By Michael Senft/Arizona Republic

In a recent interview with the Arizona Republic, Rush guitarist Alex Lifeson said, referring to the veteran Canadian band’s current tour: "There’s a joy in our playing."

That joy was evident Friday night, when the prog-rock trio played a mammoth 3 hour set for a full house of faithful fans at Cricket Pavilion.

For its first concert in Arizona in over 5 years - Rush went on hiatus in 1997 following the deaths of drummer Neil Peart’s wife and daughter - the trio took the stage to the theme from the Three Stooges before launching into a surprise opener, their biggest hit, Tom Sawyer. Perhaps it was to get the crowd pumped, or perhaps just to get the overplayed classic out of the way, either way, the audience was on its feet and didn’t rest until the last note of the encore. Along the way, Rush delved deep into its back catalog, performing songs not heard live in 20 years.

As usual, Rush brought along an enormous stage show, including dozens of lights, lasers and an enormous video screen, which alternated showing close-ups of the band, psychedelic computer graphics and silly cartoons. Only Pink Floyd can top Rush’s presentation. But unlike the wooden band members of Floyd, Rush band members are animated and exciting onstage - at some points during the show the videos were a distraction, diverting the eye from the playful antics of Lifeson and bassist/singer Geddy Lee.

One video was particularly effective. As the band was returning from intermission, the screen filled with an animated dragon, which circled and winked at the audience before breathing cartoon fire. On cue, enormous firepots ignited along the backstage, washing the crowd with their heat, as the band launched into One Little Victory, one of four tracks played from this year’s comeback disc, Vapor Trails.

There were plenty of other visual delights onstage as well. Three coin-op dryers stood in place of amps on one side of the stage and ran throughout the set, occasionally refreshed by watchful roadies. At the end of the night, Lee and Lifeson took their laundry out, actually tee-shirts which they threw into the audience. There were also bobbleheads, dancing robots and even Spongebob Squarepants figures strategically placed around the stage.

While Rush did dust off several ancient chestnuts, it primarily stuck to its post 1980 material, only performing a handful of earlier classics, like the perennial favorite Spirit of Radio, which closed the second set. In fact, many classics were ignored, the overplayed tracks Closer to the Heart and The Trees were skipped in favor of the less-oft heard album cuts like Vital Signs and the majestic Natural Science, which closed the first set.

Of course it wouldn’t be a Rush show without a drum solo from Peart, aka "The Professor." And he didn’t disappoint. Peart, one of the few skin beaters who can take the most tiresome rock cliché and make it interesting, showed his percussion dexterity during 10-minute display that made many an audience member’s jaw drop. As his solo spot ended, the video screen came alive with footage of Peart’s hero Buddy Rich, and Peart soloed over a big-band backing tape.

After Peart’s solo, Lee and Lifeson came onstage armed only with acoustic guitars and played an emotional, unplugged version of Resist, from their last studio album Test for Echo. As the roadies cleared the stools away, the stage went dark and the familiar strains of the classic 2112 filled the amphitheater. This was the only place where Rush’s age showed. Lee strained to hit the high notes, even with the song noticeably played in a lower key. He doesn’t possess the piercing banshee wail that characterized Rush’s ‘70s music anymore.

After an encore medley that reached back to Rush’s first two albums for the classics By Tor and the Snow Dog and Working Man, the three took their bows and said goodnight to an ecstatic but exhausted crowd, promising to return. And barring any more tragedies, it should be a shorter wait this time.