Alex Lifeson Talks “Envy of None,” Rush Memories, and the Magic of Detroit
There’s something surreal about hearing that voice—calm, thoughtful, and unmistakably Canadian—on the other end of the line. For almost 50 years, Alex Lifeson helped define progressive rock with Rush. But…
LOS ANGELES, CA – APRIL 18: (L-R) Inductees Neil Peart, Alex Lifeson and Geddy Lee of Rush speak on stage at the 28th Annual Rock and Roll Hall of Fame Induction Ceremony at Nokia Theatre L.A. Live on April 18, 2013 in Los Angeles, California. (Photo by Kevin Winter/Getty Images)
There’s something surreal about hearing that voice—calm, thoughtful, and unmistakably Canadian—on the other end of the line. For almost 50 years, Alex Lifeson helped define progressive rock with Rush. But these days, the legendary guitarist is pouring his creative energy into a new project: Envy of None. And it’s not just different—it’s refreshingly bold.
“Congratulations on this,” I told him as we kicked things off. “This is really cool.”
“Thank you,” he replied. “We’re moving forward in so many ways. When we set out to make this record—especially this one after the first—it felt fresh, modern, and kind of progressive in its own right.”
Alex Lifeson and Envy of None - GREAT new music
That modern edge comes through loud and clear, especially on the track “The Story”—a hypnotic, emotionally charged song that has become a favorite of mine, especially during long drives. Part of its pull is the voice of vocalist Maiah Wynne, a singer whose delivery is both delicate and devastating.
“There’s a sort of frail gentleness to her voice,” Alex said, “but it’s very impactful. Her lyrics come from her heart, from her experience. And because it’s so genuine, it really connects.”
When I asked him to explain what he meant by her “vocal construction,” he lit up. “She submits 20 to 25 tracks of vocal parts. Harmonies, doubles, background textures… and they’re all done. Effects, compression—everything she hears in her head is there. I’ve never worked with anyone quite as talented as she is.”
And that process? It’s not just a plug-and-play. It’s a dance.
“I’ll send scratch guitars, she’ll send scratch vocals. Then I build around her, she builds around me. It’s like a musical conversation,” he said. “It’s really expanded my horizons. Honestly, I play more guitar now than I think I ever did.”
Of course, it’s impossible not to bring up Rush. I asked Alex if he could have made music like this without everything he learned during his decades in the band.
“No way,” he said. “Rush was where I grew up. It’s the only band I’d ever been in. It informed everything about my guitar playing. But Envy of None is a different world. It’s not that I ever felt restricted in Rush—but this is something new, something liberating.”
We also talked about something a lot of music lovers can relate to: the challenge of connecting with new music as we get older.
“You’d think, as a musician, you’d always be open to new stuff,” Alex said. “But I get it—your brain wants to hear ‘Limelight’ or ‘Kashmir’ or the things you grew up with. Music is nostalgic. It’s emotional. Sometimes you just want to feel that comfort again.”
Still, there’s something universal in Envy of None’s music—those emotional through-lines that have always made rock and roll so human.
“Love, insecurity, passion,” Alex said. “Whether you’re 20 or 60, some things don’t change. And that’s what we try to tap into. That common thread.”
Rush and their connection to Detroit
Since I was calling from Detroit, I had to ask him about Rush’s connection to the Motor City—a place that’s embraced them from the start.
“I lost count after 48 shows,” he laughed. “Our first gig in Detroit was at the Michigan Palace in ’74. It was such a big deal. It was America. It was Motor City. It felt like the capital of rock music for us. We were just so excited to be there.”
And that feeling? It was mutual. Detroit has always gravitated to hardworking bands, and Rush—relentless, thoughtful, powerful—fit that mold perfectly.
Jason Merritt/Getty ImagesAs we wrapped up, I asked him a fun hypothetical: If someone had never heard Rush before, and you could play them one song to show them what the band was all about, what would it be?
“Probably ‘Limelight,’” he said after a moment. “It says a lot about us. It came from the heart—from Neil, lyrically. And it has one of my favorite solos I ever played. It’s not flashy—it ramps up. A good solo should build and serve the song, not just show off.”
That’s something I noticed about his playing on “The Story.” The solo doesn’t crash in—it emerges, creating space and emotion before handing the spotlight back to Maiah.
“I’ve stayed away from the kind of solo where the whole song stops for you to shred,” Alex said. “It’s got to have shape and purpose. The solo in ‘The Story’ sets up the emotional peak that comes right after—that’s the part that hits hardest.”
So what’s next for Envy of None? Hopefully, some live shows—including a stop in Detroit. I asked him to promise me he’d come.
“We’re talking about it,” he said. “You buying the pizza?”
“Done,” I said. “It’s a deal.”
Alex Lifeson may have helped shape rock history, but he’s still chasing new sounds—and doing it with the same passion and curiosity that made Rush so beloved. Whether it’s layered vocal textures, emotional solos, or an honest take on what it means to make music that matters, Envy of None proves that Alex isn’t done exploring.
And we’ll be here—front row, waiting for that next note.
