The surviving members of progressive rock titans Rush will reunite for a 50th anniversary tour in 2026.
Rush co-founders Geddy Lee and Alex Lifeson will play 12 dates in honor of the band’s late drummer Neil Peart, whose monumental percussion talents made Rush a defining act in prog rock. The tour will begin June 7 at the Kia Forum — the site of the band’s last show with Peart in 2015.
“After all that has gone down since that last show, Alex and I have done some serious soul searching and come to the decision that we f— miss it,” Lee said in a statement announcing the tour. “And that it’s time for a celebration of 50-something years of Rush music.”
The question of a Rush reunion without Peart, who died of brain cancer in 2020, was a fraught one. Even up to last year, Lifeson had told Rolling Stone that “there’s no chance that we’re going to get a drummer and go back on the road as the rebirth of Rush or something like that.”
For this tour, the band will be joined by Anika Nilles, a German drummer acclaimed for her work with Jeff Beck.
“As we all know, Neil was irreplaceable,” Lee said in the band’s statement. “Yet life is full of surprises, and we’ve been introduced to another remarkable person; an incredible drummer and musician who is adding another chapter to our story while continuing her own fascinating musical journey. Her name is Anika Nilles, and we could not be more excited to introduce her to our loyal and dedicated Rush fan base, whom, we know, will give her every chance to live up to that near-impossible role.”
In their own statement, Peart’s wife Carrie Nuttall-Peart and daughter Olivia gave their blessing for the tour: “We are thrilled to support the Fifty Something Tour, celebrating a band whose music has resonated and inspired fans for generations, and to honor Neil’s extraordinary legacy as both a drummer and lyricist.”
NEIL ROBERTSON hit another huge snooker landmark on Tuesday – in front of a one-man audience.
The 43-year-old took on Umut Dikme in qualification for the International Championship at Pond’s Forge in Sheffield.
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Neil Robertson achieved his 1000th century on Tuesday
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He celebrated in front of a one-man audience
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The feat has only been achieved by three other players – including Ronnie O’SullivanCredit: Getty
And while leading 4-1 in the sixth frame, he achieved the 1000th century of his career.
After potting the final ball to confirm a score of 126 in the frame, Robertson walked back to his chair and raised his arms in front of the only spectator in the room.
The Australian became just the fourth player to reach the 1,000 century mark.
Speaking earlier this year, Robertson said: “Well to receive the award, you have to do something really special.
“What was quite surprising was, I think I must’ve been the youngest person receiving the award out of everyone there.
Pluto TV adds FREE snooker television channel starring legend Ronnie O’Sullivan
“So that was really special, to receive it and be around so many people that have achieved special things in their lives… it was very inspiring to see.
“It has to rank right up there [among his top achievements] because for me to get this award, I have to achieve everything in my career first. Without all those achievements, I wouldn’t be able to get it.”
Double Olympic and world Jakob Ingebrigtsen will also be competing over the 1500m distance with Arizona-based Giffnock North athlete Gourley and his fellow Scots.
“Off the top of my head, I think I’m ranked outside the top 30 in terms of season’s bests this year so that probably tells you a lot about the depth of the event just now,” said Gourley
“I’m pretty confident in saying I’ll finish higher than that. I’d love to outperform that ranking and I think I will, but it gives you a sense of how deep the event has got.
“Not just the people at the top – the top 20 are all quite close together and there are so many people running under 3:30 in the 1500m and that used to be a time that maybe one or two people a year would run.
“It’s now become so commonplace that it’s got silly, if anything. At the same time, it only counts for so much when you all line up at a championship and I’m looking forward to beating plenty of people ranked ahead of me.”
To help with that, Gourley has taken himself away to a special preparation camp in a location that makes him feel like he’s on holiday.
A fair few would swap places with him in Hawaii where, as well as some specialist training sessions, he’s also been able to enjoy a little rest and recovery.
“I have spent some time at the beach because it would be a bit rude not to,” he added.
“I’d love to learn how to surf, somebody’s got to teach me one day. Actually, I just kind of swim around in the waves until I crash out onto the shore. That’s about as adventurous as I get.”
It may take a bolder approach on the track but if he can safely negotiate the rounds in Tokyo, Gourley will feel on safe ground if he gets to another global 1500m final to round off his year.
