Live Review and Photo Gallery: Rush at United Center • Chicago

Brassneck | July 24, 2026 | 0 Comments

Rush

United Center

Chicago, IL

July 22 2026

Review by Jeff Elbel. Photos by Curt Baran.

The unexpected reignition of Rush has emerged as the must-see concert tour of the year, as witnessed on Wednesday by an ecstatic audience at the United Center. In addition to touching 13 of the Canadian rockers’ 19 studio albums, the Fifty Something tour has given devoted fans of “The Biggest Cult Band in the World” an opportunity to participate in a cathartic and uplifting celebration of life for late drummer and lyricist Neil Peart.

Peart retired from touring following Rush’s R40 tour in 2015 and passed away in early 2020 after privately battling brain cancer. “Tonight, we will do our best to pay tribute to that man,” said bassist and vocalist Geddy Lee in the first of several testimonials to his former bandmate. Peart was long recognized as one of the most talented and dedicated musicians in popular music. Rush collaborated with the drummer’s family while developing the Fifty Something tour.

The concert was the final show of four sold-out nights in Chicago, and spirits ran high. Fans cheered for video collages of photos and interview clips with Peart before poignant songs including the melodramatic “Bravado” and wistful “Time Stand Still.”

The two musicians who brought renewed energy and perspective to Rush’s classic power-trio arrangements were also warmly received. With a reputation for mind-boggling multitasking on stage, Rush once self-identified as “the world’s smallest symphony orchestra.” With the addition of German drummer Anika Nilles and keyboardist Loren Gold, Rush gained multiple benefits.

The arrangements of songs including “The Camera Eye” incorporated updated textures courtesy of Gold’s elegant touch on the piano. The keyboardist’s presence was familiar to local concertgoers who had seen him with the band Chicago or the Who. His contributions frequently allowed Lee to untether himself from his keyboard station and spend more time bounding youthfully across the stage to join his lifelong friend and guitarist Alex Lifeson side by side.

Gold’s fluttering synthesizers and harmony vocals enriched songs including the touching “The Garden” from Rush’s latest studio album Clockwork Angels. Peart’s lyrics for the song describe a character who examines the passage of time and the measure of a life well lived. Lee offered the words in memory of Peart himself.

Substantial attention went to the person sitting on one of the most respected drum thrones in popular music. Nilles came to Rush through a recommendation from Lee’s bass technician John “Skully” McIntosh, who met Nilles while the two were part of guitarist Jeff Beck’s ensemble and crew, respectively. Nilles’ power, technique, and time were formidable. Snakes and Arrows single “Far Cry” was a compact tour de force demonstrating her dynamics and skill.

Although the celebration of Peart was a constant theme, fans clearly understood that Nilles’ presence was essential to bringing Lee and Lifeson back onstage. The crowd roared with approval when Nilles delivered Peart’s signature fills in songs like fantasy fable “Xanadu,” while Lifeson and Lee played double-necked guitars nearby. The audience grooved along as Nilles imbued standards including social statement “The Trees” with her own nuances.

Even with the new elements, there was no doubt that people were enjoying an authentic Rush experience. The heart of the show was a captivating performance of the philosophical/sci-fi 2112 suite. The song cycle unfolded with familiar power. Lifeson’s guitar deliriously quoted Tchaikovsky’s “1812 Overture” in the opening movement, cast the malevolent mood of “The Temples of Syrinx,” and personified the hopeful but ultimately tragic protagonist’s quest to bring hope and freedom to an oppressed society through music during “Discovery” and “Oracle: The Dream.”

Afterward, Lee joked that he was glad fans had recognized the 21-minute piece from its days as a hit single “on all the pop radio stations.” The gregarious Lifeson added, “There must be 2,112 notes per second in that song. I almost got 1900 of ‘em.”

The good humor and goodwill emanating from the stage was a key factor that made the show convincingly Rush. Lee and Lifeson were frequently seen on the large screens in bursts of laughter with beaming smiles. The two principals convened frequently at the drum throne and visited the keyboard station to lock eyes and share broad grins with Nilles and Gold. Lee followed more than one song, saying, “That was fun!”

The show was excellent and deserved every superlative even if it was not wholly error-free. Guitar god Lifeson exhibited brief flashes of mere humanity during “Distant Early Warning” and genre-hopping staple “The Spirit of Radio,” but any trespass was quickly forgotten in the face of his relentlessly upbeat charm and overall mastery. The guitarist’s uniquely tuneful synthesis of formative heroes including Jeff Beck, Jimmy Page, Allan Holdsworth and Pete Townshend was on display during favorites like “Limelight.” His own singularly influential style shone even during the synthesizer-heavy “Subdivisions.”

Lifeson’s dexterous and tuneful solos included standouts like the gloriously expressive lead on “Bravado.” His inventive rhythm work was evident during the fretboard-splintering “The Anarchist.”

Lee, who turns 73 next week, had a banner night at the microphone. His voice sounded even stronger and more agile than when he appeared at United Center during the ambitious R40 tour or in Tinley Park when supporting Clockwork Angels in 2013. Fans erupted as Lee soared into the high notes of songs including “Freewill” and 2112’s “Oracle: The Dream” with authority.

Aside from a dozen songs repeated nightly, song selections varied widely among the four-concert series. Fans on Wednesday may not have heard the epic “Natural Science” or even Rush standards like “Closer to the Heart” and instrumental “La Villa Strangiato,” but they witnessed invigorating versions of Presto’s dramatic “The Pass” (with lyrics identified by Lee as a personal favorite of Peart’s work) and the catchy Police-inspired new wave single “New World Man.”

The jewel of Wednesday’s set list was a jaw-dropping run through the title track of 1977’s A Farewell to Kings, performed for only the second time since 1979. “This is a song we rarely play,” said Lee. “We’ll try not to fuck it up.” The group dove into the adventurous six-minute progressive rock excursion with enthusiasm and precision. The audience went suitably bananas.

Howard Ungerleider’s visual production heightened the show’s dazzling feast for the senses. The frenetic mood of Moving Pictures’ sinewy and slashing “Vital Signs” was enhanced by film, lasers, lights, and three-dimensional images of EKG pulses on mobile screens. Instrumental showcase “YYZ” was even more stunning with the addition of flying light rigs. Both songs highlighted Lee’s muscular and nimble bass playing.

A riveting performance of standout single “Tom Sawyer” concluded the main set. Viewed from the stands, it seemed that half of the people on the main floor had cell phones out to capture the moment, and the other half were furiously air-drumming with Nilles as she unleashed Peart’s signature fills.

Rush set the wayback machine for 1974 during the encore, lashing into “Finding My Way” from its self-titled first album. The Zeppelinesque “Working Man” followed, accompanied by scenes onscreen that gave founding drummer John Rutsey his due. From beginning to end, the concert paid respect while being undeniably joyous.

In the months after Peart’s passing, both Lee and Lifeson said publicly that Rush could not continue without their late bandmate. With the Peart family’s blessing, Rush has now moved forward while honoring their shared legacy. “Finding My Way” indeed. Fresh blood in the Rush camp may have opened the door to other possibilities beyond the Fifty Something tour. No promises were made, but Lee’s farewell included a hope-inducing wish to see everyone down the road sometime. If the band decides to continue with new music or more performing, generations of fans will be eager to hear it.