This week’s featured track: “I Can’t Believe My Eyes” by Russell Hitchcock

From his 1988 self-titled solo album Russell Hitchcock, “I Can’t Believe My Eyes” is a standout track that captures Russell at his most intimate and emotional. Written by acclaimed songwriters John Bettis and Jon Lind, the song leans into the lush, polished sound of late-’80s while giving Russell’s  voice room to truly shine. His performance brings a sense of wonder and vulnerability to the lyrics, telling a story of love that feels almost too good to be true.

Though the album marked a moment of creative independence, “I Can’t Believe My Eyes” still carries the heartfelt sincerity fans have always loved. It’s the kind of song that quietly stays with you. An understated gem that deserves a fresh listen.

If you haven’t heard it in a while (or ever), now’s the perfect time to rediscover “I Can’t Believe My Eyes.” Stream it today and let us know what you think! This one just might become your new favorite.

Listen Now

Via Voltage Live Media

Even though Earth’s atmosphere is primarily composed of two gases—nitrogen at 78 percent and oxygen at 21 percent—the atmosphere inside Arlington Music Hall for Air Supply’s Wednesday night show was breathless.

The Australian soft-rock duo of Graham Russell (guitar, vocals) and Russell Hitchcock (vocals) brought their string of consecutive 1980 top-five Billboard Hot 100 singles—and more—to the DFW Metroplex. Add a pinch of their half-century career longevity, and the results confidently spoke from the stage.

A Wednesday night show did not deter the sophisticated fan base, who flocked to Arlington for a night of lite rock while the Texas Rangers hosted the Seattle Mariners for an early afternoon first pitch less than two miles away.

Air Supply did not need an opening act for their 50th-anniversary tour stop in Arlington. The spotlights were solely on them. It was Russell and Hitchcock’s night to shine—and shine they did in grand Texas fashion.

With keyboards building audience anticipation, the left-handed Russell, strapped with an inverted, right-handed, road-worn Telecaster, took to the stage from the crowd’s left, while Hitchcock entered from the right in an elegant bright red jacket.

From the extended introduction of “Sweet Dreams” to its first notes, it immediately became apparent that the Airheads would be treated to a night of richly mixed sound: soaring vocals backed by cellos, keyboards, a solid rhythm section, and lead guitar accompanying Russell. All the elements were tied together with polished production.

Air Supply wasted no time delivering hits and set staples, including “Even the Nights Are Better,” “Every Woman in the World,” “Here I Am,” “Chances,” as well as “Just as I Am” and “Goodbye.”

The duo continued to glide effortlessly through their set, eventually delivering the remaining songs from their nine-track, five-times-platinum 1984 Greatest Hits album on Arista Records, along with additional selections.

As the night progressed, the show’s momentum continued to build.

In turn, the crowd remained engaged, showing its appreciation by singing lyrics and choruses throughout the evening. The gratitude of Russell and Hitchcock was evident.

The lone merchandise booth, located in the walkway behind the auditorium’s back wall, offered plenty of T-shirts, vinyl records, handwritten lyrics on large white canvases, and other items to satisfy fans filing out after the show.

Not all is lost on a night of hits, though. Air Supply will be releasing their first studio album in fifteen years, titled A Matter of Time.

The album took two years to complete, from start to finish, between breaks in the duo’s annual 130-date international tour.

For now, memories of Air Supply’s show at Arlington Music Hall should occupy fans’ time until A Matter of Time hits the streets in the near future.

SETLIST:
Sweet Dreams
Even the Nights Are Better – #5 1980
Just as I Am – (Rob Hegel cover)
Every Woman in the World – #5 1980
Here I Am – (Norman Saleet cover) – #5 1981
Chances
Goodbye
I Can Wait Forever
G’s Spot
Two Less Lonely People in the World
The One That You Love – #1 1981
Lost in Love – #3 1983
Making Love Out of Nothing at All – #2 198

Encore:
Without You – (Badfinger cover) (Harry Nillson cover)
All Out of Love – #2 1980

Via NewJerseyStage.com

Fans who know that even the nights are better at bergenPAC in Englewood, NJ anxiously await the start of a sold-out 50th Anniversary Concert this Friday, March 13, 2026 evening by the world-famous pop duo, Air Supply.

