Toronto’s festive December air was a perfect backdrop for an evening of timeless ballads and soaring harmonies as Air Supply took the stage at The Theatre at Great Canadian Casino Resort. The venue, intimate yet spacious enough for the audience to feel both close and immersed, buzzed with anticipation as fans of all ages filed in, many clutching well-worn CDs, vinyl, and memorabilia. From the opening chords of Sweet Dreams, it was clear that the night would be a masterclass in classic soft rock, with Graham Russell and Russell Hitchcock delivering every note with precision, warmth, and a sense of nostalgia that spanned decades.
The concert opened with Sweet Dreams, one of Air Supply’s signature tracks. The moment Russell Hitchcock’s unmistakable tenor rang out, the crowd responded with a wave of cheers and applause, many singing along from the first verse. The band’s sound was lush and layered, a perfect blend of smooth vocals and subtle instrumentation. It was immediately evident that Air Supply still has the ability to command a room, their chemistry on stage translating into an intimate yet grand musical experience.
Following the opening number, Even the Nights Are Better brought a gentle, melodic sway to the performance. Hitchcock’s voice soared effortlessly over Graham Russell’s understated guitar work, each note resonating with clarity. The song, familiar yet fresh in the live setting, allowed the audience to settle into the comforting embrace of Air Supply’s signature sound. The duo’s harmonies were as impeccable as ever, and the subtle keyboard accents provided a warm, textured backdrop that elevated the performance.
The inclusion of Just as I Am, a Rob Hegel cover, was a delightful surprise. Air Supply transformed the track into their own, layering Hitchcock’s emotive lead vocals with Russell’s delicate harmonies. The audience, captivated by the heartfelt delivery, swayed along with the melody, and the quiet moments of vocal improvisation gave the song a personal, almost intimate feel. This was the first indication that the night would not simply be a nostalgia trip, but a showcase of musical craftsmanship and emotional resonance.
Every Woman in the World followed, a song that epitomizes Air Supply’s blend of romance and soft rock sophistication. Hitchcock’s voice carried the lyrics with an effortless sincerity, and Russell’s guitar added a subtle depth that elevated the live performance beyond the recorded versions. The audience responded with enthusiastic applause, a testament to the song’s enduring appeal. The band’s ability to maintain energy while delivering ballads with precision is one of their defining traits, and it was on full display throughout this track.
Here I Am, a Norman Saleet cover, continued the mid-set momentum. The duo infused the song with their trademark warmth, balancing Hitchcock’s soaring vocals with Russell’s harmonies and understated guitar flourishes. The performance highlighted Air Supply’s ability to reinterpret songs while retaining their emotional core, a skill that has allowed them to remain relevant in the ever-changing landscape of adult contemporary music.
Chances and Goodbye added a reflective, almost contemplative element to the set. Chances had a gentle, introspective mood, giving the audience a moment to simply soak in the melody and lyrics. Goodbye, on the other hand, brought a more dramatic, emotional punch. Hitchcock’s vocal delivery captured the bittersweet essence of the song, and the subtle instrumental arrangements allowed every nuance of the performance to shine. The transitions between tempos and moods were seamless, demonstrating the band’s decades of experience in crafting a dynamic live set.
The mid-set was lifted by Wrap My Arms Around You and I Can Wait Forever, which encouraged audience participation and sing-alongs. Fans swayed, clapped, and occasionally rose from their seats, creating a communal energy that elevated the performance. Graham Russell’s guitar work was particularly impressive here, adding melodic depth without overshadowing the vocals. The interplay between the duo and their backing musicians demonstrated a refined musical synergy that made the songs feel both familiar and alive in the moment.
G’s Spot offered a playful, lighthearted interlude, allowing the band to interact with the audience and add a touch of humor. It was a refreshing break before the poignant rendition of Silent Night, which brought a moment of quiet reflection and seasonal warmth. Hitchcock’s voice, soft yet powerful, conveyed both reverence and intimacy, turning a familiar holiday classic into a standout moment of the evening. The juxtaposition of playful and reflective tracks highlighted Air Supply’s versatility and ability to keep the audience engaged throughout a long set.
Two Less Lonely People in the World brought the focus back to Air Supply’s classic romantic balladry, leading naturally into Graham Russell’s guitar solo. The solo was a masterclass in melodic storytelling, full of subtle nuances and emotional phrasing. It earned a raucous standing ovation, a moment where the audience collectively acknowledged the musicianship that has defined Air Supply’s career. The solo served as both a technical showcase and an emotional crescendo, perfectly bridging the earlier ballads with the set’s climactic finale.
The energy soared as the band transitioned into The One That You Love and Lost in Love, two songs that epitomize Air Supply’s enduring appeal. Hitchcock’s tenor hit every soaring note effortlessly, while the combination of guitar, keyboards, and backing harmonies created a full-bodied sound that filled the theater. Each song felt simultaneously timeless and immediate, a testament to the duo’s ability to craft performances that resonate across generations.
The main set concluded with Making Love Out of Nothing at All, a dramatic and emotionally charged number that encapsulated Air Supply’s signature style. The arrangement built slowly, allowing the audience to fully immerse themselves in the song’s crescendos, and Hitchcock’s vocal delivery was both precise and deeply emotive. The crowd erupted in applause as the final notes faded, a clear indication that the night was far from over and that fans were ready for the encore.
The encore opened with Without You, a Badfinger cover immortalized by Air Supply. The performance was both heartfelt and technically flawless, with the familiar melody prompting a full-theater sing-along. It was a moment of shared nostalgia, bridging decades of music lovers and reminding everyone why Air Supply’s interpretations of classic songs remain so beloved. Closing the night, All Out of Love brought the emotional journey full circle. The band’s harmonies soared, the instrumentation was lush, and the audience sang along in unison, creating a powerful, communal finale.
The December 2025 show at The Theatre at Great Canadian Casino Resort was a testament to Air Supply’s enduring legacy. Every element of the performance—from the carefully curated setlist and polished musicianship to the intimate audience interaction and impeccable vocals—underscored why the band has remained a beloved fixture in adult contemporary and soft rock music for decades. Fans left the theater with hearts full, voices hoarse from singing along, and a deep appreciation for a performance that honored the past while feeling vibrant and alive in the present.
Setlist:
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Sweet Dreams
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Even the Nights Are Better
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Just as I Am (Rob Hegel cover)
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Every Woman in the World
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Here I Am (Norman Saleet cover)
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Chances
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Goodbye
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Wrap My Arms Around You
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I Can Wait Forever
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G’s Spot
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Silent Night
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Two Less Lonely People in the World
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Graham Russell Guitar Solo
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The One That You Love
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Lost in Love
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Making Love Out of Nothing at All
Encore:
17. Without You (Badfinger cover)
18. All Out of Love
Air Supply’s December 2025 Toronto show was more than a concert—it was an experience that reaffirmed the timeless power of melody, harmony, and heartfelt performance. The duo reminded everyone in attendance why their music has endured for decades, leaving a lasting impression that will resonate long after the final note faded.