Thirty years ago, one mad musical genius named Arjen Anthony Lucassen decided regular rock just wasn’t big enough, so he launched his very own fleet of epic rock operas (and one musical) under the moniker AYREON. Fast forward through a few galactic-sized prog bangers, and in 2015, someone thought, “Hey, what if we actually stage this madness?” And boom, The Theater Equation was born. A stage production dedicated to the in 2004 released album, “The Human Equation,” in a theater in Rotterdam. The response was so good that 2017 brought Ayreon Universe, a best-of show that first conquered 013 in Tilburg, then warping over to Belgium’s Graspop Metal Meeting for extra interstellar domination (which was also my first AYREON experience).
Not to be outdone, 2019 saw the fully immersive live version of “Into the Electric Castle” (yes, that legendary album). Then came the pandemic pause—cue sad violins—but AYREON roared back in 2023 with Live Beneath the Waves, diving deep into the “01011001” chapter. And now, in 2025, the mothership celebrates 30 years of AYREON: “An Amazing Flight Through Time.” Three matinees and evenings filled with prog-fueled time travel at Tilburg’s legendary Poppodium 013, September 12th–14th, 2025.
By now, Tilburg might as well rebrand itself as AYREON City—or at the very least slap Arjen’s name on a square or a street. Every two years, the whole town transforms into the ultimate intergalactic prog rock/metal capital. Local businesses roll out discounts, special events explode across the map, and Ayreonauts from every corner of the globe (or at least from 71 countries—though honestly, I’m not sure how they count this, because I could personally qualify for both Belgium and Finland) beam down for the party. For one unforgettable weekend, Tilburg is the place to be if you like prog.
Before we dive into the show, let’s talk about who actually showed up on stage. Many of the usual suspects—Hansi Kürsch, Marko Hietala, Tom Englund, Jonas Renkse, Floor Jansen, Simone Simons, and others—were all busy flying around the globe with their own tours. That meant the cast felt a little bit thinner than usual. But there was fresh blood: Dino Jelusick made his AYREON live debut. Honestly, nobody was shocked because after all, with his new band WHOM GODS DESTROY, it was only a matter of time before he got pulled into Arjen’s orbit.
CAST
Wudstik
Arjen Lucassen
Robert Soeterboek
Damian Wilson
Anneke van Giersbergen
Marcela Bovio
Irene Jansen
Heather Findlay
Maggy Luyten
Mike Mills
Tommy Karevik
Dino Jelusick
BAND
Keys: Joost van den Broek
Drums: Ed Warby
Guitar: Timo Somers
Guitar: Ferry Duijsens
Bass: Johan van Stratum
ENSEMBLE
Flute: Jeroen Goossens
Violin: Ben Mathot
Cello: Jurriaan Westerveld
I went to both Sunday shows on September 14th, 2025, (sidenote: since I was both writing this report and taking photos, I figured it made sense to request media accreditation for two of them, because let’s be honest, you can’t really scribble down notes while juggling a camera, and with so much happening on stage every second, “mental notes” weren’t quite going to cut it).
Now, Into the Electric Castle and Live Beneath the Waves had some of the most jaw-dropping stage productions I’ve ever seen. Seriously, Into the Electric Castle had an actual medieval castle on stage, while Live Beneath the Waves went full-on industrial, perfectly fitting the album’s vibe. Compared to that, An Amazing Flight Through Time was much more stripped down. There were some ego risers for the keyboards and drums, plus a handful of rocky props that made the stage look like it could’ve been set on Mars. The rocks were textured too, so the lighting played really nicely across them. The real star of the production, though, was the giant projection screen behind the band, flanked by two enormous side screens.
During the matinee, after I finished taking photos in the photo pit, I mostly hung out in the hallway or tucked over on the far right side of the venue to continue taking photos, which made it kind of tough to really see the visuals. It wasn’t until the evening show, when I scored a perfect spot in the middle of the lower balcony (highly recommended, by the way), that I finally got the full effect.
And about those visuals: yes, I’ve seen people grumbling about the AI usage in the graphics. Personally, I was kind of too focused on everything else happening on stage to even notice if something looked AI-generated. And honestly, even if it was, we don’t know how it was used. It’s worth pointing out that the ethical use of AI depends heavily on the data it was trained on. If an AI model is trained on copyrighted works without consent, that indeed raises serious ethical and legal concerns, but perhaps that wasn’t the case. Still, the level of outrage made it seem like some people were watching the screen more than the actual show.
