Live Performances
The members of Rush share a strong work ethic, desiring to accurately recreate songs from their albums when playing live performances. To achieve this goal, beginning in the late 1980s, Rush has included a capacious rack of digital samplers in their concert equipment to recreate the sounds of non-traditional instruments, accompaniments, vocal harmonies, and other sound "events" in real-time to match the sounds on the studio versions of the songs. In live performances, the band members share duties throughout most songs. Each member has one or more MIDI controllers, which are loaded with different sounds for each song, and use available limbs to trigger the sounds while simultaneously playing their primary instrument(s). It is with this technology that the group is able to present their arrangements in a live setting with the level of complexity and fidelity fans have come to expect, and without the need to resort to the use of backing tracks or employing an additional band member. The band members' coordinated use of pedal keyboards and other electronic triggers to "play" sampled instruments and audio events is subtly visible in their live performances, especially so on R30: 30th Anniversary World Tour, their 2005 concert DVD.
A staple of Rush's concerts is a Neil Peart drum solo. Peart's drum solos include a basic framework of routines connected by sections of improvisation, making each performance unique. Each successive tour sees the solo more advanced, with some routines dropped in favour of newer, more complex ones. Since the mid-1980s, Peart has used MIDI trigger pads to trigger sounds sampled from various pieces of acoustic percussion that would otherwise consume far too much stage area, such as a marimba, harp, temple blocks, triangles, glockenspiel, orchestra bells, tubular bells, and vibraslap as well as other, more esoteric percussion.
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Famous quotes containing the words live and/or performances:
“We do not live by justice, but by grace.”
—Henry David Thoreau (1817–1862)
“At one of the later performances you asked why they called it a “miracle,”
Since nothing ever happened. That, of course, was the miracle
But you wanted to know why so much action took on so much life
And still managed to remain itself, aloof, smiling and courteous.”
—John Ashbery (b. 1927)