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Rush are filming all four of their Toronto shows for a potential live concert film. The run opened on Friday, August 7 at Scotiabank Arena, with three dates remaining on August 9, 11 and 13. Geddy Lee confirmed the plan on August 6, citing overwhelming demand and the fact that the four-night residency lets the band draw from more than forty songs.
Drummer Anika Nilles continues in the role left by the late Neil Peart, alongside touring keyboardist Loren Gold. Separately, the RIAA certified Rush’s 1976 album 2112 as 4x platinum on August 7 — its first upgrade since reaching 3x platinum in November 1995. A 50th anniversary edition of 2112 arrives October 2 via UMe, Mercury and Anthem Records on black liquid vinyl, with the 2003 compilation The Spirit Of Radio: Greatest Hits 1974–1987 receiving its vinyl debut the same day.
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On Monday’s Metal Breakdown Daily, Scott Penfold gets into the Rush homecoming — why Toronto was always going to be the one they filmed, the detail from June that made it possible, and the certification stat that tells you what’s really happened to this band’s audience. Download the free Loaded Radio App on Apple iOS and Google Play and take the show with you.
Rush went home last night, and the cameras went with them.
Those looking to attend can get their tickets at this location.
Four Nights, Filmed
The band are recording all four of their Toronto shows at Scotiabank Arena — August 7, 9, 11 and 13 — for what Geddy Lee describes as a potential future live film. Night one is done. Three to go.
His reasoning, given the day before the run opened, covers three things.
The first is demand. Lee said the appetite for a film has been off the charts — both as a keepsake for people who were there and for the many fans who haven’t been able to get to a show at all. Given how this tour has gone, that’s not hyperbole.
The second is home. Toronto is where Rush formed in 1968. Lee called it a natural choice, and noted that fans are travelling in from across the globe for the week.
The third is the one that matters most, and we’ll come back to it: the four-show run means they’ll be playing over forty songs, which he said gives them the best chance to capture it all.
And then the part that explains why this tour has felt different from a standard reunion. Lee described the whole thing as a celebration of the band’s history and a tribute to Neil, and said it’s been an emotional outpouring from the fans as much as from the band — that they’ve been louder and prouder than ever. He signed off hoping to capture them letting their ya-yas out while rocking their best “Tom Sawyer” air drum fills.
Which, if you’ve ever been in a room when that song starts, is precisely the right thing to want on film.
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This Was The Plan All Along
Here’s the part nobody else is going to join up.
Back in June, when Rush played their second night at the Kia Forum and performed the entire 2112 suite, we reported something Alex Lifeson had confirmed: the band had deliberately rehearsed close to forty songs so they could actively rotate deep cuts across multiple-night stands in major cities.
Read Geddy’s quote again. Four shows. Over forty songs. Best chance to capture it all.
Those are the same fact, two months apart.
The Toronto film isn’t an opportunistic decision made on the road. The rotating-setlist architecture of this entire tour is what makes a four-night residency worth filming — because across those four nights you don’t get one setlist repeated, you get most of a catalogue. The Forum debut threw out the traditional live playbook immediately, and they’ve been rotating ever since.
Any other band films one night and cuts a concert movie. Rush built a tour that lets them film four and cut something closer to a career retrospective.
The 2112 Certification, And What It Actually Tells You
Now the statistic that stopped us.
The RIAA certified 2112 as 4x platinum on August 7. Four million units in the United States.
It last moved in November 1995, when it hit 3x platinum.
That’s thirty-one years to sell another million copies of an album that came out in April 1976.
Sit with that. Between 1995 and today, physical music retail collapsed, downloads arrived and died, and streaming rebuilt the entire industry twice. Through all of it, a side-long science-fiction concept suite about a totalitarian priesthood and a man who finds a guitar kept finding another million people.
It’s also perfectly timed, whether by luck or by planning. The 50th anniversary edition of 2112 arrives October 2 through UMe, Mercury and Anthem Records, pressed on black liquid vinyl. Pre-orders are open now at rush.lnk.to/2112LiquidLP.
The same day, 2003’s The Spirit Of Radio: Greatest Hits 1974–1987 gets its vinyl debut — twenty-three years after release. Pre-orders at rush.lnk.to/TheSpiritOfRadio.
If you want the argument for why this band belongs in a metal conversation at all, our most influential metal bands as voted by you makes it: no Rush, no Dream Theater, no Tool, no Mastodon.
Then the tickets vanished. By the time we covered the 2027 South American and European expansion in February, twenty-two dates had become fifty-eight shows across twenty-four cities and past half a million tickets sold. Lee joked that Rush had somehow become an overnight sensation after fifty years.
And Anika Nilles has settled the question that hung over all of it. Stepping into the most intimidating drum seat in rock, she’s played Peart’s polyrhythms with his own sticks resting on her riser, and the response from the most protective fanbase in music has been ovations rather than arguments.