Comprised of guitarist/songwriter Graham Russell from England and his bandmate, vocalist Russell Hitchcock from Australia, the two members of Air Supply met in 1975 while performing in the Sydney version of Jesus Christ Superstar. After creating their duo, the pair appeared in clubs and coffee houses in Australia prior to touring the United States and Canada with Rod Stewart.

In 1979, Russell and Hitchcock recorded Life Support, an album featuring “Lost in Love,” which climbed the charts in Australia and ultimately found its way to music executive Clive Davis in New York. Davis signed Air Supply to Arista Records and in 1980, “Lost in Love” became the fastest selling hit single in the world, leaping straight up the U.S. charts.

Seven top-five singles later, Air Supply managed to equal The Beatles’ run of consecutive top-five singles. Their albums also sold millions of copies and, since then, several of the duo’s songs have gone on to achieve over a million plays on the radio.

Inside the bergenPAC auditorium, the lights dim as keyboardist Mirko Tessandori, bassist Doug Gild, and drummer Pavel Valdman enter the stage with electric cellists Kat Findley and Jessika Soli. The spotlight shifts from drums to cellos to keyboards to bass as the ensemble’s ethereal sounds envelope the crowd.

Audience members cheer when guitarist Graham Russell and vocalist Russell Hitchcock take the stage. Opening with a powerful rendition of their 1981 Top 5 power ballad, “Sweet Dreams,” Hitchcock starts off singing lead — his voice sounding as clear and powerful as ever — while Russell plays guitar left-handed. The pair croons together in harmony on the song’s mystical “Close your eyes I want to ride the skies in my sweet dreams” chorus before the arrangement builds in intensity under spinning lights.

Concertgoers hoot and holler and Hitchcock exclaims, “Good evening, ladies and gentlemen — we are Air Supply!” as the duo turns in a dynamic rendition of their 1982 Top 5 hit, “Even the Nights are Better.” Lights flash over the audience as four-part harmonies fill the bergenPAC auditorium before Hitchcock and Russell sing to one another in front of the cheering crowd.

Moving on to the group’s 1985 Top 20 hit, “Just As I Am,” heads bop as fans sing along with Hitchcock and Russell on the slow rocker’s melodic “And you say you love me just as I am/You always treat me the best that you can” refrain.

Fans sway their arms back and forth as Russell and Hitchcock trade off on vocals on Air Supply’s 1980 Top 5 hit, “Every Woman in the World.” The audience happily joins the pair in singing, “You’re every woman in the world to me/You’re my fantasy, you’re my reality,” on this Graham Russell-penned pop tune.

After Hitchcock announces, “It’s so good to be back in the United States!” the duo performs its 1981 Top 5 hit, “Here I Am.” Five-part harmonies ring out before the crowd joins in singing the song’s “Just when I thought I was over you/And just when I thought I could stand on my own” refrain with Hitchcock as his iconic voice soars throughout the auditorium.

Russell takes over the mic exclaiming, “Good evening, Englewood!” Revealing, “We are approaching 6000 live shows in our careers,” he notes, “TIME magazine said we are ‘the most romantic band in the world,’” to which a fan yells out, “Happy 50th!” Here, Russell plays the twangy 12-string acoustic guitar intro to 1980’s powerful “Chances,” a number which has Kat Findley’s and Jessika Soli’s cellos crescendoing as lights flash to crashing drums and swirling keyboards.

Russell switches over to electric guitar for “Goodbye,” an emotional power ballad which is sung by both “Russells” — Graham Russell and Russell Hitchcock.