On the other hand, the whole debate also highlights another point: sometimes massive projection screens can actually pull attention away from the performance. When the visuals become the main event, it risks distracting from what’s happening on stage. Maybe that’s something worth considering for future productions. Still, judging by the reactions in the room, the heart of the show remained firmly in the music and performances themselves.
Now, enough gelul about the setting! Let’s get to the show. A massive black curtain covered the stage, and when the moment was right, Mike Mills stepped into a spotlight in front of it. His mission was solely to remind the crowd that the show was being filmed, so please, for the love of prog, don’t pull out your phones. A noble request, yet unfortunately, there are always a few who just don’t give a flying fuck and film anyway, as if the world desperately needs another shaky, blown-out recording of a song that will look better on the Blu-ray anyway in six months. I’ll admit it: I am passionately anti-phone at shows. Once, at a GHOST concert, I had a full-blown anxiety attack because I was literally surrounded by a forest of glowing screens. I felt boxed in, claustrophobic, and couldn’t see the stage through the sea of phones. Nothing kills the vibe faster than realizing you’re basically watching the concert through other people’s Instagram stories.
Anyway, rant over. Mike did his bit, the curtain opened, and suddenly we were launched into a starship, ready for An Amazing Flight Through Time. The visuals were spectacular. It was almost like being strapped into the cockpit of a prog-fueled spaceship. Even Irene Jansen popped up as an animated avatar, rallying the audience with the announcement that Act I would feature songs that had never been performed live before. And with that, the real adventure began.
ACT I
The show blasted off with “My House on Mars.” Honestly, when I heard those opening notes, my first thought was: wait, really? This as the opener? Isn’t it a little too slow to kick off a show? To be frank, the original vocals by Johan Edlund (TIAMAT) always struck me as a bit spacey—borderline monotonous—so this track has never exactly been on heavy rotation in my personal AYREON playlist.
But then Wudstik appeared on stage. He’d joined the cast after the extremely unfortunate news that Edward Reekers was retiring due to terminal lung cancer, and my first reaction was: huh, his voice is so different, how’s this going to work? Well—WOW. Within seconds, my doubts evaporated. What I thought was a weird choice of opener suddenly made total sense. Wudstik’s raw, powerful vocals reshaped the song completely, and when you add the harmonies of Marcela Bovio and Irene Jansen into the mix, it turned into something huge. Top-notch, goosebump-inducing stuff. By the end, I was already thinking, okay, I can’t wait for the live album, this might just be a new favorite.
Next up, Maggy Luyten took the stage for “Sail Away to Avalon.” I have to admit, it was a bit of a surprise since originally, the song was sung by Jaycee Cuijpers, and I was honestly a little curious why he wasn’t on the cast list this year. But no worries, both singers have a killer, rocking sound, so it totally worked. Maggy’s energy on stage is always a joy; she loves to play with the audience like a mischievous fiddle, and once again, we were all happily pumping our fists in the air, swept up in the fun.
And then there’s Jeroen Goossens on flute. Every time he plays, I just stand there grinning like an idiot. The guy makes it look effortless—moving, dancing, putting everything into the performance—and still somehow controlling his breath perfectly. As someone who has dabbled in playing the flute, I know how insane that is. The man is a straight-up pro, and watching him in the ensemble again was a pure pleasure.
Next up was a GUILT MACHINE cover: “Green and Cream.” Full disclosure, I’ve never really dived into the GUILT MACHINE catalog, so for me, this was a completely new song to discover. I had no clue who originally sang it, but then Tommy Karevik appeared on stage and honestly, the man is a force of nature. Even though the song was unfamiliar, I found myself completely drawn in. Interestingly, a lot of the complaints about AI visuals seemed to refer to this song, but honestly, I barely noticed them because Tommy is such a magnetic performer that he single-handedly stole the show.
