In the pantheon of rock music, few rhythm sections have ever achieved the mythical status of Rush’s Geddy Lee and Neil Peart. For over four decades, they were more than just a bassist and a drummer; they were a singular, telepathic entity, weaving intricate musical tapestries that defined a genre. Lee, with his melodic and aggressive bass lines, and Peart, the revered “Professor” on the drums, created a sonic foundation of such complexity and power that it remains the benchmark for aspiring musicians everywhere.

So, when a musician who has spent a lifetime locked in a groove with arguably the greatest rock drummer in history singles out a contemporary player for praise, it’s not just a compliment—it’s a seismic event. The name on Geddy Lee’s lips? Anika Nilles.

For those immersed in the world of modern drumming, Nilles is already a phenomenon. The German drummer, composer, and producer rose to prominence not through a major label or a world tour with a legacy band, but through the democratic battleground of YouTube. Her videos showcased a style that was immediately distinct: a mesmerizing blend of surgical precision, deep-pocket groove, and a compositional mindset that treated the drum kit as a melodic instrument. But for her name to be spoken with such reverence by Geddy Lee has catapulted her into a different stratosphere of recognition.

The praise emerged during conversations surrounding Lee’s magnificent tome, Geddy Lee’s Big Beautiful Book of Bass. While the book is a love letter to his four-stringed passion, the interviews promoting it often veered into broader musical discussions. It was in these candid moments that Lee’s genuine admiration for Nilles became clear. He didn’t just mention her in passing; he spoke about her with the analytical enthusiasm of a true music fanatic. He highlighted her “incredible sense of time” and her unique ability to play complex, odd-time signature patterns that still felt inherently danceable and groovy—a holy grail for any progressive musician.

What makes Lee’s endorsement so profound is its context. This is not a man who throws compliments around lightly. His entire career was a relentless pursuit of musical excellence alongside a drummer who was meticulous, innovative, and intellectually ferocious. Neil Peart wasn’t just a timekeeper; he was an architect of rhythm. For Lee, a great drummer isn’t someone who can play fast; it’s someone who can think, compose, and elevate a song from the ground up. In Anika Nilles, he evidently sees that same spark of compositional genius.

Nilles’s style is a fascinating departure from the bombastic, power-focused drumming that often dominates rock. Her approach is cerebral yet soulful. She often builds her grooves around subdivisions of five and seven, creating polyrhythmic layers that can be dizzying to dissect but are intoxicating to hear. She refers to her method as creating “drum songs,” where the beat itself is the central narrative. This resonates deeply with the Rush ethos, where every instrument played a crucial storytelling role. Lee, as a bassist, understands better than anyone that the space between the notes is as important as the notes themselves. He recognizes Nilles’s mastery of that space—her control of dynamics, her ghost notes, and her ability to make the most complex ideas breathe.

The story of Anika Nilles is also a testament to the changing landscape of the music industry. She is a self-made artist who harnessed the power of social media to build a global following. Without the gatekeepers of the past, she was able to present her undiluted musical vision to the world, and the world responded. Her success is a beacon for a new generation of musicians who prove that exceptional talent, combined with savvy digital strategy, can break through the noise. That a legend from the analog era like Geddy Lee is not only paying attention but is actively championing a star of the digital age speaks volumes. It signifies a beautiful passing of the torch, a recognition that the spirit of innovation that fueled bands like Rush is alive and well in the hands of artists like Nilles.

Of course, Lee’s praise inevitably sparks the imagination of fans. With the tragic passing of Neil Peart in 2020, the story of Rush as a creative entity came to a definitive end. Both Lee and guitarist Alex Lifeson have been adamant that Rush cannot exist without its irreplaceable drummer. Yet, the admiration for a player like Nilles naturally leads to the tantalizing “what if?” It’s not about replacing the irreplaceable—an impossible and disrespectful notion. Instead, it’s about understanding the kind of rhythmic sensibility that might inspire a musician like Geddy Lee to create new music.

His appreciation for Nilles reveals a continued hunger for rhythmic complexity, for a partner who can challenge and surprise him. It suggests that if he were to embark on a new musical project, it would likely be with someone who pushes boundaries, someone who isn’t afraid to explore uncharted territory—the very definition of a progressive musician.

Ultimately, this is a story about respect. It’s the profound respect of one master of the low-end for a new master of rhythm. Geddy Lee’s words have shone a massive spotlight on Anika Nilles, validating her artistry on a global stage. He has confirmed what her dedicated followers already knew: that she is not just a great drummer, but a vital and original musical voice for the 21st century. In a world often divided by genres and generations, it’s a powerful reminder that true musicality is a universal language, and true genius will always recognize its own. Geddy Lee has heard the future of rhythm, and its name is Anika Nilles.