rock catalogue, but Moving Pictures made a faithful and serious fist of it, with Jamie Dunleavey particularly prominent, and on it, in her percussive roll.
Talking of Miss Dunleavey, Moving Pictures have now, on the back of Rush’s Fifty Something choice of drummer, also become the most authentic Rush tribute on the circuit ("who saw that coming!?" quizzically quipped Eóin de Paor).
As strong as 'YYZ' was, it was bettered by the surprising but welcome inclusion of the lyrically poignant 'Losing It' (Eóin de Paor shining on 5-string electric violin) and first set closer 'La Villa Strangiato,' where all three musicians more than played their ever-shifting parts.
However it wouldn’t be any sort of Rush tribute without a dip into the 70s; 'A Farewell To Kings,' followed by 'The Trees' were back-to-back highlights, especially for those of us who are among the, shall we say, more seasoned Rush veterans.
'YYZ' is one of the hardest pieces of instrumental music to pull off in any rock catalogue, but Moving Pictures made a faithful and serious fist of it, with Jamie Dunleavey particularly prominent, and on it, in her percussive roll.
Talking of Miss Dunleavey, Moving Pictures have now, on the back of Rush’s Fifty Something choice of drummer, also become the most authentic Rush tribute on the circuit ("who saw that coming!?" quizzically quipped Eóin de Paor).
As strong as 'YYZ' was, it was bettered by the surprising but welcome inclusion of the lyrically poignant 'Losing It' (Eóin de Paor shining on 5-string electric violin) and first set closer 'La Villa Strangiato,' where all three musicians more than played their ever-shifting parts.
The second set was a classic Rush case of a sixty-minute Best Of, featuring 2112 as the focal point.
'The Spirit Of Radio' got the set off to a vibrant and vociferous "concert hall!" start while 'Limelight' was notable for Steve Brown’s delivery of what is one of the best, and most loved, of Alex Lifeson’s solos (which didn’t go unnoticed by the Rush-savvy crowd).
'Freewill' bettered both, however, with Moving Pictures "doing a Rush" in the most impressive of interplays on the instrumental section.
'Between The Wheels' and a tight-but-loose rendition of instrumental 'Where's My Thing?,' including a Jamie Dunleavey drum solo that nodded in part to The Professor's earliest solos, were worthy of their place in the set, but there is no question 1976’s seven-part Suite was the 2112 Star of the show.
Hearing 2112 in its entirety was a rare treat but it wouldn’t be lost on the dedicated fan-base that Rush also played it during their four night Kia Forum residency back in June (again, who saw that coming, but said fan-base would be very glad it did).
The atmospheric-prog of 'Xanadu,' with double neck guitars in a starring role, closed out the second set in resounding audience appreciation fashion, while an encore of 'Working Man' (Steve Brown giving it the big Lifeson licks) and singalong finale 'The Sphere' (Moving Pictures signature sign-off) made for an impacting and endearing sign-off, respectively.
The only criticism was a way too loud first few songs as the live sound against the acoustics of the newly revamped venue were balanced.
But the reverbing decibel levels could be forgiven, given Moving Pictures fill the hallowed halls with Rush songs better than any band not called Rush.
Ross Muir
FabricationsHQ
Phot Credits: Alistair Mulhearn Photography
https://www.facebook.com/www.alistairmulhearn.co.uk
50 Years Of 2112 Tour Dates & Tickets:
https://www.movingpicturesuk.com/gigs/
'The Spirit Of Radio' got the set off to a vibrant and vociferous "concert hall!" start while 'Limelight' was notable for Steve Brown’s delivery of what is one of the best, and most loved, of Alex Lifeson’s solos (which didn’t go unnoticed by the Rush-savvy crowd).
'Freewill' bettered both, however, with Moving Pictures "doing a Rush" in the most impressive of interplays on the instrumental section.
'Between The Wheels' and a tight-but-loose rendition of instrumental 'Where's My Thing?,' including a Jamie Dunleavey drum solo that nodded in part to The Professor's earliest solos, were worthy of their place in the set, but there is no question 1976’s seven-part Suite was the 2112 Star of the show.
Hearing 2112 in its entirety was a rare treat but it wouldn’t be lost on the dedicated fan-base that Rush also played it during their four night Kia Forum residency back in June (again, who saw that coming, but said fan-base would be very glad it did).
The atmospheric-prog of 'Xanadu,' with double neck guitars in a starring role, closed out the second set in resounding audience appreciation fashion, while an encore of 'Working Man' (Steve Brown giving it the big Lifeson licks) and singalong finale 'The Sphere' (Moving Pictures signature sign-off) made for an impacting and endearing sign-off, respectively.
The only criticism was a way too loud first few songs as the live sound against the acoustics of the newly revamped venue were balanced.
But the reverbing decibel levels could be forgiven, given Moving Pictures fill the hallowed halls with Rush songs better than any band not called Rush.
Ross Muir
FabricationsHQ
Phot Credits: Alistair Mulhearn Photography
https://www.facebook.com/www.alistairmulhearn.co.uk
50 Years Of 2112 Tour Dates & Tickets:
https://www.movingpicturesuk.com/gigs/