{"id":2302,"date":"2026-06-16T22:37:03","date_gmt":"2026-06-16T22:37:03","guid":{"rendered":"https:\/\/relocationobserver.com\/?p=2302"},"modified":"2026-06-16T22:37:03","modified_gmt":"2026-06-16T22:37:03","slug":"how-did-rush-become-the-hipster-band-of-2026-a-new-fans-appreciation-of-the-fifty-something-bands-triumphant-comeback-at-the-forum","status":"publish","type":"post","link":"https:\/\/relocationobserver.com\/?p=2302","title":{"rendered":"How Did Rush Become the Hipster Band of 2026? A New Fan\u2019s Appreciation of the \u2018Fifty Something\u2019 Band\u2019s Triumphant Comeback at the Forum"},"content":{"rendered":"
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\n\tStep (or fly) aside, Geese. Circle back later, Turnstile. Take five and go flaccid, Viagra Boys. There can only be one rock band that is unquestionably and certifiably the<\/em> cool kids\u2019 choice in 2026, and whatever indie cred the rest of you may carry, this town ain\u2019t big enough for you and Rush.<\/p>\n

Read more \u2018I\u2019ve Never Seen This Level of Unity\u2019: Wu-Tang Clan, Fat Joe, Chuck D and More NYC Rappers Celebrate the Knicks\u2019 Championship Win<\/a><\/p>\n

\n\tThe reconstituted version of the recently dormant group just wrapped up a sold-out, tour-opening four-night stand at the Kia Forum that was a triumphantly climactic week in Rush\u2019s unexpected reentry as a cultural and musical force in the 2020s. Two heroes walked into the Forum \u2014 Geddy Lee and Alex Lifeson \u2014 and three walked out, as new drummer Anika Nilles may now be able to claim the title of the woman who\u2019s most popular among American men at this particular moment. (And, sure, that newfound veneration extends to some women, too; Rush\u2019s popularity is not as completely lopsided on the gender front as has been joked about for decades.)<\/p>\n

\n\tBut what was most clear going down to Inglewood tour was just what a wide swath Rush fandom cuts in 2026. Some fans may claim that is as it\u2019s always been, but it seems fair to say a tide has shifted. As a snobby 1970s kid, I would have considered myself not dweeb enough for Rush; going to the Forum fiftysomething years later, it was more about doubting I was hip enough.<\/p>\n

\n\tFortunately, it\u2019s a fandom that accepts all comers. And after only admiring from a safe distance for quite a long time, I qualify an actual convert, now, after Saturday night\u2019s staggering performace, one of the most invigorating displays of visceral prowess I can recall from across untold decades of concertgoing. Being happily beaten into submission through an almost unflaggingly thrilling three-hour show, I found myself silently repeating the obvious question:<\/p>\n

\n\tWhere have I been all Rush\u2019s life?<\/p>\n

\n\tI throw in the proviso of \u201calmost\u201d because my newbie fandom did meet its match in just one stretch in the second half, a full performance of the \u201c2112\u201d album that in portions lived up to the stereotype I\u2019d harbored in my teen years of Rush representing ponderous prog. But nearly every other minute of the show had me on the edge of my seat, or would have if I hadn\u2019t been standing. I was in a kind of awe at how much of the set veered toward something that felt closer to speed-metal than Marillion, albeit a combination of speed-metal and Fun WIth Time Signatures, which as it turns out is right up my gonzo-jazz-anarchist alley. (\u201cRocking in 7\/8 with Geddy Lee,\u201d wrote Aimee Mann, posting an Instagram video of herself doing just that, after the last of four successive guest appearances with the band.) In the end, I\u2019ve realized that the bar for entry for the Rush cult is much lower than I\u2019d spent too many years assuming. All that is really required is a love for furious guitar playing, furious bass playing, or furious drumming, which is really rather a lot of entrance points. As for Geddy\u2019s voice, I had always assumed it must be an acquired taste\u2026 and ladies and gentlemen, I am here to announce that, after a mere 50 years, I\u2019ve acquired it.<\/p>\n

\n\tAnd, like all 15,000 people inside the Forum each of those nights, and millions more watching the widely disseminated video clips of the opening \u201cFifty Something\u201d tour dates, I was madly, platonically in love with Anika Nilles \u2014 who may immediately go down as the most rapturously accepted fill-in for a legendary, departed musician in rock \u2018n\u2019 roll\u2019s history of high-risk substitutions. We can hope that Lee and Lifeson did not develop too much jealousy over her fills getting the biggest cheers of the night. (Every time she went all the way around the toms in a tune like \u201cTom Sawyer,\u201d the audience erupted like they were watching motocross flips being performed in front of the White House.)<\/p>\n