The first Arjen Lucassen appearance hit when he launched into “Days of Knight,” a song he recently re-recorded. Arjen has always been humble about his singing because he tends to compare himself to the A-listers who share the stage with him. But something seems to have clicked lately. I noticed it on his new album, “Songs No One Will Hear,” where he handles about 80% of the vocals. I honestly thought he’d secretly taken vocal lessons but no, he’s just learned what the best way to use his voice is. Anyway, back on stage, he absolutely nailed it. He seemed noticeably less nervous than usual, and for the first time in a long time, I felt like Arjen wasn’t just the mastermind behind the music, he was genuinely shining as a performer. Marcela Bovio and Irene Jansen also got some serious front-stage time, which was honestly one of the perks of not having quite as many guest performers as usual. These two powerhouses finally got to shine as leads instead of being tucked into the background. Don’t get me wrong, they’re phenomenal in supporting roles too, but they’re just too talented to be underutilized. Watching them take center stage was a reminder of how much stage presence and sheer vocal skill they bring to the table.
“Day Six: Childhood” brought things back into familiar territory, with Anneke van Giersbergen stepping in for James LaBrie’s original parts. And strangely enough, it worked almost eerily well, despite the gender-bending swap, Anneke’s melancholic undertones matched LaBrie’s vibe so closely that it felt natural, like the song had always been waiting for her to sing it. This rendition was also more stripped-down than usual, which gave it a raw, intimate edge that fit the mood beautifully.
Marcela Bovio and Irene Jansen returned to the spotlight as leads during “Dragon on the Sea.” The song was absolutely made for their voices, and once again, it was a perfect example of brilliant casting since these two made the track soar in a way that only they can.
“Day Thirteen: Sign” was the one moment where I personally had a bit of trouble with the visuals; they just leaned a little too hard into bittersweet territory for my taste. Heather Findlay’s naturally sweet and delicate vocals in the original ballad already skirted the edge of cotton candy territory for me (I’m not exactly a ballad enthusiast, for those who are new here). Pair that with a background full of floating pink hearts, and I couldn’t help but wonder if I’d accidentally wandered into the wrong show. Sure, Arjen Lucassen enjoys a little flirtation with the cheesy side of prog sometimes, but this felt like a full-blown rom-com moment.
Personally, I would have preferred something simpler: minimal visuals paired with a dynamic, powerful light show, because whoever’s in charge of lighting is an absolute phenomenon. Musically, the real highlight was Timo Somer’s guitar solo paired with Ben Mathot’s violin—it was hands-down the strongest, most gripping part of the song. It honestly felt like the song was cut a bit short, though to be fair, it had been so long since I’d actually listened to “The Human Equation” that I might have completely forgotten where the song was supposed to end, but it ended here with Marcela Bovio‘s part.
Next up, the ever-likeable Damian Wilson took the stage for “Sea of Machines,” and the crowd greeted him with a thunderous round of applause—twice, no less. At this point, I was thrilled to finally get a song from “The Source,” which had felt a bit underrepresented in the earlier part of the show. Damian was soon joined by Tommy Karevik and Heather Findlay, and by this point, I was finally nodding along with a song I actually fully recognized. Honestly, it left me wondering: why hasn’t this been played live before? It’s such an absolute banger.
Then it was time for the newbie to take the spotlight with STAR ONE’s “The Year of ’41.” Damn, that guy can sing—what a set of lungs. Honestly, it was a slightly odd choice for the setlist, but after a heavy hour packed with proggy deep cuts, it was a refreshing change of pace, a welcome breather for the audience. He had the crowd wrapped around his finger from the first note, delivering a confident and engaging performance. If this was his debut, I sincerely hope he’ll be a regular in future shows. Mike Mills did a little scream-off battle with him towards the end and they both impressed.
Wudstik returned for another round with “The First Man on Earth,” giving yet more proof that he’s an incredible addition to the cast. Somehow, his vocals made the “Universal Migrator” material feel a little more accessible or at least different in the best way. The songs had a fresh energy to them, and I couldn’t help thinking, yes, this guy really belongs here.
Then, “The Theory of Everything” got its moment in the spotlight with “The Lighthouse” and “The Argument 2,” featuring Damian Wilson, Mike Mills, Tommy Karevik, and Anneke van Giersbergen. After a string of longer, more intricate songs, it was refreshing to have something shorter and punchier thrown into the setlist.
The first act wrapped up with “Carried by the Wind,” a welcome breather after the heavier, brain-bending tracks. Arjen Lucassen himself took the mic once again, and it was genuinely nice to have him front and center for the finale of the first act. A calmer, more reflective note to end on before the show hurtled into the next phase of the evening.
