NEWS

Engelbert Humperdinck will return to Toronto this fall with THE CELEBRATION TOUR, performing at Massey Hall on October 6, 2026 at 7:30 p.m. The concert, presented by Massey Hall and Rubin Fogel Productions, is part of a series of engagements across Eastern Canada marking the singer’s 90th birthday year.

The tour will include stops in Toronto, Montreal, Quebec City, and Gatineau, as Humperdinck continues a global run of performances throughout 2026. With more than 50 international dates scheduled, the tour will span locations including Australia, Germany, and the United States.

Humperdinck, whose career includes more than 140 million records sold, is known for songs such as “Release Me,” “After the Lovin’,” and “The Last Waltz.” The current tour will feature a mix of his signature material alongside new releases, including a forthcoming single and two upcoming albums.

“The stage is my home,” Humperdinck said. “Canada has always been a highlight of my world tours, and I am thrilled to share this 90th-year celebration with the fans in Ontario and Quebec.”

TICKETS & INFORMATION

Tickets will go on sale Friday, April 17 at 10:00 a.m. ET and will be available through the Massey Hall box office by phone and online.

https://www.broadwayworld.com/toronto/article/Engelbert-Humperdinck-To-Bring-THE-CELEBRATION-TOUR-To-Massey-Hall-20260414

BY GENEVIE DURANO Las Vegas Magazine

APRIL 13, 2026

At 89, Engelbert Humperdinck is doing what he’s always done: touring the world and singing better than ever. The King of Romance recently chatted with Las Vegas Magazine about performing at the Westgate, the TV moment that reached 220 million new fans and the promise to his late wife he keeps every night onstage. With a new single due on his 90th birthday and an album this summer, one thing is clear: The Last Waltz, which this tour is dubbed, is anything but.

You're playing the Westgate April 17-18, just two weeks before your 90th birthday. What does that milestone feel like?

I don’t feel my age. I tried slowing down—my manager suggested it—and I was home for three months climbing the walls. I called him up and said there’s no way this is going to be my last waltz. As long as I’m singing good, I'll keep going. And honestly, my voice has never sounded better. My vibrato has sort of disappeared and become more of a commercial sound, which I’m very proud of.

The Westgate is the stage where Elvis held his legendary residency. You two were friends—do you have a favorite memory of him?

I always wanted to meet him, and when I finally went backstage, it was mind-blowing. Then he came to my show, and that was really an occasion. When I introduced him, it took me 10 minutes to quiet the audience down. I said, “Elvis, this is my show.” We had such fun.

Moon Knight, The Umbrella Academy, Bullet Train—a whole new generation has discovered your music. What has that been like?

Can I just tell you what Moon Knight did? It reached 220 million strangers. And now the younger generation who watched that show is coming to find out what an Engelbert is all about. It’s quite fun, actually. Mind you, I’ve always had young audiences—you name the age, they’re there.

You’ve also built a real community online through your Tuesday Museday series. What's surprised you most about connecting with fans this way?

I read every comment and genuinely learn from them—what to keep in the show, what to leave out. The fans who respond to my Tuesday Museday are just amazing.

You’ve spoken so movingly about your wife, Patricia. When you perform “Everywhere I Go” for her, what does that feel like?

I promised her when she passed that I would keep her in every show, because I know she’s watching over me. I wrote that song for her about 30 years ago and never realized how poignant the lyrics would be at this point in my life. Some nights I can’t even finish it. But I promised.

What can fans expect from you beyond these shows?

I have a single coming out on my birthday—I worked with the same producer I did on “After the Lovin’,” and I think this one might have that same quality. There’s also an album coming on Cleopatra Records in July. Hopefully, it puts me back in the charts.

At the end of a show, what do you want audiences to walk away feeling?

Satisfied. My job is to take them away from whatever they experienced that day and carry them into another world.

https://lasvegasmagazine.com/entertainment/2026/apr/13/engelbert-humperdinck-westgate-las-vegas-singer/

By John Katsilometes Las Vegas Review-Journal April 13, 2026 - 5:00 am  

Engelbert Humperdinck felt the spirit of Elvis Presley when he headlined the Las Vegas Hilton theater four years after the King died.

Humperdinck remembers the showroom was fabulous. But the top-floor Elvis suite is where Humperdinck, by then an international superstar, really felt Presley’s spirit.

“It was quite a feat to stay there, and an exquisite place,” Humperdinck says during a lunch chat at Westgate, the former Las Vegas Hilton, where he headlines at 7 p.m. Friday and Saturday (go to westgateresorts.com for intel). “I had quite an experience there.”