At the song’s conclusion, Hitchcock holds out his mic and lets the crowd sing the last “Goodbye” before the sold-out house responds with enthusiastic cheers.

Mirko Tessandori’s keyboard and dual cellos accompany Hitchcock as he introduces the melodic ballad, “I Can Wait Forever,” before Russell takes over the lead vocal while strumming his acoustic 12-string.

Hitchcock leaves the stage to Russell who recites a poem entitled “Virginia’s Endless Trees.” After introducing the members of the ensemble, he talks about “how much like life a river is,” prior to performing his original composition, “Me and The River,” a waltz which is accompanied by fingerpicked guitar, keyboard, and two cellos.

Russell tells the story about meeting Hitchcock at a choir practice in Australia a half-century ago and becoming best friends, revealing, “We’ve never had an argument in all these years,” as Hitchcock enters and the crowd cheers for the two colleagues. Here, the pair performs their 1980 Top 40 hit, “Two Less Lonely People in the World,” their voices perfectly harmonizing on the tuneful ballad.

The audience sings along before Russell is featured on a rhythmic acoustic guitar solo where he strums on the strings playing harmonics prior to tapping on the body, creating a symphony of sound which excites the crowd and inspires whistles and cheers.

Concertgoers sway to the rhythm of Air Supply’s 1981 #1 smash, “The One That You Love,” and stand and happily join Hitchcock and Russell in singing the song’s ubiquitous “Here I am/The one that you love/Askin’ for another day” refrain.

Following energetic applause, the group moves on to its 1980 #3 hit, “Lost in Love,” the packed house singing along and clapping to the song’s appealing “Lost in love and I don’t know much/Was I thinking aloud and fell out of touch” chorus.

Kat Findley and Jessika Soli play fast and furiously on their cellos, Pavel Waldman solos on the drums under flashing lights, and Mirko Tessandori offers up a dramatic keyboard solo on the song’s interlude before the crowd stands and cheers for the group’s 1983 #2 smash, “Making Love Out of Nothing At All.” Here, fans enthusiastically sing along with Hitchcock who croons with feeling as this classic ’80s power ballad builds to a crescendo under colored lights.

Fans stand and cheer on their feet and Hitchcock responds, “Thank you so much!” before he and the rest of the ensemble leave the stage.

After concert goers chant, “One more song, one more song!” the musicians return and Hitchcock announces, “Thank you for coming, and you must not forget — we would be nothing without you!” Here the ensemble launches into an encore of Harry Nilsson’s “Without You,” where Hitchcock sings in his lower register before switching over to his high register and dazzling the audience with his powerful and emotional performance.

After Hitchcock and Russell thank the group’s sound, lighting, production, and crew personnel, they thank their band members and salute former and active military in the audience. At this point, Russell launches into Air Supply’s 1980 #2 hit, “All Out of Love,” singing, “I’m lying alone with my head on the phone/Thinking of you till it hurts.”

Soon, Hitchcock picks up the song’s famous melody, his words ringing out through the theater, “I’m all out of love/I’m so lost without you/I know you were right believing for so long,” as Russell accompanies him on guitar.

The music builds and swells to a crescendo, and as a recording of The Beatles’ “All You Need is Love” plays, Hitchcock announces, “Thank you, and please be safe!” before the pair takes a final bow and exits the stage to animated cheers and applause.

To learn more about Air Supply, please go to airsupplymusic.com. For information on upcoming shows at BergenPAC — including Rick Wakeman and Son on March 25, Melissa Etheridge on April 10, Paul Anka on April 15, and Audra McDonald on April 3 — please go to bergenpac.org.

Via Fronterarock.mx

Some names work as brands. And some names end up working as metaphors. Air Supply belongs to the second category.

The story is well-known: the name came from a dream Graham Russell had in the seventies. But what happened last night at the Monterrey Arena was the confirmation of something deeper: that dream didn’t just become a band, it became a shared experience that has been breathing alongside its audience for more than five decades.

