On September 21, 2025, the historic Park Theater in Cranston, Rhode Island, became a cathedral of prog-rock. When The Rush Tribute Project walked onstage, the crowd didn’t just applaud—they leaned forward, bracing for a ride through decades of Rush’s Chronicles. For those of us who have been lucky enough to see Rush many times—and even to meet the band—the question was always: could anyone come close? By the end of the night, the answer was clear. At times, it was so uncannily perfect it felt like stepping into a Time Machine. The band lit the fuse with “Limelight,” shimmering arpeggios cutting through the room as Sean Jones, on bass, keys, and vocals, stepped into Geddy Lee’s daunting shoes. Jones not only nailed the high-wire falsetto, he juggled complex bass runs and keyboard swells while his feet triggered Taurus pedal notes. Watching him was like watching three musicians at once—a feat that set the tone for the night.
From there, “Subdivisions” arrived with icy synths, its tale of alienation echoing as clear in 2025 as it did on Signals in 1982. The youthful energy of “Fly by Night” and the nostalgic glow of “Lakeside Park” reminded the audience of Rush’s early spirit, while “Time Stand Still” hushed the theater in collective reflection. Bill Heck’s guitar shimmered during those choruses, his tones recalling Alex Lifeson’s crystalline touch from Hold Your Fire.
Midway through the first set, the band leaned into deeper cuts: “The Pass” ached with raw emotion, “Territories” thundered with global reach, and “Between the Wheels” pressed forward with Grace Under Pressure grit. “Red Barchetta” unfurled like a highway escape, before tumbling into the intellectual muscle of “Freewill.” Then came “Tom Sawyer”—all swagger and syncopation—with drummer Thomas Slawnik anchoring the groove. His massive “Frankenstein kit” echoed Neil Peart’s fortress, every cymbal strike and tom roll sculpted with architectural precision.
The first act closed with nothing less than 2112. From the soaring “Overture” into the furious “Temples of Syrinx,” through the narrative weight of “Presentation” and the ache of “Soliloquy,” the band carried the story like sacred scripture. By the thunderous “Grand Finale,” the Park Theater shook with energy, and fans rose in reverence.
After intermission, “The Camera Eye” captured cityscapes in cinematic sound. “The Spirit of Radio” sparked with life, reminding us that music is still a joy to behold. Bill Heck’s guitar shimmered again during “Jacob’s Ladder,” then turned darker for “The Weapon,” his Lifeson-like textures weaving atmosphere.
Then came “YYZ,” the instrumental tour de force. Slawnik’s drumming paid homage to Peart but also asserted his own identity, especially in a solo that drew cheers as it expanded into orchestral rhythm. “Vital Signs” pulsed with urgency, its reggae-influenced grooves intact, before the band dove headlong into “La Villa Strangiato.” With its absurd precision and tonal shifts, it was a masterclass.
Closing with “The Trees” and “Xanadu,” The Rush Tribute Project built to a mystical crescendo. Heck’s guitar shimmered in the pastoral opening of “Xanadu,” while Jones and Slawnik locked into a rhythm that transported the crowd to the icy mountaintop of legend. The encore— “Closer to the Heart”—brought every voice in the room together, sealing the night with a message of unity Rush always carried in its DNA.
What set this night apart wasn’t just technical mastery, though there was plenty of it. It was the way these three musicians—Jones, Heck, and Slawnik—embody Rush’s spirit. They don’t freeze the music in museum glass. They let it breathe, flex, and pulse with life. That’s why, for longtime fans like me, it was more than a concert. It was a communion, a reminder that Rush’s legacy still burns bright.
And this fire isn’t contained to Cranston. The Rush Tribute Project is carrying their torch across the country, offering more fans the chance to relive the magic. Their journey continues with stops like the Pabst Theater in Milwaukee on October 25, the Blue Gate Performing Arts Center in Shipshewana on November 20, the Long Center in Lafayette on November 21, and the Genesee Theatre in Waukegan on November 23. In 2026, they’ll roll into the Barrymore Theatre in Madison on January 28, Hoyt Sherman Place in Des Moines on January 30, the Bijou Theatre in Knoxville on April 16, and the Capitol Theatre in Clearwater on April 20. By summer, they’ll hit Dallas’ Majestic Theatre on June 5 and Houston’s 713 Music Hall on June 6, carrying the spirit of Rush further down the road.
Rush once told us that “all the world’s indeed a stage.” On September 21 in Cranston, The Rush Tribute Project proved that stage is still alive with the sound of Limelights, Red Barchettas, and Temples of Syrinx. For those of us lucky enough to be there, it wasn’t just a night of nostalgia—it was a night where Rush lived again, loud and luminous, closer to the heart.
Thank you The Rush Tribute Project for your amazing performance!
Thank you RUSH (Alex, Geddy, & Neil) for your music!
Rest In Peace Neil Peart and long live RUSH!
Go see Live Music…..
Till the Next Show Joel…………….
Words & Photography by @JoelShoverPhotography
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