Hey, hey, they’re the Runarounds, the latest Pinocchio band to straddle the line between fiction and fact. Meet Charlie (William Lipton), guitar! He’s a romantic! Neil (Axel Ellis), also guitar! Not just a pothead! (He reads Ferlinghetti.) Topher (Jeremy Yun), lead guitar! The quiet one! Wyatt (Jesse Golliher), bass! The even quieter one! And Bez (Zendé Murdock), drums, replacing Pete (Maximo Salas), henceforth the “manager,” who surely has been named for Pete Best, or I will eat my Beatles fan club card.
They have been assembled for your fist-pumping adulation from a reported 5,000-plus hopefuls responding to an open call for musicians and dropped into the center of a teenage musical soap opera, also called “The Runarounds,” premiering Monday on Prime Video.
This rockin’ concoction comes to you courtesy of Jonas Pate, creator of the Netflix teenage treasure-hunt series “Outer Banks,” and like that show, it is a wish-fulfilling fantasy set in Pate’s native North Carolina, specifically the seaside city of Wilmington, which offers a lot of lovely scenery and adorable domestic architecture. And like that show, it is all about being young and wanting to be free, like the bluebirds. Unlike that show, everybody here keeps their shirts on, in the actual sense (though not at all in the metaphorical).
The eight-episode season begins just as high school is ending, which in dramatic terms means parties and a scene in which someone makes a graduation speech. (That will be Sophia, played by Lilah Pate, daughter of Jonas.) Charlie, who has just turned 18, is avoiding telling his parents that he’s not going to go to college, even though he’s been accepted to one. (To just one is the perhaps unintended implication.) His entire future, in his head at least, depends on “getting signed” by the summer’s end — which, in music business terms, is 20th century thinking, but like a lot of music being made today, this is an old-fashioned show. That, and getting Sophia, the beautiful, overachieving sad girl he’s been crushing on for four years, to notice him.
Charlie, Toph, Neil and Pete have been playing unspecified gigs under an unfortunate name I’ll not repeat, and they feel pretty good about the band, although strangely it takes until the pilot for them to realize that Pete is a terrible drummer. After some group soul-searching and flyer-posting, they pick up Bez, who drums so well one wonders why he isn’t in three other bands already — or why there seems to be no other groups around, or any sort of music scene. He brings along his friend Wyatt, who picks up a bass, and a new band is born. Wyatt’s interiority, shy smile and young Jeff Tweedy vibe makes him immediately the most intriguing Runaround.
Charlie (William Lipton), Wyatt (Jesse Golliher) and Bez (Zendé Murdock) in a scene from “The Runarounds,” which is set in Wilmington, N.C.
(Jackson Lee Davis / Prime Video)
Along with Sophia, who writes poems that might be lyrics, the female element is filled out by Amanda (Kelley Pereira), Topher’s controlling, capable girlfriend, who will prove a secret weapon for the band, and Bender (Marley Aliah), who goes about with cameras, likes Neil and wholly embodies a somewhat scary, casually cool, not-at-all pixieish dream girl. They don’t get to be in the band, but as actors, they do a lot to support their nonprofessional castmates. (Lipton, the only professional actor in the band — including in 328 episodes of “General Hospital” — comes across as less authentic than the untrained others, though that may be in part because he’s saddled with the heaviest storylines and has to say things like, “I want to write love songs that change the world.”)
As in “Outer Banks,” and two out of every three teen shows ever, most are at odds with their parents, catnip to young viewers who are even occasionally at odds with their own parents, over even minor things because — parents! Charlie’s are played by Brooklyn Decker, whose character teaches film, and Hayes MacArthur, whose character has spent 12 years working on a novel — that is, only working on a novel, which is to say not working; somehow they are not divorced. (And money is becoming an issue, and there is a Big Secret that will shake the family.) “What kind of work is done in a bathrobe, father?” says Charlie’s mouthy little sister, Tatum (Willa Dunn).
Neil’s father, who has health problems, assumes his son will join him in his painting business; Topher’s are conservative stuck-up pills who, like Amanda, have him slated for a career in finance. Bez’s father is also a musician but thinks his son is wasting his time with the Runarounds. Wyatt’s mother is some sort of addict, who hates him. Sophia’s father is self-medicating after the death of her mother some years before, leaving her to pick up the pieces. (“I’m doing everything right on paper but I don’t feel alive,” she says.) Wouldn’t you rather be with your friends, playing in a band?
Wyatt will find a job and a refuge, and the band a rehearsal space in a music store run by nonparental adult Catesby (Mark Wystrach), who spent 18 years in Nashville experiencing success and failure and knew Charlie’s mother once upon a time — so that’ll be a thing. (The store apparently does no business at all.) For inspiration he sends the kids way out in the country to a secret show by his old friend Dexter Romweber (a real person, now deceased, played by Brad Carter), who will shake their nerves and rattle their brains and leave them with words of encouraging and discouraging wisdom before disappearing into the night and a fictionalized fate.