It would be easy to pigeonhole them into the realm of romantic ballads. But it would be inaccurate to forget that, first and foremost, they are a rock band with a solid structure and impeccable execution.

The opening track, “Sweet Dreams,” set the tone: restrained energy, instrumental precision, and a voice— Russell Hitchcock’s —that still retains its power, brilliance, and control. There was no sense of a formulaic approach; there was true craftsmanship.

The setlist included inevitable classics like “Even the Nights , ” “Just As I Am , ” “Here I Am,” and “Chances ,” building an emotional narrative that never felt repetitive. The backing band wasn’t just there for support: they added texture, dynamism, and stage presence, elevating each arrangement without overpowering it.

One of the most intimate moments came when Graham read a poem he had written for Mexico. He spoke of the heartbeat and the pulse of blood coursing through the city’s body. In a metropolis where traffic often dictates the daily rhythm, he found metaphor and rhyme. That gesture wasn’t merely perfunctory; it was personal.

Therein lies something that is often lost when discussing long careers: sensitivity. Graham doesn’t just perform songs; he observes, processes, and transforms his experiences into words. That connection with the audience was genuine.

There was also room to remember the origin of the duo: that chance encounter in the mid-seventies, the single empty chair that ended up uniting two musicians who would build one of the longest-lasting creative partnerships in pop-rock.

The performance of “Me and the River” served as a mirror to that story: an invitation to understand that friendship —when it is solid— can be more lasting than any trend.

When Russell returned to center stage for “Two Less Lonely People in the World ,” the emotional rollercoaster was already at its peak. The audience wasn’t just singing along; they were engaged.

The final stretch was a strategic build-up of anthems: “The One That You Love , ” “Lost in Love ,” and a powerful “Making Love Out of Nothing at All” before the encore. Arena Monterrey responded with the classic “one more, one more, one more!” chant, not as an automatic gesture, but as a genuine plea.

The introduction of the musicians and crew revealed something that isn’t always obvious: Air Supply functions like a traveling family. There’s no cold, hierarchical distance; there’s a team.

The closing number, “Without You” and “All Out of Love,” fused stage and audience into a single chorus. And when the roses were released into the crowd, romance transcended cliché, becoming a symbol.

Last night, Monterrey didn’t just attend a concert. It witnessed the confirmation that some dreams don’t evaporate with time. They transform into a constant source of inspiration. Air Supply doesn’t live on past glories: it lives on the coherence between what they sing and who they are. And as long as that coherence exists, their music will continue to be, quite literally, a breath of fresh air for those who find in their songs a respite from routine and a breath of genuine emotion.

Via globalairhead

When Air Supply released A Matter of Time for free, it didn’t feel like a marketing move. It felt like a letter—handwritten, personal, and quietly emotional.

More Than Reinvention — A Lifelong Evolution

Air Supply’s story doesn’t begin with trends or charts. It begins with connection. When Graham Russell met Russell Hitchcock in 1975, something rare formed: a partnership built not on spectacle, but sincerity.

They didn’t reinvent themselves to survive—they evolved. From soft rock foundations into a fuller, more confident rock-and-roll sound, their music grew with time. Yet through every shift, the core never changed. The melodies remained unmistakable. The words stayed honest. The emotional truth never bent to fashion.

Their songs didn’t shout. They stayed.

From late-night radio to wedding dances, from heartbreak to healing, Air Supply became part of people’s private lives. Their music was never about being cool—it was about being real. And reality, when written well, doesn’t age. And that’s more than cool.

Achievements Written in Memory, Not Just Records

Yes, the milestones matter: millions of records sold, global hits, sold-out tours across continents, and decades of relevance in an industry that rarely forgives longevity. But Air Supply’s true achievement is quieter.

They built trust.

Listeners knew that when an Air Supply song came on, it would mean something. It would say what people couldn’t always articulate themselves—love without irony, longing without embarrassment, hope without apology.