Two Rush Films At Once
This isn’t the only thing being filmed.
Earlier this week a Neil Peart documentary was announced — No One’s Disciple, arriving on CBC September 23, featuring interviews with Lee and Lifeson and new performances of Rush songs with Chad Smith, Stewart Copeland and Danny Carey filling that seat.
So within one week: a documentary about the drummer, and a concert film of the band playing without him. Both landing in the same year, both circling the same absence.
A concert film, a 50th anniversary reissue, a documentary, fifty-eight shows and a hint at new material. For a band everyone had filed away as history, 2026 has been a considerable year.
One night down, three to go. If you’ve got a ticket for the 9th, the 11th or the 13th, you’re going to be in a film.
TL;DR
The film: Rush are recording all four Toronto shows at Scotiabank Arena — August 7, 9, 11 and 13 — for a potential live concert film
Why Toronto: Geddy Lee cited hometown status, global demand, and the fact that four nights lets them play over forty songs
The lineup: Geddy Lee, Alex Lifeson, Anika Nilles on drums and Loren Gold on keyboards
2112 certification: newly certified 4x platinum by the RIAA on August 7, 2026 — its first upgrade since reaching 3x platinum in November 1995, a 31-year gap
2112 reissue: 50th anniversary edition, October 2, via UMe/Mercury/Anthem on black liquid vinyl
Also October 2: The Spirit Of Radio: Greatest Hits 1974–1987 gets its first-ever vinyl pressing, 23 years after release
The context: the Fifty Something tour grew from 22 dates to 58 shows across 24 cities, past half a million tickets
Also this week: a Neil Peart documentary, No One’s Disciple, was announced for CBC on September 23
FAQ
Are Rush filming a concert film?
Yes. Geddy Lee confirmed the band will record all four of their Toronto shows at Scotiabank Arena — August 7, 9, 11 and 13, 2026 — for a potential live film. No release date has been announced.
Why did Rush choose Toronto to film?
Lee cited three reasons: Toronto is the band’s hometown, having formed there in 1968; demand for a live film has been extremely high; and the four-show residency lets the band draw from more than forty songs, giving them the widest possible range of material to capture.
Is 2112 getting a 50th anniversary release?
Yes. A 50th anniversary edition of 2112 arrives October 2, 2026 via UMe, Mercury and Anthem Records, pressed on black liquid vinyl. The same day, the 2003 compilation The Spirit Of Radio: Greatest Hits 1974–1987 receives its first vinyl release.
How many copies has 2112 sold?
The RIAA certified it 4x platinum on August 7, 2026, representing four million units in the United States. It had previously been certified 3x platinum in November 1995, meaning it took 31 years to reach the next million.
Who is drumming for Rush on the 2026 tour?
German drummer Anika Nilles, who filled the role following Neil Peart’s death in 2020. She is joined by touring keyboardist Loren Gold, alongside Geddy Lee and Alex Lifeson.
Four nights at Scotiabank Arena, forty-plus songs, and cameras on all of it. If you were there last night, what did they pull out — and if you’ve got the 9th, the 11th or the 13th, what are you hoping for? Let us know in the comments.
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Whatever your thoughts on who or what constitutes Sepultura, the fact that this is a band who have been a constant in the world of heavy music for four decades now is a remarkable achievement. This evening their 40th anniversary farewell celebration tour (now into 42 years) reaches Bloodstock for their final ever show on UK soil.
There’s a clear air of excitement for such an occasion in the field and the band are greeted like heroes as they walk onstage and launch in the immortal Inner Self. For a song that was released in 1989 it still sounds unbelievably fresh; a grooving, thrashing masterpiece, it’s an example of precisely why this band are held in such high regard.
Of course, as much as those in attendance want all of the classics from Sepultura’s golden, Max Cavalera-fronted era, you’d be a fool for sleeping on their more recent material. There’s a very good argument to be made that Derrick Green is one of metal’s most underrated frontmen; Kairos and Means To An End, both songs from his time in the band, sound massive today, and Green performs them in his usual commanding manner.
Sepultura also rip through three brand new songs from their recent The Cloud Of Unknowing EP, something that most bands on their final run would never even consider doing. The almost proggy The Place actually sounds more than at home in amongst their more legendary material.
Ultimately, though, as great as all of this is, things really reach fever pitch with the set’s final lap. Can any band in heavy music match Territory, Refuse/Resist, Arise, Ratamahatta and Roots Bloody Roots as five-song run? Bloodstock clearly doesn’t think so and goes absolutely feral for 20 minutes of pure metal perfection.
As the final chords of Roots… ring out, guitarist Andreas Kisser thanks everyone for 42 years of support and to congratulate Bloodstock on its 25th anniversary; as he does Green stands beside him, glassy eyed and clearly emotional, knowing that this will be his last time in front of a UK Sepultura crowd. What a band, what a way to sign off.
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