\n\tHaving rhapsodized a bit, I should say that it is important for a music critic to admit or at least know when he is licked. And as someone who is learning to love Rush late in life, I\u2019m ill-qualified to offer the analysis a more devoted fandom deserves. That\u2019s why, before I knew exactly how I\u2019d react to the show, I came to the Forum determined to talk with long-term fans about what is at the roots of their Rush love, and why seeing Lee and Lifeson reunite after seeming to call it quits in the wake of Neil Peart\u2018s death is such a joyous occasion. I especially wanted to query some musicians I ran into, before and after the concert and in the Forum Club during the band\u2019s well-earned intermission.<\/p>\n

\n\t\u201cIt\u2019s one of those bands that\u2019s been around so long, they\u2019re not one thing anymore,\u201d said Brian Kehew, the noted producer, musician and Beatles historian. \u201cKind of like Paul McCartney, Elton, Sting, Madonna, the Who, they have different periods, and so it\u2019s not just a \u201970s rock band. To me, seeing a band that\u2019s lived way past their fashionable date into other generations is pretty cool.\u201d<\/p>\n

\n\tKehew told a story I heard from others during the night, of having latched on at a certain period that wasn\u2019t necessarily the band\u2019s most classic, after an initial dismissal. \u201cI heard about them in the first year they were out \u2014 I met a kid from Toronto and he said, \u2018I love Rush,\u2019 and we made fun of them. I didn\u2019t like it yet. There was something about the mixture of things I didn\u2019t get, even though I liked progressive rock and hard rock. It took the \u201980s era where they got some more keyboards in, which as controversial \u2014 I got into them then and then went backwards\u2026 They\u2019re one of those acts like Bowie or Madonna that just kept changing, and I don\u2019t know of any single person that likes every period. But tonight they\u2019ll play an amazing setlist from different periods, and everybody will be happy.\u201d<\/p>\n

\n\tNearby, I spotted another musician of renown, Jason Falkner, who had a similar entry point to Kehew\u2019s. \u201cI think it was at around 12 years old I had \u2018Moving Pictures.\u2019 The only Rush I knew before that were the smattering of things I heard on the radio, but I was so young, so \u2018Moving Pictures\u2019 was my real introduction to Rush, and I loved it because it seemed kind of in line with the kind of new wave stuff a little bit, as far as Rush goes. Obviously Rush\u2019s musicianship and writing is not that at all. It\u2019s their own thing, and it\u2019s far more advanced than most new wave things could ever dream to be. But that was was my introduction, and then obviously I went backwards over the decades.\u201d<\/p>\n

\n\tFalkner thinks of them in underdog terms, despite the best available evidence that they are superstars. \u201cI mean, this is probably by far the biggest underground band in the world, and I love them for that. because I love underground music and I always have. \u2026 It\u2019s certainly not for everybody, but it\u2019s for a lot more people than I would\u2019ve thought, and it just keeps growing, you know? This band\u2019s popularity and success to me is unreal, because really when you boil it down, what they\u2019re doing musically, it\u2019s so almost niche. But there\u2019s all these people losing their minds over this \u2014 it\u2019s a cool thing to witness.\u201d<\/p>\n

\n\tAnother singer\/songwriter, Mark Lane, was seeing his fourth Rush show in a row Saturday night, though he\u2019d initially only bought tickets for one, then found himself unable to stop. He\u2019d also been at the final Rush show before Peart retired, then died \u2014 a concert that also happened to be here at the Forum, in 2015. \u201cAt the time it wasn\u2019t like, \u2018This is officially the last show,\u2019 but more like, \u2018Hey, guys, they might not be doing this again anytime soon.\u2019 Unfortunately Neil passed away a couple years later, which was very devastating, especially for those guys. I would\u2019ve never honestly predicted this would happen. They just look so happy to be doing this, and I think it\u2019s the kind of energy that the world needs right now, personally.\u201d<\/p>\n

