“Luxury Junk” and “Cometh” manifest this in a studio setting in ways emblematic of both their overarching growth and the change in configuration that’s brought them to their current form. It’s not that they’ve radically transformed themselves or something like that, but in their maturity, they’re realizing the potential that’s been there all along. Given the previews they’ve offered thus far, I can’t wait to hear how that plays out over the full album when the time comes.” – THE OBELISK
London-based heavy fuzz rock outfit STEAK have released their brand-new single “Luxury Junk”, the latest track to be lifted from their forthcoming studio album, due for release in Autumn 2026 via Stickman Records.
Following the recent release of the album’s first single “Cometh”, “Luxury Junk” offers another glimpse into the band’s next chapter, expanding on STEAK‘s unmistakable blend of crushing riffs, desert rock grooves and immersive sonic weight. Equal parts hypnotic and hard-hitting, the track explores themes of escapism, excess and emotional detachment, wrapped in a hazy atmosphere that balances raw heaviness with an almost otherworldly sense of longing.
With “Luxury Junk”, STEAK continue to showcase the depth and diversity of their upcoming album, further building anticipation for what promises to be one of the band’s most ambitious and powerful releases to date. Just exclusively premiered with The Obelisk, the new single is available now on all major streaming platforms: https://indigo.lnk.to/zZbhNphh
Hailing from London, STEAK have established themselves as a key force within the global desert rock and stoner scene. Known for their relentless riffs, hypnotic grooves, and high-energy live performances, the band has built a strong following across Europe and beyond.
Blending elements of classic heavy rock with modern fuzz-drenched intensity, STEAK continue to push their sound into darker and heavier territories while staying rooted in the spirit of the desert rock movement. Self-described as a “shit kickin’ band”, their ethos reflects the raw, no-frills energy that defines both their recordings and their explosive live shows.
This month, the band will join All Them Witches as special guests on selected tour dates, further cementing their reputation as a must-see act within the heavy underground scene.
Also watch “Cometh” Official Video:
STEAK Live: Jun 17 (UK) Edinburgh, La Belle Angele w/All Them Witches Jun 18 (UK) Nottingham, The Palais w/All Them Witches Jun 19 (UK) Birmingham, O2 Institute w/All Them Witches Jun 20 (UK) Bristol, O2 Academy w/All Them Witches Jun 21 (UK) Brighton, Chalk w/All Them Witches Jun 23 (DE) Hamburg, Markthalle w/All Them Witches
Today, transatlantic pop-rock quartet, AS IT IS release “Live, Laugh, Love, Los Angeles,” the latest single from their forthcoming self-titled album, out on July 17th via FLG. A bombastic blast of E-Street band inspired Americana, which sets politicized, dark social commentary in stark contrast with rousing saxophone hooks and driving grooves.
Speaking of the track, the band shares:
“We weren’t planning on releasing another single before the album. In fact, this song wasn’t even on the original tracklisting. But, during album tracking in January 2026, the news and our social feeds were flooded by the ICE raids across the USA. Multiple murders by ICE agents in Patty‘s home state of Minnesota, and almost one mass shooting per day. We watched the USA descend into violence whilst the ‘Rich Televangelist’ at the top stoked the fires further. The song was about Patty‘s relationship with America and being an American in the current political climate, but with that added real-world context, it suddenly became even more urgent and essential, not only to the album but to the album campaign. As tensions continue to rise and the global resurgence of the far right continues, we felt that this song, its message, and the video deserved their moment to be seen, heard, and felt. Fu*k Fascism.”
To create art for art’s sake is as pure an intention as a band can have. Writing a song that may never even see the light of day, but speaks to the very reason that you want to create in the first place. Putting joy, connection and fulfilment above anything else, and reaping the rewards that come from pushing such human endeavors. It’s a noble and selfless position to place yourself in, one that sits at the very root of why we all fall in love with music in the first place.
For AS IT IS, it was an absolute necessity to do things like this.
It was the only way that they could even attempt to recapture what once brought them together 13 years ago. A moment in time where Patty Walters, Ben Langford-Biss, Ali Testo, and Patrick Foley could reconvene for the first time in a long time, look back on the highest highs and lowest lows they have experienced together, and draw hope and inspiration from them once again.
From that, they have created their new upcoming self-titled album, the first body of work made as a quartet in eight years. A record that finds them at the most comfortably bold they have ever been, delivered via the most beautiful brand of collective catharsis. However, to even consider reaching this sort of solace, a different kind of work needed to be done first.