It’s worth emphasizing that the true backbone of the show—the musicians—were absolutely grinding during this first set. Ferry Duijsens on rhythm and acoustic guitars, Timo Somers as lead guitarist, Ed Warby on drums, Johan Van Stratum on bass, and Joost van den Broek on keyboards were tackling some of the most fiendishly difficult AYREON tracks ever performed live. Knowing later that not everyone was in peak condition—Ed Warby reportedly had some injuries before the show, and his one wasn’t the only account I read/heard about—makes their performance even more mind-blowing. Honestly, I didn’t notice a thing; they made it look effortless (someone get these people Grammys). But damn, this really is the Olympics of music. I sometimes wonder whether five shows of 2.5 hours each in a row isn’t taking too much of a toll on these talents. Perhaps it’s time to think about renewing the concept in a way that doesn’t take away from the fans’ fun, but also isn’t as taxing for the musicians. After all, there’s a reason musicals, for instance, have understudies.
The first act was also pretty heavy on the brain. Packed with intricate prog compositions, it was a lot to digest, and during my first watch, I felt like my brain might have melted a little. A few more lighthearted tracks could have helped liven up the mood—songs that haven’t been played live yet, like the wonderfully silly “Shaggathon” from the new album, or one of the songs from the noticeably absent “Transitus,” like the quirky “Dumb Piece of Rock.” A few doses of tongue-in-cheek fun might have balanced the mental gymnastics of the set a bit better.
ACT II
The second act kicked off much like the first, with avatar Irene Jansen popping back onscreen to give us the scoop: apparently, never before had so many AYREON classics been crammed into a second act. (I have to disagree here—they definitely did that during Ayreon Universe—but hey, let’s not ruin the hype.) Irene was the perfect choice to become an avatar, because her hype level was a full 200%.
And then without a breather, they dived straight into “The Theory of Everything Part 1 & 2.” The original features my all-time favorite keyboard wizard, Rick Wakeman, so it was only fitting that Joost van den Broek stepped into those shoes. And wow, what a job. (As a keyboard player myself, he’s firmly in my top 10 metal keyboardists. Honestly, it’s a tragedy that he’s not in a big active touring band, because the man is ridiculously talented.) Mike Mills and Maggy Luyten took care of the vocals.
Next up was “Actual Fantasy,” performed by Anneke van Giersbergen. And look—this song is good, no denying that—but it’s so darn short that it always feels more like an intro than a full performance. When you blink, it’s over. It also didn’t flow all that smoothly into the next song, the much darker “Into the Black Hole.” Originally sung by Bruce Dickinson, this one was handed to Damian Wilson, who delivered with style once again.
Then came Heather Findlay with “Dreamtime,” stepping on stage in a new outfit complete with butterfly wings. She spread them wide at the start, and I’ve got to admit, it was visually gorgeous. Still, I couldn’t help but feel it was a bit of a shame she only got slotted into the slower songs and ballads. Heather’s voice is lovely, but since I’m not much of a ballad person (with the exception of “Valley of the Queens”), it left me wanting more variety from her. Thankfully, the mellow vibes didn’t last long; “Dawn of a Million Souls” followed, with Dino Jelusick back to absolutely knock it out of the park. His voice is so powerful it’s practically a weapon of mass destruction, and live, it’s nothing short of jaw-dropping.
Next came “Valley of the Queens”—and normally, this one ranks as one of my all-time favorite ballads. It’s gorgeous, moving, and usually gives me goosebumps every time. But on this night… something just didn’t click. During the matinee show, it was sung by Heather Findlay, Maggy Luyten, and Anneke van Giersbergen, and honestly, their voices just didn’t blend the way you’d hope. In the evening, Maggy was swapped out for Marcela Bovio (possibly because she wasn’t feeling well), but even then, the mix still felt a little uneven.
Part of the issue, I think, is that Heather’s voice has such a distinct color that it can be tricky to pair smoothly with others. It tends to stand apart instead of melting into a trio. For that reason, I couldn’t help imagining how much better it might have worked with Irene Jansen, Marcela Bovio, and Anneke, since we already know from past performances how beautifully their tones fuse together. As it was, this ended up being the first time ever I didn’t love a rendition of “Valley of the Queens.”