Then he turns to his daughter, Louise Dorsey and says, “Should I tell the story?”

“Yeah!” she says. “Tell the story!”

Humperdinck, sipping a Rémy Martin cognac (“It helps my brain work,” he laughs), has this story teed up.

“I was going to go to a show in Hawaii, and I needed a Hawaiian song, so I had one of my guys get a tape of Elvis singing ‘The Hawaiian Wedding Song,’ which was beautiful,” Humperdinck says. “I am up in the Elvis suite. I plug in the tape player so I could learn the lyrics. I get the pad ready to write them down, and all of a sudden, the machine eats the tape.”

The disquieting activity continued.

“Then all the lights go out. So I go to bed, I switch the lights on because I want to watch TV, and the light goes off. I switch it on three times, and it goes off three times,” Humperdinck says. “There is a Jacuzzi in the bathroom, and it turns on and off six times during the night. Then I go to sleep and all the lights come on.”

Humperdinck was convinced he was not alone.

“I said, ‘Elvis! Stop!’” Humperdinck says. “’I am your friend!’”

Humperdinck is back at the former Elvis theater after several years of headlining the Orleans Showroom, which has cleared its schedule of headliners in favor of a series of tribute shows. That leaves an opening for Humperdinck.

He turns 90 on May 2. The length of his career is mind-blowing when you consider his first No. 1 hit, “Please Release Me,” kept The Beatles’ “Penny Lane/Strawberry Fields Forever” out of the top spot in the U.K. in 1967.

It was the first time a Beatles single missed the No. 1 spot on British charts in four years.

“I had a big break when I was on ‘Sunday Night at the London Palladium,’ a very big show,” Humperdinck says. “As soon as I sang that song, the next day it was something like 80,000, 90,000 in sales. It went to 100,000, up to about 127,000 in a single day.”

Humperdinck was suddenly in an unlikely competition with The Beatles at their commercial peak.

“Little did they know, I was a big fan of The Beatles,” Humperdinck says. “I think for me, a nonentity to come from nowhere and stop the almighty Beatles from going to No. 1 was quite an achievement.”

Humperdinck’s major hits include “After the Loving,” “The Last Waltz,” “There Goes My Everything,” “Am I That Easy to Forget” and “A Man Without Love.” An international heartthrob with a rich baritone, Humperdinck dominated easy-listening stations into the ’80s.

He is still nimble in conversation. He addresses his rare position as an 89-year-old star playing a major Las Vegas showroom. Only 91-year-old Frankie Valli is older than Humperdinck among those who have headlined at Westgate. Barry Manilow, the resort’s sidelined resident headliner, is 82.

“I am still able to get out there and do it. Of course I have a different kind of voice, but I still have the range,” the master showman says. “Maybe it has dropped just a tiny bit, not enough to damage the power. I’m singing in a contemporary fashion, and I have a lot of hits. I sold over 150 million albums around the world and can still sing those songs. I can’t grumble about that.”

Double dose

Humperdinck’s singing son, Bradley Dorsey, plays The Composers Room at 1 p.m. Saturday. This is the rare chance to catch a son-father doubleheader in Las Vegas on the same day (go to thecomposersroom.com for intel).

https://neon.reviewjournal.com/kats/legend-who-has-elvis-beatles-tales-headlining-las-vegas-3333022/

March 26, 2026 Andy Gray Tribune Chronicle

Engelbert Humperdinck’s 2024-25 tour was supposed to be his final one. He even billed it as “The Last Waltz” tour.

Humperdinck quickly decided he wanted to keep dancing or, in his case, singing.

“I sat at home for about two, three months, and I was climbing the wall,” Humperdinck said Monday during a telephone interview. “I called management, and I said, ‘Listen, if you think this is the ‘Last Waltz’ tour, you’re crazy. I’m going crazy. Let’s get back on the road and do another big tour next year, and so we called it the ‘Celebration’ tour.'”

As he approaches his 90th birthday on May 2, Humperdinck has more projects in the works than most performers half his age. In addition to that tour, which comes to Warren’s Packard Music Hall on Saturday, he has a standalone single set for release on his birthday and a separate album project also completed. 

The single is “I Got You,” which Humperdinck said was the final song written by Larry Butler, who won a Grammy for writing “(Hey Won’t You Play) Another Somebody Done Somebody Wrong Song” and produced many of Kenny Rogers’ hit albums in the late ’70s and ’80s.