For Patty, that meant finding a purpose outside of the band. For so long, he had felt like he had no choice but to be in AS IT IS. That, without it, there was nothing else. To listen to 2022’s‘I WENT TO HELL AND BACK,’ the band’s fourth full-length album and only piece of work to not feature Ben or Foley following their respective departures in 2019 and 2020, is to hear Patty in fight or flight, unfurling some seriously dark thoughts and making music that bleak because it felt like it was all that he had.
But in stepping away from not just the band but music altogether around the birth of 2024 to seek professional help to exorcise demons, muddle through trauma and realize that there is a life beyond music, he was able to realize that he can be all of the things that he wants to be. He just needed to relocate who he was within them, not who he thought he had to be.
“I realized the most important thing for me to do was find happiness, fulfilment and a sense of identity outside of all of this,”Patty explains. “So, I found stability. Found help. Found that happiness. Then I slowly started to realize that the possibility of returning to music wasn’t a regression but an opportunity to introduce more purpose into my life and use it as an outlet for self-expression. That’s always been the best way that I’ve communicated with the world, through songs and performance, and I had been denying myself that for so long.”
It feels serendipitous that around the same time, Ben had contacted and reconvened with Patty, not as a bandmate but as a best friend to show support through the emotional turmoil that unloading so much from within can produce. The band never even came into the equation at this point; this, instead, was an opportunity for the two of them to just be. A support network without any add-ons or other intentions. Joined then by Ali and Foley for meetups, heart-to-hearts, and general hangs, starting in The Eagle in Brighton, this was four friends loving each other as that, and nothing else, for the first time in a very long time.
“I think that Ali is the only one of us with an actual brother,”Patty laughs. “But I now have brothers because of AS IT IS. Because of how much they loved me and showed up for me when I needed them. I feel like we are going to be brothers first always and till the end because of that.”
Before all of this, Patty and Ben had attempted to write music as a pair, not for anything, just because it’s what they had always done. After realizing he wasn’t ready for it and taking those steps to properly heal through actual therapy rather than through writing lyrics alone, only then did the conversation turn to the possibility of AS IT IS being their focus once more. But things could never be the same as they once were. Why would they want them to be? So, if they were going to do this, it would be entirely on their terms.
It’s because of this that the first fruit of their labors, the raw, rallying and very real “Lose Your Way & Find Yourself” took almost a year to the day of these conversations to be mixed, mastered, and ready to go. 365 days of love, care, consideration, and patience have gone into it, a reminder that this is a choice rather than a necessity, and that really making sense of the heaviness in your chest takes time. What would follow would be three additional trips into the studio with producer Kel Pinchin at the Ranch Production House in Southampton, allowing them to space out their writing rather than forcing it. For the first time in their career, the band was making an album whilst not being in the middle of at least 200 days of the year on the road. When you are spinning so many plates, just trying to make it to the next venue, you don’t have time to face any sort of demons or make sense of any trauma, let alone let anyone else know what you’re going through.
“We weren’t previously able to heal and grow when we were in the thick of it,”Patty admits. “We just had to cope and do our best, and within that, not always share that with each other. We could only share it with ourselves. When we were writing our second and third records, we were thinking about the bigger rooms we wanted to play and the bands we wanted to tour with as a result. This one was about as long as we are bringing out who we are and ourselves into the writer’s room. It’s not about what happens after we write, record, and release. This is just who we are.”
Such space to make sense of not just their own journey but also that of their brothers has resulted in some of the most emotionally stark, curiously brash and, ultimately, healing songs the band has ever committed to tape. Musically, rather than attempting to fit in any sort of particular scene, the quartet has spoken to the kind of sounds they actually adore instead of what they think others do. There are as many flickers of The Starting Line and The Early November as there are Counting Crows; big, bold rock songs with the earnestness and euphoria that make them want to pursue this life in the first place. Forged in a space where every instrument was ready to go as and when, rather than the regimented practice of tracking each element block by block, allowed spontaneous creativity to take precedent and more luscious and layered songs to blossom and bloom.
And lyrically, it is as warts and all as they have ever been, and that’s saying something for a band that has worn their hearts on their sleeves in the way they have over the last 14 years. Looking back on the people they have been with the most open eyes they have ever had, being honest in the ups and downs of what they experienced, and writing down their findings, the result is as nostalgic as it is earnest. From the raw storytelling of “Ruin My Life” to the hope-speckled “What If It All Works Out,” the open looking back of “Do You Remember?” to the curious understanding of “Marilyn,” every song holds a different sort of sentiment. A realization, defined by a situation, person, or thought process, that speaks for whom the band used to be, as well as whom they thought they used to be, as much as who they really are now. It is the sound of healing in real time, which makes for a band rejuvenated, impassioned, and more awake and alive than they have been since their inception.
