If I had to describe my evening afterthought of Rush at the S.E.C.C in Glasgow, it would be this – four hours of standing and ouch! My feet fucking hurt! - In saying that, bloody well worth it and all those hours was filled with performance, so as you can imagine this was a pretty damn long set played by the band – Even Geddy Lee joked that they would have to hurry onto the next song as they were performing 605 more songs later.

It was a major sellout with all fans forgoing their seating arrangements to stand instead to watch the band open with the anthemic synth driven ‘Subdivisions’.

The next few songs explored much of Rush’s 80’s work such as 'The Big Money', 'Force Ten' and 'The Analog Kid' – all with a fantastic backdrop of animation videos playing behind the band.

I was really shocked to see most of the audience was somewhat catatonic. True most of the audience was of a slightly "older demographic", however I wouldn’t chalk that up to their stagnation – I would say the blame lay not with Rush’s mix (which was near perfect!) and their impeccable performance, however the fault lay with the age of the S.E.C.C’s Hall 4 that has started to show its age in its lousy treatment of the bands sound.


Often Alex Lifeson’s guitar was far too harsh and washed out and Geddy Lee’s melodic tone totally annihilated in the cacophony of untreated high ends – in simple terms, I think the audience was struggling to hear what was going on at points.

The sound did improve by the second set which introduced the 'Clockwork Angels String Ensemble' (A 7 piece violin / cello ensemble). The band played through their latest album work that sounded absolutely fantastic live (I would dare say it sounds better live than on record), specifically 'Carnies' that culminated in the flashiest pyrotechnics combo of flames, fireworks and random explosions.

Yet, those said pyrotechnics didn’t "wake" the audience from their catatonic zombie like state – so, I was trying to wonder what the hell was going on with them as Rush played through more and more of their set.

Nevertheless, one of the most memorable performances was during 'The Garden' (according to Geddy Lee, it was the band’s favorite track to perform), the video show and performance from the band was magical to say the least and really brought a whole new atmosphere in amongst the fast paced proggy anthem hits that were played on the night.


A fantastic electronic drum solo from Neil Peart was played later for the song 'The Percussor' – it was moments like this that really showed off the band's dynamic for out-staging most modern band performances: Pure technical performance and original ideas.

The crowd was suddenly moving and shaking as soon as Rush moved into their encore area of the show, hitting into 'The Spirit of Radio', 'Tom Sawyer', '2112 Part I: Overture', '2112 Part II The Temples of Syrinx', '2112 Part VII Grand Finale' – though I have to say it’s sad seeing people leave during the middle of 'Tom Sawyer' as if they got their "fix" for the night and that was them satisfied.

It’s undeniable that Rush has had a rollercoaster of a career changing their sound throughout the decades. Although Rush are pretty much a hall of fame band stooped in legend of being known for being progressive and melodic as hell, younger audiences largely know them for "that song off Futurama" (The 1981 Moving Pictures album hit, ‘Tom Sawyer’, for those who are unaware).

Unfortunately the same observation could be said for tonight’s audience as we found ourselves in a sea of a pretty tight age demographic; me and my photographer being one of the 1% being in our 20s.

Not a bad thing, however I felt it reflected terribly on the times of the state of "modern music" and that teens and 20-somethings will come out in their droves for a "performance" from Nicki Minaj, Rita Ora, Justin Bieber, Chris Brown etc. (Basically "celeb artists") that largely consists of the said "artists" MC-ing their way through the entire set whilst a backing track (via Laptop usually) plays all their parts for them – Free cash for the ‘top guys’ in the major music industry, though it helps me sleep at night these so-called ‘artists’ don’t get much of a cut from it all.

However its just as well I guess, at least the audience was listening intently to the music and wasn’t slam dancing their way through or Tweeting / Facebook-ing (Or whatever they call it) all the way through the performance – most hands were down with little to no cameras up in the air – all heads turned forward with ears open to a band that could play, perform, entertain and rock harder than any act known today.

Now, if you excuse me, I have to go rest my feet!