Very few bands survive changing eras. Even fewer do so without losing their emotional center. Air Supply managed both.

Why This Album Feels Different — Even Without a Goodbye

A Matter of Time being free is not an act of charity—it’s an act of gratitude. It says: We’re not here to extract (which I believe they never were in any case). We’re here to give.

Importantly, this is not a farewell announcement. Air Supply has not closed the door. They continue to tour. They continue to play live. They continue to stand on stage and let the songs breathe in real time, night after night, city after city.

And yet, the album carries a reflective weight—not of ending, but of awareness. Of artists who understand their legacy and choose generosity over ceremony. No dramatic curtain call. Just music placed gently in the hands of the people who’ve carried it for decades.

A Fan’s Hope — Music Beyond the Stage

As a fan, I hope this is not the last album.

There’s a hopeful thought that another record is already underway—written between tours, recorded not for momentum but for permanence. History gives us reason to believe this is possible. Artists like Freddie Mercury poured their later years into recording, understanding that while touring slows, music lives forever.

Air Supply feels capable of the same quiet persistence.

As their legacy matures, there’s a wish—admittedly romantic, undeniably wishful—that they keep recording. That they keep documenting feeling. That one day their catalog quietly reaches a symbolic milestone. Fifty albums. Not for headlines, not for charts—just as a testament to endurance, partnership, and love for the craft.

It may never happen. But then again, so much of what Air Supply achieved once felt unlikely.

The Greatest Gift a Band Can Give

In the end, Air Supply didn’t give fans an album.

They gave gratitude.
They gave continuity without promises.
They gave music without ownership.

And whether A Matter of Time is the last studio chapter or simply one more generous pause along the way, it stands as something rare in modern music: a gift offered freely, honestly, and without ego.

They don’t say goodbye.
They don’t stop playing.
They just keep showing up—with melodies, with meaning, and with the same quiet sincerity that made people listen in the first place.

And perhaps that’s the most Air Supply thing of all.

Via NBCPalmSprings.com

Legendary soft rock duo Air Supply is back in the Coachella Valley just in time for Valentine’s Day weekend. Graham Russell joined Thalia Hayden to talk about the band’s 50-year anniversary world tour and their long-standing tradition of performing at “The Show” at Agua Caliente Casinos. From their beginnings in Jesus Christ Superstar to nearly 6,000 live shows worldwide, Russell reflects on the organic magic behind their love songs and shares heartfelt advice for aspiring musicians: stay true to your heart and create what makes you happy.

Watch the full interview at NBCPalmSprings.com 

Take the Love Doctor Quiz! 🩺❤️

Answer a few fun questions about your dating style, dream dates, and love language, and we’ll prescribe the Air Supply song written for your heart 💙. Play Air Supply’s Love Doctor Quiz now and get your musical love prescription.

Love is in the air… and so is the music! 💕🎶
Submit your favorite love songs for a chance to be featured on our official Valentine’s Takeover playlist
Tune in on Valentine’s Day to see if your picks made the cut 🎧✨

Via WWeek.com

You’d be excused for assuming that Air Supply concerts are as lightweight as their many romantic soft-rock ’80s hits—but you’d be wrong. At the half-dozen live shows I’ve caught over the past decade, they breathed fire into those songs and got louder and heavier than most anyone would expect.

“I love heavier bands,” says Graham Russell, the British singer-songwriter who, along with Australian vocalist Russell Hitchcock, formed Air Supply in 1975. “I like heavy strings, so it was the obvious place to go over the last 20, 30 years. But live, we’ve always been much heavier…The records, especially the ones in the ’80s were pop records, let’s face it. So they weren’t very heavy.”

He’s in no way apologizing for Air Supply’s success. With more than 5,500 shows under their belts—soon to include one coming up this Friday at the Schnitz—trotting out the same 100 minutes of hit songs seems like it could grow tiresome. Russell instead seems humble and grateful.