“This is an amalgamation of the last 12 years as well as a new level of honesty and transparency,” Ben explains. “This is the core and crux of who we are. We’re never going to change from now on. It really is more about our relationship with each other and how, through everything, the four of us still have this bond, both as friends and musically. That has been tested a lot through the years, and these songs are now a real testament to our overarching brotherhood and love for each other.”
It’s because of this that the quartet knew that this had to be their self-titled record. For any band, making such a statement can either signal a moment of reinvention or a doubling down on what you believe defines you by reconnecting with what initially pushed you. And though the former is not strictly untrue, for Patty and Ben, the latter is what this whole experience is about. In remembering why they started this band in the first place, with the wisdom, experience, and drive they now possess all these years later, they feel they have almost come full circle. Though in taking stock of what it takes to nurture something as precious as this and not viewing this as an all or nothing situation, both within their friendship and relationship with the music, they have produced a piece of art that will inspire, instill belief, and live long in the hearts and souls of all who let it in.
It is everything that AS IT IS was, is, and will be, and it means the absolute world to them.
“You can never manufacture genuine connection with people,” Ben remarks. “Just find what is honest to you and honest to your journey, and that’s all any artist has to offer to the world. This is our reality, and reality is looking a bit more positive these days. We’re a band known for four quite depressing albums. But days fluctuate, and things change. That’s mental health. But to be able to look at everything with a different and more positive outlook on the future is all that we wanted to say.”
“This is the spirit and intention of the joy that formed AS IT IS in the first place,”Patty adds. “It is reconnecting with the kids that we were when we started to write songs. And now, we’re showing up with life in our eyes. We can listen to and support each other. This is the most in control and confident the band has been in a long time, but also the most proud. In the past, I had no choice but to be in AS IT IS. This new era of the band is my choice. Our choice. A choice. But in having it back, it means having maybe the biggest piece of myself back, too.”
1- I’m So Alive! 2- Ruin My Life 3- Do You Remember? 4- Marilyn 5- Lightless Sun 6- Watching The World Go Bye 7- Lose Your Way & Find Yourself 8- Last At The Party 9- Turn To Dust 10- If I Ever Lost You 11- What If It All Works Out 12- Not Anymore 13- Live, Laugh, Love, Los Angeles (Physical Editions Bonus Track)
AS IT IS Live:
JUNE
7th – Dordrecht @ Bibelot Poppodium 8th – Hamburg @ Betty 9th – Berlin @ Badehaus 10th – Hradec Králové @ Rock For People 11th – Cologne @ Mtc Club 13th – Donington @ Download Festival
JULY
13th – Bristol @ O2 Academy (W/ Boys Like Girls) 15th – Glasgow @ O2 Academy (W/ Boys Like Girls) 17th – Manchester @ Academy (W/ Boys Like Girls) 18th – London @ O2 Academy Brixton (W/ Boys Like Girls) 19th – Brighton @ Resident Music (In-Store & Signing) 20th – Birmingham @ Hmv (In-Store & Signing) 21st – Bury @ Wax And Beans (In-Store & Signing) 21st – Leeds @ Brudenell Social Club (In-Store & Signing) 22nd – Nottingham @ Rough Trade (In-Store & Signing) 23rd – Kingston @ Upon Thames Circuit 24th – Bristol @ Rough Trade (In-Store & Signing) 25th – Sheffield @ The Arundel Emporium (In-Store & Signing) 25th – Liverpool @ Jacaranda Baltic (In-Store & Signing)
SEPTEMBER
3rd – Torquay @ Burn It Down Festival
AS IT IS are: Patty Walters – Vocals/Guitar Benjamin Langford-Biss – Guitar/Vocals Alistair Testo – Bass Patrick Foley – Drums
Swedish cult act MASTER MASSIVE will release a new studio album, called „White Shadows“, out on July 10th through Fireflash Records. The album is a pure and epic heavy metal gem, and unites traditional metal with progressive and doom elements.
Today, MASTER MASSIVE release their new and third single, along with a music video for the song “Jonah And The Whale“.