Every so often, we get a performance — at a graduation party, a county fair, a wedding, a roadhouse, a prestigious opening slot, where the crowds react as if they’re extras in a TV show. (The kids can play, and the songs aren’t bad.) As they struggle toward their goal, they’ll meet disaster and resistance. They’ll fuss, they’ll feud. They’ll make mistakes, they’ll make sacrifices, they’ll make trouble, though no trouble that can’t be fixed with an apology or checkbook or someone to bail them out. (I am pretty sure in the long history of underage kids sneaking into clubs, none has ever been arrested and put in jail, but maybe things are different in Wilmington.) They’ll get high and stay out all night, talking heart to heart, which does seem authentically teenage. (The “Wizard of Oz” costumes less so.)
There are niche references for the pop-musically informed: Catesby telling Wyatt to put a couple of P13 pickups into a ’68 Silvertone guitar; moving from the two to the five chord; name-dropping storied rock clubs (the 40 Watt, the 9:30). “This isn’t some f— Squier I got for Christmas,” Neil wails when his Gretsch White Falcon disappears. When Charlie rides his bike off a roof into a swimming pool in the midst of Pete’s party, that is almost certainly in homage to the “I am a golden god” scene from “Almost Famous”; later, they’ll nick an idea from the Beatles.
As with other manufactured bands before them, the line between what’s real and what’s retail is blurred. You can buy Runarounds-branded merch (T-shirts and hoodies, a beach towel, a sweatband, lighters). You can stream their “album,” co-produced by the Talking Heads’ Jerry Harrison, and released by actual major label Arista, from all the usual musical platforms. They’ve got dates scheduled from mid-September to late October in the South, mid-Atlantic and Northeast in legit rock halls, though whether they will identify themselves by their character names, I don’t know. (That wasn’t a problem for the Monkees, who just used their own.) I doubt they’ll be sleeping on floors or tripled up at a Motel 6, unless things are worse than I know at Amazon. If they split the driving, I hope they’re more responsible with that than the characters they play.
It’s a fluffy show, sometimes catching something real, frequently improbable, never completely ridiculous. But the audience at which it’s aimed may be happy enough with an aspirational fairy tale that reflects their own feelings about their own feelings, for which the music itself is a megaphone and a metaphor.
“All good pop songs are a little corny,” says Charlie.
“Maybe,” replies Sophia, which is the right answer.
“A Beautiful Noise” is a jukebox musical that understands the assignment.
The show, which opened Wednesday at the Hollywood Pantages Theatre on the Broadway musical’s North American tour, exists to celebrate the rough magic of Neil Diamond’s catalog. If glorious singing of American pop gold is what you’re looking for, “A Beautiful Noise” delivers.
Diamond’s fans will no doubt feel remunerated by the thrilling vocal performance of Nick Fradiani, the 2015 winner of “American Idol,” who plays the young iteration of the double-cast Neil, the Brooklyn-born pop sensation who went on a rocket ship to fame and fortune that gave him everything in the world but the peace that had always eluded him. Fradiani vocally captures not just the driving excitement of Diamond’s singing but the note of masculine melancholy that gives the songs their grainy, ruminative subtext.
Hannah Jewel Kohn and Nick Fradiani play Marcia Murphey and the young version of the double-cast Neil Diamond, respectively.
(Jeremy Daniel)
Jukebox musicals, inspired perhaps by the commercial success of “Mamma Mia!,” tend to muscle an artist’s hits into flagrantly incongruous dramatic contexts. Anthony McCarten, the book writer of “A Beautiful Noise,” avoids this trap by setting up a framework that deepens our appreciation of Diamond’s music by shining a biographical light on how the songs came into existence.
The older version of , now the grizzled Diamond burnt out by tour life and desperate not to duplicate the mistakes he made in his first two marriages, is played by Robert Westenberg. He’s been sent by his third wife to a psychotherapist to work on himself. As he shares with the doctor (Lisa Reneé Pitts), he’s been told that he’s hard to live with — an accusation that his long, stubborn silences in the session make instantly credible.
Introspection is as unnatural to Neil as it was for Tony Soprano, but the doctor gently guides Neil past his resistance. Intrigued by his remark that he put everything he had to say into his music, she presents him with a volume of his collected lyrics and asks him to talk her through one of his songs.