\n\tLane added, \u201cThere were people who thought they were uncool, and now, like, every fucking person in L.A. wants to be them. It isn\u2019t about being right. It\u2019s nice though, right? I\u2019ve unapologetically loved this band, when people were like, \u2018Oh, really? That\u2019s kind of dorky.\u2019 I actually took a strange sense of pride in that because they\u2019re not a trendy band. And now they are. I don\u2019t spend a lot of time on social media, but I opened up Facebook the other day and my entire fucking feed was just people posting about these shows\u2026<\/p>\n

Read more Knicks NBA Championship Game Draws 24.5 Million Viewers for Most-Watched Finals in Almost 30 Years<\/a><\/p>\n

\n\t\u201cThey\u2019re obviously not a punk-rock band in the classic sense of the word,\u201d he noted \u2014 but they are to Lane. \u201cThe album \u20182112\u2019 was the album where, if they didn\u2019t have some kind of success with that, that was gonna be it, basically. And instead of trying to go in the studio and make a pop record, they made this totally unconventional science fiction kind of record \u2014 and by some happenstance, that sold a lot of records, and it allowed them to continue doing what they were doing on their own terms. \u2026 Aside from the fact that they\u2019re so unique musically, what I really like about them is, I like them as human beings, and they\u2019re not pretentious, but kind of just ordinary guys who\u2019ve been friends since they were in high school \u2014 you just want to root for them.\u201d<\/p>\n

\n\tMatt Laug, a veteran studio and touring drummer who currently drums for AC\/DC, was knocked out by the new addition in the spotlight. \u201cAnika crushed it,\u201d he said after the show. \u201cA band can rehearse till the cows come home. But when you start doing shows, that\u2019s when the band really starts getting good. So imagine this band in a year and a half. Not that tonight wasn\u2019t killer.<\/p>\n

\n\t\u201cOf course, when you lose a member of your band like Neil Peart, you think, \u2018Well, that\u2019s irreplaceable. They\u2019re done.\u2019 But when I heard Anika got the gig, I was like, \u2018Oh, yeah, right choice.\u2019 It was just so beautiful to see the support of the fans here tonight anytime she did a fill, with the place was going nuts. The fans of this band have accepted her and are fully supporting her, which is unbelievably cool \u2014 me included.\u201d<\/p>\n

\n\tNot everyone\u2019s fandom goes back to the \u201970s or \u201980s. Also hanging with the musician-fans was Lindsey Lemke, a guitarist in her early 40s who says, \u201cI got into them kind of late in life. Rhere\u2019s a Marc Maron standup where he talks about catching up on music and goes to the record store. And he walks out with a couple Captain Beefheart records, and this guy sitting on the sidewalk is like, \u2018Catching up, huh?\u2019 And he\u2019s like, \u2018I\u2019m only<\/em> doing that.\u2019 That\u2019s exactly what I\u2019m doing. And it was during the pandemic that I finally got to exploring Rush. It was so mind-blowing how it just grabbed me instantly, and very quickly I learned a big chunk of the catalog of the music. They just suddenly became one of my favorite bands. I\u2019m very grateful for it, because I feel like the older we get, the magic gets lost. I don\u2019t know if that\u2019s the era or time period that we live in. But I\u2019m grateful that these things did wait so I can appreciate it at a time when I feel things are duller.\u201d<\/p>\n

\n\tLemke had the lament of the younger-generation fan who comes in after a band\u2019s expirration point. \u201cNeil had already passed away, and they declared that they weren\u2019t doing any more music at that point. So this<\/em> is very exciting. \u2026 It\u2019s it\u2019s interestin,g because I\u2019m more of a heartfelt kind of music person, as opposed to most of the bands that have really loud, complicated guitar riffs and complicated drum hits. I\u2019ve had music collaborators who can\u2019t stand Rush at all for that reason \u2014 for the complicated drumming, for the cerebral aspect of the music \u2014 but there\u2019s a lot of feeling behind it too, and that\u2019s why I think I do attach to it. I love that there\u2019s a combination of both those things \u2014 the really skilled level of musicianship and complexity in their music, as well as their ability to get you to just feel<\/em>.\u201d<\/p>\n