“This song was made to be uptempo and lighthearted, with many key changes and time-signature shifts. Easy to listen to, but difficult to play. I think I sang the phrase “Jonah and the whale” the very first time I tried out the chorus melody. It felt right, so why not make a song out of it? I had no intention of doing an interpretation of the biblical Jonah—this is my own fantasy. The lyrics shift between a playful side and a serious one, and the conclusion almost makes it feel like a true story. When Tony joined, I reworked the melodies in the second verse to give the song more variety. I really pushed the boundaries there, but I knew Tony would handle it. Contributions like that are what make Tony so unique. He has the technique and musical understanding to be given almost anything. The final choir section at the end was already in the demo version, and I sang that myself, but I let Viktor add the top harmony, which turned out to be a perfect fit.”, comments lead guitar player Jan Strandh.
The sound of MASTER MASSIVE is unique. You can hear MERCYFUL FATE, but also CANDLEMASS and early FATES WARNING and QUEENSRYCHE. „I’ve listened a lot to those bands, especially Mercyful Fate („Melissa“ and „Don’t Break The Oath“), and later also Fates Warning („Awaken The Guardian“). Originally, I come from the symphonic rock tradition, with bands like Queen, Genesis, Jethro Tull, and Black Sabbath. My playing style comes exclusively from the guitarists in these bands“, adds Strandh.
There is a lot to discover in „White Shadows“. It is an album that is timeless, that needs full attention and will once in the future be named along with many classics. „We had big ambitions for the album. We decided that there shouldn’t be a single weak song or meaningless note. Even so, it surpassed our expectations. One of the feelings we wanted to capture in our sound was a natural groove, the kind you hear in older artists and in classical music. To achieve this, we chose to make a record entirely without a click track. Johan was the perfect drummer for the challenge, and once everyone who plays and sings on the album had added their parts, the result became far more fluid, alive, and dynamic than we could have imagined.“
MASTER MASSIVE are: Tony Niva – lead vocals Marcus ”Masken” Karlsson – lead vocals Viktor Gustafsson – lead vocals Jan Strandh – lead guitar and vocals Max Warnby – bass guitar Johan Hautajärvi – drums
Today, MAN RABID, the boundary-pushing microtonal project from Swedish heavy metal musician Tony Jelencovich Aaberg (Transport League, M.A.N, Mnemic), proudly launches his debut single, “Seven Days.”
“Seven Days” deals both lyrically and visually with the endless struggle of life in a world that constantly challenges and puts existence on its edge. In a lost world and when the flame of life is extinguished, another is lit. Through fire life is born, through life fire is lit.
MAN RABID marks a bold new chapter in Aaberg’s career, diving deep into microtonality through the use of custom-built instruments tuned to a 19-EDO syntonic temperament. The result is a strikingly unconventional sound—warped riffs, dissonant grooves, and intense, visceral vocals that challenge the limits of traditional heavy music.
By stepping outside standard tuning systems, MAN RABID crafts a sonic landscape that feels both unsettling and forward-thinking, blending technical experimentation with raw aggression.
The project’s debut EP, ‘The Messiah Complex I,’ is set for release in 2026 via Black Lodge Records, promising a powerful introduction to this uncompromising new vision.
Two-day Scream Rock Fest 2026 took Italy’s City of Flowers, Sanremo by Storm at the end of May, with pure energy dedicated to the best independent and historic bands from the Ligurian and national music scene.
The event’s organizer Steve Foglia conducted an interview with Ligurian heavy metal legends, WILD WINGS (formed in 1987), join the chat below.
Let’s take a step back in time: 1987, Imperia. In those years, the Italian metal scene was exploding underground, but making a name for oneself outside the main circuits was anything but easy. How were the Wild Wings born in the minds of Maurizio Dedoni and Phil Ranise, and what did it mean to play Heavy Metal in Liguria at that specific moment in history?
“It was a chance meeting between passionate rock musicians. Phil had just come back from an unsuccessful experience in London with his band, and I found myself playing music with various groups that just didn’t inspire me. From our meeting, a shared vision emerged; we started hanging out with guitars in hand, and our first songs came together almost spontaneously. The tracks were pure, heavy rock. We found a drummer, and the adventure began.
In western Liguria, we were probably one of only two bands playing Heavy Metal, but determination worked in our favor. We started making our voices heard at every single opportunity that came our way—music events, clubs, you name it. We worked hard to build a repertoire of original songs, and that’s what won over the critics and earned us our fans.”
The “demo tape” culture of the ’90s was the backbone of metal. You fully lived through that era of cassette trading by mail and photocopied fanzines. What is your craziest or most romantic memory of those recording sessions and that sheer “hunger” to be heard?