Finally, the setlist grew some teeth with “Day Sixteen: Loser.” Mike Mills took the lead again, and he absolutely nailed it—his delivery was dramatic, biting, and perfect for the track. This song is always a blast live, especially when Jeroen Goossens struts out with a didgeridoo and somehow makes it the coolest instrument on Earth (or Mars, or wherever we were supposed to be at that point). And just when you think that’s wild enough, he swaps to a tin whistle and prances around stage like some kind of prog-folk trickster summoned to keep us all entertained.
Honestly, I’ve lost count of how many different flutes this guy can play. At one point, I’m pretty sure I spotted a contrabass flute (or as I wrote it in my notes: a big-ass flute), the size of a small tree. The man’s basically a one-man woodwind section on steroids. But I digress, this track was pure fun, and shouting “LOSER!” at the top of your lungs with hundreds of fellow Ayreonauts never stops being hilarious and cathartic. This was definitely the highlight of the show for me.
By this point, I was starting to feel like “Into the Electric Castle” was seriously underrepresented in the setlist, but salvation arrived in the form of not one, but two tracks from the iconic album. Before the songs started, though, there was a narrator part. First up was “The Castle Hall,” which just happens to be my favorite from the record, and finally gave us the long-awaited entrance of Robert Soeterboek. Bonus points: he and Arjen Lucassen were basically rocking matching outfits—Robert in regal purple, Arjen in a custom-made fiery red suit.
Then things leveled up with “Amazing Flight,” where the matching suits became even cooler visually since Arjen fully leaned into his inner flower-power hippie once again and joined the stage. At one point, he casually plopped down at a little table, poured himself tea from one of his very own “Hey Dude” mugs (yes, the ones being sold at merch), and sipped away like the cosmic hippie he is. To make it even funnier, Robert played along and put some sweetener in the cup like some kind of psychedelic tea party. I love these little absurd inserts that make it into every show.
The second set wrapped up in style with “Everybody Dies,” one of my personal favorites precisely because of its quirky contradiction—a song that’s dark as hell lyrically, yet bounces along with an almost cheerful melody. That combo doesn’t happen often, and it makes the track an absolute riot live. Best of all, this one brings a whole bunch of the singers back on stage, which always feels like a chaotic family reunion on stage.
The highlight, though, was seeing Irene Jansen step into her sister Floor’s parts. And honestly, it was kind of heartwarming. You can instantly tell they’re sisters, not just from the resemblance, but from their voices. They’re similar enough that you hear the family connection, but different enough to each bring their own (spectacular) flavor. It left me really wishing they’d team up for a project someday, because I’m convinced their voices together would be pure magic (and probably melt a few metal fans’ brains in the process).
Next came the traditional Arjen Lucassen speech. One of the fun things about catching both the matinee and evening show on Sunday was spotting the little differences between them. For example, during the matinee, Joost van den Broek’s mother was in the audience, so instead of the usual “lul” being shouted loudly, it was politely displayed on the screen to avoid offending her. Classy move. We also got mentions of Arjen’s brother Gjalt being in the audience, and apparently… a sister too? None of that popped up in the evening show, since they weren’t in attendance, although of course, an inevitable joke about Gjalt was made.
Arjen gave heartfelt thanks to two key people both times: his partner Lori, who, besides doing a lot of things behind the scenes, also handled the visuals, and, of course, Joost. His speech meandered delightfully between jokes (about shrinking, and about being knighted) and more serious moments; most notably an emotional tribute to Edward Reekers, who couldn’t be there due to illness. During the matinee, it nearly brought him to tears, while in the evening, he managed to hold it together a bit better. The audience clapped and cheered loudly in support of Edward.
He also reflected on starting AYREON at the age of 35—which, by the way, means I technically still have two years left to make something of my own life, so thanks for the reminder, Arjen. After that, Joost took the mic to share how much Arjen had believed in him, and the two ended up hugging. In the matinee show, it felt spontaneous and genuinely sweet; by the evening, it was more of a “well, guess we’d better give them the hug again” moment. Still touching, but you could tell they were hitting their cues. At some point, they realized their speeches were rather long, so they suggested playing some more music!
Encore
The encore kicked off with “Set Your Controls,” bringing Dino Jelusick back to the stage—and honestly, I’m running out of ways to praise this guy. The guy is a machine, and yet he somehow radiates this laid-back “I’ve totally got this” vibe while tearing the roof off. Meanwhile, Joost was over at the keys, looking like he was having the time of his life. His parts in this song are especially fun, and it showed.