\n\tLemke might as well have been my spirit animal on this particular night, as I allowed myself to undergo the Rush conversion experience in even more of a late-dawning, Pentecostal-level fell swoop than she did. It doesn\u2019t hurt that my guard had been let down over the last few decades by just how willing the members of Rush had been to take the piss out of themselves, if they ever had the piss in them. There was a good taste of that in the Forum shows with an introductory film somewhat in the style of Monty Python, an extended piece that had Lee and Lifeson playing themselves in extreme old-age makeup, along with a \u201cSouth Park\u201d clip of \u201cLil\u2019 Rush\u201d and Paul Rudd and Segel reviving the Rush-fanatic characters they\u2019ve played on film and even in past Rush tour videos. For those of us who don\u2019t necessarily lean toward math-rock, per se, and would never pass a prog SAT, the irreverence is a welcome reminder that no arithmetic skills will be required to dive into this music.<\/p>\n

\n\tAnd I am also a natural sucker for a band that mixes up its setlists, having a snooty disposition that figures that every rock group should aspire to be a jazz combo, or just emulate the Dead, in that way. Ironically, I came in at exactly the right entry point for that. As I learned later from reading the forums, Rush had the sets entirely locked in for touring in Peart\u2019s day, but whether it\u2019s because Lee and Lifeson never felt the same way or just have loosened up on things with a new drummer in tow now, the sets have been substantially different each night, with some surprises thrown in. I paid attention when Lee described a song as \u201cone we haven\u2019t played in about 4,000 years,\u201d knowing that bands can overstate this sort of thing to make a crowd feel special. But I got to the setlist.fm site and saw it noted as \u201c\u2018A Farewell to Kings\u2019: first time since 1979,\u201d I let out the same little whoop that everyone else had minutes earlier, even though I wouldn\u2019t have known it as anything other than a nightly staple without the online cheat sheet.<\/p>\n

\n\tI was fascinated by Rush\u2019s experiments with conventionality, in a few more mainstream FM-sounding songs along the way, like \u201cFar Cry,\u201d which immediately followed the \u201c2112\u201d play-through with a reminder that they could play it straight. Or the encore numbers, \u201cFinding My Way\u201d and \u201cWorking Man,\u201d which harked back to an early-to-mid-\u201970s moment when Rush apparently aspired to not much more than being a boogie band. (Thank God they soon set their sights above Foghat, but they would have been a fine arena-sized bar band if they\u2019d kept at that, I\u2019m sure.) I relished the fact that Aimee Mann showed up for her fourth and no doubt final tour performance of \u201cTime Stand Still.\u201d I got a huge kick out of learning that Rush apparently had a vaguely Police soundalike period, with \u201cDistant Early Warning\u201d and \u201cNew World Man\u201d standing in for a time when they evoked another polyrhythmic power trio, but were maybe just a little more willing to be thrilling.<\/p>\n

\n\tThe singlular standout moment for me \u2014 the one that locked me in early in the show as a fan \u2014 might have been \u201cFreewill,\u201d which had Lee and Lifeson soloing furiously and simultaneously, with nearly equal freneticism from Nilles, who was practically soloing all night as it was. And as they came out of this thrilling instrumental passage, Lee, who is no baritone to begin with, started singing in an even higher register than usual, as if what everyone had just heard needed to be signified as semi-orgasmic in some tangible vocal way.<\/p>\n

\n\tBut there was no highlight quite like the constant highlight that was Nilles\u2019 playing \u2014 a performance so rigorously muscular and accomplished that Pete Hegseth could see this show and leave publicly advocating for an all-female armed forces.<\/p>\n

\n\tWhat\u2019s worth pointing out is how much Peart is still a part of these shows, not just in the multiple video homages and in the way Nilles pays homage to his playing, but in the lyrics that pepper the entire three hours. \u201cSpending so much time watching Neil grow as a lyricist was quite something,\u201d Lee said, in one of his few lengthy spoken asides during the show. \u201cHis subject matter ranged from so many different things, from fantasy to semi-autobiographical themes\u2026 from worldly things to some things that go straight to your heart, and love. Let\u2019s not forget that.\u201d When, in one of the final song selections, Lee sang, \u201cThe measure of a life is a measure of love and respect \/ So hard to earn, so easily burned \/ In the fullness of time \/ A garden to nurture and protect,\u201d it was\u2026 yes, a mouthful, but also a hell of a mission statement for a band that has made a fateful decision to soldier on after a loss. <\/p>\n

\n\tA nice job of seed-planting, there, on Peart\u2019s part, appreciated even by those of us experiencing Rush flowering for the first time, against just about all odds.<\/p>\n

Read more \u2018Rocky Horror Picture Show\u2019 Set to Screen at Sphere Las Vegas in 2027<\/a><\/p>\n

\n\t\\<\/p>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

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