“In reality, Phil and I were the engine of the band; specifically, I was the more artistically creative one, driven by the desire to get our music out there. Our first recording was in the late ’80s at Thomas Gredler’s recording studio—he was the only sound engineer who believed in us from the very beginning, and he guided us toward a powerful and original sound.
I particularly remember my vocal and bass recording sessions, which were squeezed into the short breaks of my military leave. I would travel down from Milan, where I was doing my compulsory military service, head straight to the studio to record, and then rush right back to the barracks. We were driven by pure enthusiasm, and we were putting together several major songs—some of which we still play in our live shows today.”
In 2003, with the arrival of Frederic “Freddy” Volante on drums, the band received a real jolt of adrenaline. You immediately hit the stage again and wrapped up the EP at LAROKKA studio. What kind of energy did Freddy bring to ignite that spark so quickly?
“Freddy’s arrival was a moment of pure joy because, after the departure of our longtime drummer Kino, we were left devastated. However, our desire to play was as strong as ever, so we got to work and auditioned several drummers. Then a friend pointed me toward Freddy, who happened to be a fan of ours. I contacted him and we brought him in for a tryout: right away, I knew he was the right guy. Precision, power, finally a double bass pedal, and the ability to adapt to the band’s sound while locked into the bass lines, which massively elevated our rhythm section.
All the ingredients for a great new project were there. We threw ourselves into the studio and immediately recorded a 6-track EP; that’s when things really began to take shape for the…”
The band’s history is marked by an ironclad brotherhood, but also by the departure of Phil Ranise and a revolving door of guitarists that would have discouraged anyone. Yet, Maurizio and Freddy didn’t back down an inch. What gave you the strength to say, “We keep going, even if we have to do it all by ourselves”?
“Never give up is our motto in life. Over the decades, the band had built up an important repertoire, with dozens of songs waiting to be developed and integrated into an already vast catalog. With Freddy and Phil, we were like a family—the pleasure of spending time together, helping each other through tough times, celebrating everyone’s personal achievements; in short, the joy of sharing. When Phil left the band for personal reasons, we understood and accepted it with full awareness. Phil remained with us in our music and our thoughts, but our music was powerful, and we couldn’t just let a constantly evolving project—both in its creations and its sound—fade away.”
Let’s talk about Don’t Stay Blind, the 2025 album. Produced, recorded, and spat out entirely by the two of you (Maurizio and Freddy). A true declaration of total independence. Musically and lyrically, what kind of “blindness” does this record strike out against?
“Don’t Stay Blind was the crowning achievement of several aspects of the band. First and foremost, it brought us closer together. We were orphaned by Phil’s departure, and we had auditioned several guitarists; with some, it went well and we managed to play several live shows, but we still don’t understand why, in the end, Freddy and I always found ourselves alone again, without anyone bringing fresh blood to the band.
Since I am a multi-instrumentalist, the band’s songwriter, as well as the vocalist and bassist, Freddy and I decided that I would handle the guitar tracks too. So that’s what I did. Beyond being a tribute album to a historic local band, Don’t Stay Blind is also my personal calling card. On the record, we touched upon various themes; we wanted to issue a warning to pay attention to everything around us—a wake-up call not to stay blind, but to always think for oneself and break free from the mold that society and the media impose on us. Wild Wings is a free and unconventional band.”
Going from the demo tapes of the ’80s and ’90s to today’s digital streaming platforms is a quantum leap. How does an old-school band navigate this new world, where everything is just a click away, but where the magic of wearing out the booklet of a vinyl record or CD has perhaps been lost?
“Yes, absolutely everything has changed in music and music production. Today, the motto is ‘everything, right now.’ This allows people to listen to music instantly, which means music production has to be constant and active, otherwise the risk of vanishing from the market is high. We’ve never focused on trying to reach everyone, but rather on just reaching people somehow. We too hopped on the multimedia wave, but without any pressure—working at our own peaceful pace, for the pure pleasure of playing and being true to who we are, rather than what trends dictate.
In a way, listening to our record is a bit like stepping back in time; we took great care with the sonics of those years, and you can clearly hear it on several tracks. The same goes for our live shows, which blend the signature sounds of classic ’80s Heavy Rock with modern, more sophisticated tones.”
The loneliness in the studio is over: in 2025, Riccardo Malan and Alessandro Valzano came on board. With an extra guitarist and a multi-instrumentalist (keyboards/guitar), how is the Wild Wings’ sound changing? What kind of dynamics are forming for the second album currently in the works?
