Alex Lifeson discusses new music collaboration with Rheostatics: ‘No set rules or expectations’
Three decades ago, the band Rheostatics from Toronto embarked on a high-concept project with “Music Inspired by the Group of Seven,” a creation commissioned by the National Gallery of Canada that paid homage to early 20th-century Canadian landscape painters. This artistic and abstract endeavor intertwined free-form composition and recorded dialogues from various figures like Britain’s Queen Elizabeth. According to Dave Bidini, the band has been pondering ways to recreate a similar project ever since. After a moment of inspiration, Bidini proposed the idea of a project based on the Great Lakes.
Their latest album, “The Great Lakes Suite,” released on November 21, marks the return of the Juno Award-winning band since their 2019 album, “Here Come the Wolves.” Rheostatics’ core members, including Bidini, Kevin Hearn of Barenaked Ladies, Alex Lifeson of Rush fame, and others, collaborated to create an 18-song set over a four-day period. Incorporating guest performers like Laurie Anderson, Maiah Wynne from Lifeson’s band Envy of None, Tanya Tagaq, and the late Gord Downie, the album took shape with a fusion of lengthy improvised pieces sculpted into concise tracks by Hearn and Vesely.
Hearn pointed out that the Great Lakes hold significance in uniting people across Canada. By focusing on the natural beauty rather than the artists themselves, the project aimed to evoke a shared sentiment among Canadians. As Bidini highlights, the project’s impact might extend beyond borders, emphasizing the importance of finding common ground in divisive times.
The involvement of Lifeson added another layer of depth to the project, coinciding with Rush’s Fifty Something Tour announcement for 2026. Reflecting on his decision to engage in the project, Lifeson emphasized the joy of creating music in the moment without preconceived notions. His organic approach sparked enthusiasm among the Rheostatics, who praised his supportive yet transformative contributions throughout the project.
A notable highlight was Tagaq’s performance on the track “Tasiq,” where Lifeson was taken aback by her transformation into a sea monster during an improvisation session. This unexpected experience left Lifeson in awe and further enriched the collaborative dynamic within the group. Hearn described Lifeson’s musical and personal presence during the project as akin to a guiding figure, elevating the overall creative process.
In a time where geopolitical tensions exist, creating art that fosters unity and collaboration becomes paramount. “The Great Lakes Suite” serves as a testament to the power of music as a unifying force, transcending boundaries and celebrating shared experiences. With Lifeson’s unmatched musical prowess and the collective efforts of the Rheostatics, this album stands as a tribute to nature, creativity, and the enduring spirit of collaboration.