Another Time, Another Space

With the world breaking down over ever more partisan unpleasantness, it seemed almost frivolous to make my way towards Tilburg last weekend. But as a self-confessed (and obsessed) “Ayreonaut”, I was compelled to take amazing flight to honour thirty years of phenomenal music.

AYREON is the Prog-Metal project of Dutch musician mastermind Arjen Anthony Lucassen (now Sir Arjen). For the past three decades Arjen has summoned vocalists and other artists from around the world to his Electric Castle studio nestled in the Netherlands, together creating a sublime collection of concept albums. Additional endeavours Star One and Guilt Machine further expand the scope of his sound, and it was a selection from across this catalogue that rewarded the eager attendees.

As with Roadburn Festival, the city of Tilburg opens its heart to visitors when Ayreon comes to town – a biennial event selling out within minutes. With thousands making the journey from over seventy countries, this was truly a cause for celebration. Banners greeted visitors as they stepped out of the train station, while many cafés and bars presented themed menus in honour of the occasion. With side-events, afterparties and tourist treats aplenty, all were made welcome.

Returning once more to Poppodium 013, the 3000-capacity main hall was swiftly filled, with the crowd showing no less enthusiasm for the Saturday matinee slot (the only tickets we could snag from five consecutive concerts). Although the nature of the stepped auditorium ensured an excellent view from everywhere, we cunningly sneaked up to Front of House. Eschewing my usual barrier-hanging for a view (and mix) befitting the spectacle ahead.

A spectacle remaining mostly undocumented here, as Ayreon alumnus Mike Mills (Toehider) stepped out from behind the pre-show curtain to personally and politely ask the audience to keep their phones in their pockets. Although I can understand the wish of many to shoot their own souvenir, (with some sneaking an occasional photo if not fully recording), the overall atmosphere was tech-free – at least on the floor.

The staging was a lot simpler than the multi-tier scaffolding of previous sets, with artists mostly at stage level behind a few rocks to break things up. Eyes were instead drawn to a full sized video screen covering the entire upstage, with smaller screens flanking the wings.

These screens displayed animated sequences inspired by the songs. Some of which worked really well, and others (such as Irene Jansen’s digital compère) not so much. Observers noted some use of AI content, which felt ironic given the emotionally authentic themes on display. Still, this did little to detract from the real reason we were here: the music.

Opening in 2084 with ‘My House on Mars’ (which may explain the rocks), the 150 minute journey was broken into two acts. The first showcasing songs which had never been performed live (not counting 2015’s The Theater Equation), and the second a compilation of classics. Exploring both Ayreon’s musical history and the mythic timeline woven through the albums.

It was interesting that some of the songs had been rejigged for the flow of the set; with unexpected cuts, re-arrangements, and vocalists taking different parts. This kept things fresh for the veterans, even if a few movements were sorely missed.

After a decade of live Ayreon shows, Arjen has secured a cadre of regular performers. Not least of which Anneke Van Giersbergen, fresh off her own 30th anniversary tour of The Gathering’s Mandylion; and of course the vocal talents of the indomitable (and omni-wardrobed) Damian Wilson.

But it was folk singer Heather Findlay (ex-Mostly Autumn) who stole the show for me. With songs from personal favourite The Human Equation guaranteed by her presence, I was already enthralled. Beyond that album, her rendition of ‘Valley of the Queens’ and especially ‘Dreamtime’ inspired many damp eyes and goosebumps. I hope she returns on subsequent occasions.

With tribute paid to absent friends, (and absolute respect to Edward Reekers), the show was soon over. Closed by an ensemble encore of album opener ‘Day Two: Isolation’ that subverted expectations. Two and a half hours passed by without even realising it, and I eagerly anticipate what may come for the next one.

An absolute blast of an afternoon was had with the best of company. Much gratitude as always to dear friend (and local) Lorraine for sharing the experience as she has since the start; as well as offering delightful conversation, company and crashspace while I was in town. Great to meet David (finally), and especially old friend Adrian who surprised us all with his own matinee attendance.

The world may seem doomed to a dark path of despair, but these moments of joy and togetherness should never be diminished. People can unite under shared passion as much as they may divide under strife, and in so doing create another space of hope and celebration…

… not to hide and forget the troubled times of the New Real, but to rise up and remember Forever.

https://heathenstorm.com/2025/09/17/another-time-another-space/

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