Nick Fradiani, from left, Robert Westenberg and Lisa Reneé Pitts as both iterations of Neil and his doctor during an onstage therapy session.
(Jeremy Daniel)
“I Am … I Said,” which makes reference to a frog that dreamed of being a king before becoming one, cuts too close to the bone. That single will have to wait for a breakthrough in therapy, but he is lured back into his past when the Jewish boy from Flatbush talked his way into a meeting with Ellie Greenwich (Kate A. Mulligan), the famed songwriter and producer, who convinced him not to change his name and gave him the chance that set him down the road to stardom.
The production, directed by Michael Mayer and choreographed by Steven Hoggett, marks this therapy milestone by having backup singers and chorus members emerge from behind Neil’s chair. Out of darkness, musical euphoria shines through.
The show’s approach is largely chronological. “I’m A Believer,” which became a runaway hit for the Monkees, catapults Diamond into the big leagues. Once he starts singing his own material, he becomes a bona fide rock star — a moody Elvis who straddles rock, country, folk and pop with a hangdog bravura.
Neil’s first marriage to Jaye Posner (a touching Tiffany Tatreau) is an early casualty after he falls in love with Marcia Murphey (Hannah Jewel Kohn, spinning a seductive spell musically and dramatically). It’s Marcia who coaches him into playing the part of front man. The hits come fast and furious after that, but the frenzy of tour life exacts a severe toll.
Tiffany Tatreau as Diamond’s first wife Jaye Posner, from center left, Nick Fradiani and Kate A. Mulligan as singer-producer Ellie Greenwich in “A Beautiful Noise.”
(Jeremy Daniel)
Of course, everyone at the Pantages is waiting impatiently for “Sweet Caroline,” the anthem that never fails to transform into a sing-along after the first “bum-bum-bum.” The performance of this ecstatic number is powerfully mood-elevating.
Fradiani’s character work is most impressive in his singing. That’s when the inner trouble Neil has been evading since his Brooklyn childhood hauntingly resounds.
“America,” “A Beautiful Noise,” “Song Sung Blue,” “Love on the Rocks” and “You Don’t Bring Me Flowers,” songs heard countless times, take on more weight as the circumstances of their creation are revealed. The therapy gets a little heavy-handed in the protracted final stretch. But Westenberg, who’s a touch too emphatic early on, lends poignancy to the cathartic release that ushers Neil into a new place of self-understanding.
By keeping the focus where it should be — on the music — “A Beautiful Noise” thrives where more ambitious jukebox musicals stumble. This is a show for fans. But as the son of one who remembers the songs from family road trips, even though I have none of them in my music library, I was grooving to the sound of a bygone America, high on its own unlimited possibilities.
At the curtain call at Wednesday’s opening, Katie Diamond came on stage and video-called her husband as the Pantages audience collectively joined in an encore of “Sweet Caroline.” It wasn’t easy to hear Diamond sing, but it hardly mattered. Fradiani had supplied that dopamine rush for more than two hours with his virtuoso musical portrayal.
‘The Neil Diamond Musical: A Beautiful Noise’
Where: Hollywood Pantages Theatre, 6233 Hollywood Blvd., L.A.
When: 7:30 p.m. Tuesdays-Thursdays, 8 p.m. Fridays, 2 and 8 p.m. Saturdays, 1 and 6:30 p.m. Sundays. Ends July 27.
Druckmann, the co-creator of the hit HBO series and writer of the game on which it is based, announced Wednesday that he would be stepping away from the show ahead of its third season. Season 2 of “The Last of Us” concluded in May.
“I’ve made the difficult decision to step away from my creative involvement in The Last of Us on HBO,” Druckmann said in a statement posted on Naughty Dog’s Instagram account. “With work completed on season 2 and before any meaningful work starts on season 3, now is the right time for me to transition my complete focus to Naughty Dog and its future projects, including writing and directing our exciting next game, Intergalactic: The Heretic Prophet, along with my responsibilities as Studio Head and Head of Creative.
“Co-creating the show has been a career highlight,” the statement continued. “It’s been an honor to work alongside Craig Mazin to executive produce, direct and write on the last two seasons. I’m deeply thankful for the thoughtful approach and dedication the talented cast and crew took to adapting The Last of Us Part I and the continued adaptation of The Last of Us Part II.”