“Riccardo and Alessandro have fit perfectly into the band’s philosophy. Going from being a power trio with Phil to a band with two guitars and the addition of keyboards on several tracks has completely changed the game. We’ve shifted from a very raw, almost punk-rock sound to more refined and harmonious tones. The ‘grit’ and rhythmic tension remain the same, but they are now complemented by a sonic direction that guides the listener toward more defined harmonies.
We have enough material for several albums—the band is highly prolific. Our next work will feature older tracks, rearranged and adapted to our new sound, alongside brand-new songs. Of course, there will also be a cover song, just like on Don’t Stay Blind, where we celebrate a track or a band that has been particularly inspiring to us.”
Also in 2025, your documentary was released on YouTube. Laying bare decades of stories, stages, dust, and rock ‘n’ roll in front of a camera is no small feat. What was the most difficult (or most emotional) scene or memory to recall during filming?
“Making the documentary was a true blast from the past. I won’t deny that it was a very intense emotional experience for me, because for the first time, I went back in time and was forced to relive not only our entire history, but my own as well.
Of course, a 30-minute documentary isn’t enough to capture everything we’ve been through, but we wanted to leave a mark, a testament to our presence and to the history of music in western Liguria. There were several emotional moments during filming: sifting through hundreds of photos and recalling the story behind each one—most of them with a smile, and a few others with the bittersweet feeling of no longer having people who were part of our family close by. Every song is a piece of our lives, telling stories, thoughts, joys, and sorrows that have walked alongside us over these decades.”
Here is the link to our documentary:
If you could take a time machine and show the Don’t Stay Blind album or your documentary to the Maurizio and Phil of 1987… what do you think those kids would say to you?
“They would definitely say ‘Great job,’ ‘It’s about time,’ and ‘Awesome work.’ Those kids would laugh, beers in hand, crank the record up to full volume, sing along to the choruses, and get inspired to push toward new frontiers. Because that’s exactly how it went. The mentality has stayed the same, and so has the heart. The kids we used to be still live inside us every single time we play our music.“
Arjen Lucassen reveals, ‘Isolation’ the finale to the spectacular live concert An Amazing Flight Through Time – released today via Music Theories Recordings / Artone Label Group – which celebrates 30 years of Ayreon. The track is a fitting end to an unforgettable night with its enormous ensemble cast – Tommy Karevik (Kamelot), Anneke van Giersbergen, Dino Jelusick (Trans-Siberian Orchestra, Whitesnake), Maggy Luyten, Heather Findlay, Marcela Bovio, Irene Jansen, Wudstik, Damian Wilson (Arena), Mike Mills (Toehider) as well as mastermind, Lucassen himself making an appearance at the end.
Stream/Order HERE Talking about the night and the song, Lucassen says, “The show concluded with the track ‘Isolation’, a personal highlight from the album The Human Equation due to its eclectic mix of styles and the many different emotions. I particularly enjoyed the dynamic interaction between the vocalists, each delivering a magnificent portrayal of their respective characters. The song reached a powerful crescendo when the entire cast joined together for a final a cappella chorus. You can see the pure joy on the faces of the musicians and the crowd alike!” ‘Isolation’ is the final video to be released from the concert, following ‘Loser’, also taken from The Human Equation, ‘Everybody Dies’ from 2017’s The Source and ‘The Year of ‘41’ which was from his Star One project, and featured on 2022’s Revel In Time.
In September 2025, Tilburg, the Netherlands, was transformed into Ayreon City as six spectacular shows took over the 013 venue. All 15,000 tickets were snapped up within minutes, with fans travelling from an astonishing 71 countries to witness the latest Ayreon live experience.
For one unforgettable week, Tilburg lived and breathed Ayreon. On stage, the setlist spanned three decades of Ayreon history—from beloved fan favourites to songs never performed live before —and featured highlights from Arjen Lucassen’s many side projects, woven seamlessly into the experience.
Ayreon’s 30th-anniversary celebration in Tilburg was a unique moment—etched forever into the hearts and minds of those who experienced it live. Now, the wider world will finally have the chance to step into the Ayreon Universe and experience the magic from the comfort of your own home.
THE ROCK ALCHEMIST – Italian Rock Band from Turin with a strong sonic identity that blends modern rock with progressive, hard, alternative, and pop elements!
Kimmo Kuusniemi’s SARCOFAGUS return with a Historic 2010 Concert Video Premiere on YouTube! Click image to watch the video
Metal Shock Finland (World Assault ) 