The halls of Cleveland’s Rock & Roll Hall of Fame buzzed with an electricity that felt different from the usual tourist chatter. Inside the Foster Theater, just 150 lucky souls – a mix of devoted fans and media folks – gathered for what would become a watershed moment in rock history. Rush, after ghosting the stage for over a decade, was about to drop a bombshell.
Geddy Lee and Alex Lifeson, looking remarkably spry despite the years, chose this intimate setting to announce their return to live performance. The news hit like a power chord through a Marshall stack – Rush is coming back.
“After everything that’s happened since that last show, Alex and I have done some serious soul searching and come to the decision that we f****** miss it,” Lee announced, his voice carrying the weight of countless late-night conversations and “what-if” moments.
They’re calling it the “Fifty Something Tour” (classic Rush humor, right?). The comeback kicks off where their story seemingly ended – the Kia Forum in Los Angeles. That venue holds particular significance; it’s where Rush played what many thought would be their swan song back in August 2015, following Neil Peart’s decision to hang up his sticks.
But here’s where things get interesting. Enter Anika Nilles – a 42-year-old German drummer whose mind-bending fusion of urban jazz, funk, and prog has earned her the unenviable task of stepping behind that legendary kit. It’s like being asked to paint the Sistine Chapel… while Michelangelo’s family watches.
Speaking of family – Peart’s widow Carrie Nuttall and daughter Olivia have thrown their full support behind the tour. Their blessing transforms these shows from mere concerts into living tributes. “We are thrilled to support the Fifty Something tour,” they wrote, “celebrating a band whose music has resonated and inspired fans for generations, and to honor Neil’s extraordinary legacy.”
The numbers tell part of the story – 40 million records worldwide, 25 million in the U.S. alone, 24 gold albums, 14 platinum. But Rush was never about the stats. They’ve always been about pushing boundaries, about making music that challenges and moves people. Sometimes literally – Lee mentioned something about “new fancy dance steps” that he and Lifeson might bust out, thanks to their plan to bring additional musicians aboard.
There’s poetry in choosing Cleveland for this announcement. Back in ’74, it was WMMS music director Donna Halper who first spun “Working Man,” setting off a chain reaction that would change rock history. Now, as we look toward summer 2026, the city serves again as ground zero for Rush’s next evolution.
This won’t be your typical greatest-hits victory lap, either. Lee and Lifeson are planning to switch up their setlists night to night – a dramatic departure from their usually clockwork-precise shows. For younger fans who’ve only experienced Rush through headphones and YouTube clips, this tour offers a chance to witness living history. For the diehards? It’s validation that the spirit of Rush – that relentless drive to evolve and create – never really went away.
The announcement feels particularly poignant as we navigate through 2025’s rapidly evolving music landscape. While AI-generated tunes flood streaming platforms and virtual concerts become commonplace, here’s Rush – real, raw, and ready to remind us why human connection through music matters more than ever.
Some might call it a comeback. Others might see it as a new beginning. But maybe it’s simpler than that – maybe it’s just two old friends who aren’t quite done telling their story. And really, who wouldn’t want to hear what comes next?