The grand finale was “Day Two: Isolation,” a moody opener that builds into one of those massive, triumphant closers AYREON always seems to nail. It had everything: drama, energy, and of course, a big confetti explosion while the entire cast and band assembled on stage. If there’s one constant in AYREON shows, it’s that they always know how to end on an epic note, and this was no exception. Naturally, as is tradition, during the Sunday evening show, Damian Wilson decided to stage dive all the way up to the upstairs bar. At some point, his beer mysteriously disappeared, apparently because he got distracted by fans clamoring for selfies. Whoever swiped his drink, shame on you!
As for me, this was my fourth AYREON adventure, and once again, it delivered. I’ll admit, walking out of the matinee show, I felt a tiny bit underwhelmed—maybe the sensory overload hadn’t fully clicked yet. But by the evening show, with the chance to focus on everything properly, I regretted ever doubting it. It was another prog feast of the highest order.
Do I have a couple regrets? Sure. No “Transitus” tracks made the cut, and nothing from “01011001” either (though fair enough, that one was fully played during the last set of shows). Still, it would have been great to hear “River of Time” nestled into the classics section, and I missed fun staples like “Intergalactic Space Invaders,” “Songs of the Ocean,” or “Star of Sirrah.” But if the trade-off was more variety this time around, that’s admirable too since it kept the whole thing feeling fresh.
All-in-all, I count myself incredibly lucky to have attended these shows—and to have been granted media accreditation, which made it possible to experience AYREON from multiple angles. These performances are still a somewhat exclusive, almost otherworldly experience, where the music, visuals, and sheer talent of everyone involved combine into something truly unforgettable. From Dino Jelusick’s powerhouse vocals to Joost van den Broeck’s magical keyboard wizardry, from Timo Somer’s immersive, dynamic playing—shredding like an absolute master—to Ferry Duijsens’ laid-back grooves delivered with a constant smile, the musicianship was phenomenal. Meanwhile, Johan Van Stratum was headbanging wildly while playing bass, Jeroen Goossens busted out yet another wonderfully weird, random flute, Jurriaan Westerveld rocked the cello with a huge grin, and Ben Mathot played the violin with effortless chill while tackling complex passages like it was nothing. Behind the kit, Ed Warby once again proved why he’s a legend—relentless, precise, and just plain killer. Every musician involved should feel immense pride for these performances. They may not happen frequently, but when they do, they’re often the highlight of the year for many metalheads alike.
Even when a song like “Valley of the Queens” didn’t hit perfectly, or some tracks from “Transitus” and “01011001” were missed, the sheer variety, energy, and creativity on display made up for any minor gaps. Watching the audience—from first-timers to die-hard Ayreonauts—sing, cheer, and share the experience reminded me why these shows remain so special. Every element, from the stunning confetti-filled finales to the quiet, intimate stripped-down moments, came together to create a full sensory feast, all while surrounded by the incredible community of Ayreonauts. This was my first time attending the shows solo, and not once did I feel alone—the energy, camaraderie, and shared excitement of the weekend made it a truly communal experience.
Every penny I spent on the trip was absolutely worth it, and I feel grateful for the opportunity to witness not just a concert, but an immersive experience. I, for one, am already counting down the days to AYREON 2027, eagerly anticipating the next chapter in this epic musical saga. I left Tilburg early in the morning, still grinning, my heart completely full from the weekend’s unforgettable experience.
Text and photos by Laureline Tilkin
Setlist
Act I: Ayreon Live Debuts
- My House on Mars
- Sail Away to Avalon
- Green and Cream
- Days of the Knight
- Day Six: Childhood
- Dragon on the Sea
- Day Thirteen: Sign
- Sea of Machines
- The Year of ’41
- The First Man on Earth
- The Lighthouse
- The Argument 2
- Carried by the Wind
Act II: Ayreon Classics
- The Theory of Everything, Part 1
- The Theory of Everything, Part 2
- Actual Fantasy
- Into the Black Hole
- Dreamtime
- Dawn of a Million Souls
- Valley of the Queens
- Day Sixteen: Loser
- The Castle Hall
- Amazing Flight
- Everybody Dies
Encore:
25. Set Your Controls
27. Day Two: Isolation