Druckmann was a key creative behind the acclaimed 2013 video game “The Last of Us.” The story of a man and a girl crossing a postapocalyptic landscape had been something on his mind for years before he joined the video game studio Naughty Dog, which he now leads. Set in a world ravaged by a fungal pandemic that turns human hosts into zombie-like creatures, “The Last of Us” showed that a big-budget violent action shooter could be a canvas for complex themes and storylines.
The television series, which premiered in 2023, was co-created by Druckmann and Mazin, an Emmy Award winner for HBO’s limited series “Chernobyl.” Starring Pedro Pascal and Bella Ramsey as Joel and Ellie, respectively, the first season was embraced by critics and audiences alike and went on to win eight Emmys (out of 24 total nominations). The show’s second season, which adapts the story from the follow-up 2020 video game, “The Last of Us Part II,” aired earlier this year. “The Last of Us” Season 3 will continue the story from “Part II,” from the perspective of Kaitlyn Dever’s Abby.
Naughty Dog’s next game, “Intergalactic: The Heretic Prophet,” in development now for the PlayStation 5, will star Tati Gabrielle (who portrayed Nora in “The Last of Us” Season 2) as Jordan A. Mun, an interplanetary bounty hunter stranded on a mysterious remote planet. Most of its details — including a release date — have yet to be revealed.
The Ankler first reported the news of Druckmann’s exit.
EXCLUSIVE: BBC bosses are risking a fallout with legendary rocker Neil Young, 79, just days before his Glastonbury gig over potential coverage of his performance on Saturday
00:01, 24 Jun 2025Updated 00:02, 24 Jun 2025
Glastonbury is shaping up for another epic weekend
BBC bosses risk falling foul of rock legend Neil Young just days before his Glastonbury gig. The Heart of Gold singer, 79, is one of the biggest names on the bill but it is still unclear how much of his Saturday performance will be on TV. Young is still wrangling with the BBC about coverage. Insiders suspect he will agree to letting just a handful of songs go out on TV or BBC iPlayer. Whether they will be live or part of an edited highlights package is still unclear. A BBC schedule of live sets released to the public omits Neil Young, while mentioning headliners such as Charli xcx and Doechii who play other stages on Saturday.
Neil Young is set to perform in Glastonbury(Image: Getty Images)
Bosses will have to tread carefully after the star pulled out of the festival earlier this year citing concerns about the BBC’s “corporate control”. He said in January: “We were told that BBC was now a partner in Glastonbury and wanted us to do a lot of things in a way we were not interested in.
“It seems Glastonbury is now under corporate control and is not the way I remember it being.”
A BBC spokeswoman said: “We aim to bring audiences as many performances as possible from the Pyramid Stage, and our schedules and plans continue to be finalised, right up to and during the festival.”
Young has made principled stands recently. He blocked his music from Spotify for two years, saying a podcaster on the platform had spread vaccine misinformation.
This year, he has also refused to let Ticketmaster use dynamic pricing for his forthcoming tour. When Young played Glastonbury in 2009 only five songs were televised.
Speaking at the time Mark Cooper, then executive producer of the BBC’s Glastonbury coverage, said: “Neil Young’s career has been conducted on his own terms.
“They believe in the live event and retaining its mystery and that of their artist. They have decided to make one song available online over the weekend to give a flavour of his set. That’s Rockin’ in the Free World and that’s their decision.
“You probably won’t find too many Neil Young performances available freely on TV or online.”
Elsewhere in the Glastonbury controversy, Prime Minister Keir Starmer called for Kneecap to be pulled from the line-up. The band was due to perform in the 2025 festival, but the PM doesn’t think it would be appropriate due to recent events.
He made the statement after Kneecap member Liam Óg Ó hAnnaidh appeared in court as he was charged with a terror offence. The incident was relating to the musician allegedly displaying a flag and making remarks in support of the proscribed terrorist organisation Hezbollah at a concert in November last year.
Liam Ó hAnnaidh goes by the stage name Mo Chara and was bailed until later in the summer, which means he is able to play at Glastonbury. The festival will kick off on June 25 up until June 30.
When asked by The Sun if he thinks Kneecap should perform at the annual festival, Starmer said: “No, I don’t. I think we need to come down really clearly on this.
“I won’t say too much, because there’s a court case on, but I don’t think that’s appropriate.” The band are scheduled to perform on the West Holts Stage on Saturday.
Manchester City striker Erling Haaland says the team want to give departing midfielder Kevin de Bruyne the FA Cup send-off he deserves – and tells Kelly Somers why he and much-travelled ex-manager Neil Warnock share a similar footballing outlook.