“We would never complain that we’ve had too many hit records. That would be ridiculous. But we play them all,” Russell tells WW over the phone from his home in Utah. While the fan service is absolute, the stage arrangements inflate these somewhat saccharine tunes into power ballads, which keeps things interesting for the band.

Since 2011, Air Supply’s musical director has been lead guitarist Aaron McLain, a Gen X African American rocker whose style deftly splits the difference between Jimi Hendrix soul and Eddie Van Halen classical virtuosity. The rest of the backing band seem like they could easily moonlight in a Swedish metal outfit. Without overemphasizing the heaviness, it makes each extended singalong a bombastic treat.

The founding core of Russell and Hitchcock famously met when they were rehearsing for Jesus Christ Superstar in Sydney in ’75. They hit it off immediately and decided to join forces. Both young men bonded over their love for the Fab Four. “The first band I ever saw was The Beatles,” Russell recalls. “They played for 20 minutes, and it was like six songs, bang-bang-bang. All big hits. And I thought, wow, what a great job that is!”

Minor success followed in Australia, but Air Supply was on the verge of giving up when their 1980 track “Lost in Love” caught the ear of Arista Records’ Clive Davis. Russell beams: “He just happened to be the most influential record executive in the world when we came along. And he just liked us.” Arista had made millions in the ’70s off Barry Manilow, but his hitmaking days were eclipsing. Davis would go on to produce Kenny G and Whitney Houston; in the interim, he put his focus on making Air Supply a household name.

“He was on a mission,” Russell says. “He wanted to have eight top-fives in a row, which at that time had only been done by The Beatles. And we just happened to be the people he wanted to do it with. And I swear to God, we’d release a song and…boom! Two weeks later, it was sitting in the top five and had sold 2 million copies.”

Davis was famously heavy-handed as a producer. He selected songs for his artists and made sweeping changes to lyrics and arrangements. Air Supply enjoyed great success under his guidance because his pop instincts were legendary and the band was malleable. According to Russell, “I’ve been a musician since I was 13, but we’re really entertainers.”

The last major hit Air Supply recorded was “Making Love Out of Nothing at All” in 1983. Selected by Davis, it was written by Jim Steinman, the guy responsible for Meat Loaf’s Bat Out of Hell and Bonnie Tyler’s “Total Eclipse of the Heart.” While their hitmaking era lasted only four years, Russell and Hitchcock have been able to coast on that wealth of material for the past four decades. People around the world sway and sing along at theaters and casinos, on cruises and at county fairs. Russell feels no shame in playing largely the same set to his adoring fans.

“We get to do what we love to do pretty much every night, and not a lot of artists get to do that,” he says.

The magic of their partnership shines through onstage. It’s clear that these two men are still the best of friends. In 50 years, they’ve famously “never had an argument.” Says Russell: “There’s nothing to argue about. Because I take care of most of [the business] and I like to. I’ve always said for years, ‘Let people do what they’re really good at.’ And he’s great at singing and that’s what he does.”

For the band’s 50th anniversary, a Broadway comedy-drama musical is in the works, a biography will be published just after Christmas, and a (delayed) film biopic will be released sometime in 2026. Russell beams, “Not many artists get to 50, so we’re going to enjoy and bathe in it for a year, you know?”

The biggest news is that Air Supply’s first studio album in 15 years, A Matter of Time, is in the can and soon to be released. In another unexpected heavy move, they selected Canadian producer Brian Howes (Skillet, Nickelback). Standout cuts include the signature modern classic “Wrap My Arms Around You,” a nod to The Beatles with the mellotron-laden “If Only,” and a self-referential, hard-rocking finale that musically hints at late-era Soundgarden titled, “We’ll Meet Again.”

While Air Supply’s tour balloon has yet to burst or sag, it’s unlikely they’ll be working on another album after this one. According to Russell, “It may be the last. Probably. We’ll see. If it took 15 years…we haven’t got another 15 years.”