On a memorable Sunday, June 7, 2026, a crowd of 15,000 gathered at the storied yet dignified Kia Forum in Inglewood, California. Situated just a parking lot away from the modern SoFi Stadium, known for hosting prestigious events like the World Cup and Super Bowl, the venue buzzed with energy. As the pleasant Southern California day transitioned into evening, attendees explored the arena, indulging in overpriced drinks and browsing through a plethora of souvenir stands. It was a reunion of familiar faces, long-time friends who were now navigating parenthood, sharing nostalgic tales of days gone by—days we wish we could have paused to savor.
The occasion was a concert by a band that had soundtracked our younger years, their music booming from eight-tracks and later cassettes in our car stereos. Friends often puzzled over our obsession with these three Canadians who sang about unconventional topics set to unique rhythmic patterns. This band defied the norm of pretty boys with catchy tunes, offering instead a blend of heaviness and intellect. They demonstrated that one could rock fiercely with the mind, appealing to a generation raised on Star Trek and Star Wars, rejecting the polyester-clad, disco-fueled culture of the 70s for something more imaginative and thoughtful.
The band in question? Rush. And they were making a comeback.
What once seemed impossible—witnessing Rush live again after drummer and lyricist Neil Peart’s retirement in 2015 and his passing in 2020—had materialized, albeit through somber circumstances. Geddy Lee, the band’s bassist/keyboardist/vocalist, and guitarist Alex Lifeson, reunited to perform at the 2022 tribute concerts in Los Angeles and London for Foo Fighters’ drummer Taylor Hawkins. A backstage conversation with none other than Paul McCartney in London further fueled their desire to reunite. The challenge remained: who could possibly take Peart’s place on the drums?
The answer came in the form of Anika Nilles. Recommended by Lee’s bass technician, who had previously worked with Nilles during her tour with the late Jeff Beck, she brought the skill and inspiration necessary to motivate Lee and Lifeson to revisit their extensive discography. While some purists lamented the change, the broader Rush fan community was eager to give her a chance. Their anticipation was rewarded at the 2026 Juno Awards, where the reinvigorated trio, joined by keyboardist and backing vocalist Loren Gold, delivered a scorching performance of “Finding My Way” from their debut album in 1974.
Enter Anika Nilles. Recommended to Lee by his bass tech from his previously thought concluded touring years, said tech having worked with Nilles when she was touring with the late Jeff Beck, Nilles provided both the chops and the spark to make Lee and Lifeson willing to scrape off the rust and breathe life into their vast back catalog. The Peart worshipers whined, while the rest of Rush’s vast online fan base said let’s give her a chance. A tantalizing taste of what lay in store came via the 2026 Juno Awards, when the refreshed trio, augmented by keyboardist and background vocalist Loren Gold, tore it up with a blistering rendition of “Finding My Way” from their 1974 eponymous debut album.
All well and good. But that was one song, and one of Rush’s simpler songs at that. How would the band stand up under the heavy demands of performing its complex signature pieces? Could Nilles fill the bill? Could Lee’s voice, which had noticeably weakened during the band’s last tour in 2015, stand the strain? Would Lifeson’s arthritis permit him to play the dazzling runs and washes critical to the Rush sound?
The answer came quickly. After a humorous introductory video, the band came out with “Xanadu” from its 1977 progressive rock opus “A Farewell to Kings.” This was not something a bunch of old rockers could mug their way through to placate nostalgia buffs. “Xanadu” requires precision playing and dynamics to pull off.
They pulled it off, the audience roaring as one when Nilles proved from the get-go she was more than worthy of the job. Her intensity and smile energized the arena, and the constant looks of professional affection between her and Lee were impossible to miss. Anika Nilles has accomplished the previously thought impossible: bringing Rush back to life live on stage.
The concert was a true immersive experience, lights and animations blending to create a seamless whole, augmenting the music without overpowering it. Throughout the evening, better-known and deep tracks came together, highlighting how, during their career, Rush did what many artists are unwilling or unable to do. They grew up. While not entirely leaving aside the sci-fi and fantasy themes of “2112” and “By-Tor and the Snow Dog” in favor of personal and societal observations, the latter became prominent. The band brought this into sharp focus with the one-two punch of “Time Stand Still” and its wistful longing to savor today, graced by Aimee Mann in person, replicating her vocal on the album, followed by the devastating examination of the Holocaust’s horrors with “Red Sector A.”
The evening paid proper homage to Peart while celebrating the fact that in 2026, Rush remains a vital part of the thinking person’s music library. Many a tear was shed by eyes unaccustomed to such events, not in lament of paying the price but rather rejoicing that we are still able to eschew counting the cost. Rush is back, and we are the better for it.