Humperdinck recorded the song with Joel Diamond. He co-produced one of Humperdinck’s biggest hits, 1976’s “After the Lovin’,” which topped the adult contemporary charts and was a top 10 single on the Billboard Hot 100.

“I just listened to the copy of it that we just sent in, the final mix, and it’s so beautiful,” he said. “It really is a good song.”

“I Got You” had the qualities Humperdinck looks for in a song.

“It’s got to have a lasting appeal and good melody and good lyric content, and it’s got to mean something that people can relate to,” he said. “And it’s very commercial, I think.”

The album project, which will be released by Cleopatra Records, features Humperdinck covering ’80s power ballads by such rock acts as Journey, Aerosmith and KISS. He’s added Journey’s “Faithfully” to his setlist. 

“We just thought we’d do something different, and Cleopatra Records was very interested in making a project as such, and it turned out quite good actually,” Humperdinck said. “I mean, you wouldn’t think a person my age would be doing things like that, but I’m doing things that people don’t expect me to do.”

Humperdinck is using 21st century tools to get the word out about those projects. The Philadelphia Inquirer recently described him as “an unlikely Tik Tok star” due to his 200,000+ followers on the platform most associated with young people. 

“You’ve got to use everything to get out there,” he said. “And I think it’s important to just keep up with the times.”

He credited the use of his song “Man without Love” on the Disney+ series “Moon Knight” with exposing his music to a younger audience, and some of those viewers went in search of more information about the crooner. 

In recent years, Humperdinck’s songs have been featured in the films “Bullet Train” and “Game Night” and in the HBO limited series “Sharp Objects,” and his history of unexpected cover songs includes recording “Lesbian Seagull” for the soundtrack of “Beavis and Butt-Head Do America.”

Professionally, Humperdinck is celebrating his 90th year by keeping busy. He doesn’t know yet what he’ll be doing on the actual date.

“It’s a bit of a secret in my family and my people that are looking after me, so I don’t know. They’re planning everything. It’s a secret.” 

If you go …

WHO: Engelbert Humperdinck

WHEN: 8 p.m. Saturday

WHERE: Packard Music Hall, 1703 Mahoning Ave NW, Warren

HOW MUCH: Tickets range from $46.50 to $98 and are available through Ticketmaster.

https://www.tribtoday.com/life/ticket/2026/03/turning-90-wont-mean-retirement-for-engelbert-humperdinck/

https://www.fox5vegas.com/video/2026/03/13/music-legend-englebert-humperdink-concert-westgate/

Engelbert Humperdinck brings his unmistakable voice, timeless charm, and global hits to the International Theater at Westgate Las Vegas for two weekends… April 17 and 18 and again October 2 and 3. The iconic singer joined us in the studio with more on his show.https://www.8newsnow.com/news/las-vegas-now/engelbert-humperdinck-talks-career-and-upcoming-shows-at-the-westgate/

Matt Lennon Mar 07, 2026 Starts At 60

There are legends, and then there are survivors.

In the fickle, youth-obsessed world of popular music, endurance is perhaps the rarest form of success. Yet for nearly six decades, Engelbert Humperdinck has remained a constant presence – touring the world, filling theatres, recording new music and sustaining the improbable career of a singer whose name once baffled audiences almost as much as it intrigued them.

This year, the enduring crooner prepares to return to Australia once again as part of what he calls his “Celebration Tour,” a milestone that coincides with his approaching 90th birthday. The achievement is remarkable not just for its longevity, but for the fact that Humperdinck insists he is still performing with the same voice that launched him to fame in the 1960s.

“My voice hasn’t deteriorated at all,” he tells Starts at 60 matter-of-factly. “It’s the same as it was, well maybe it has come down a little bit in volume, but only a tiny bit. It’s still as strong as ever, and I’m still recording.”

To the notion that his career has slowed down, Humperdinck laughed and dismissed it wholeheartedly. And politely, of course. The master of the romantic ballad has instead pivoted slightly and completed a new album inspired by the rock stars of the 1980s, where he has taken songs made famous by bands like Kiss, Aerosmith, The Cars and Journey and done them “his way”.

The name that changed everything

At the time, the singer was performing under the name Gerry Dorsey. It wasn’t working. Enter manager Gordon Mills.

“Gordon chose it because it belonged to a composer,” Humperdinck explains. “He gave me my name. He gave Gilbert O’Sullivan his name. He gave Tom Jones his name.”

The name Mills selected – Engelbert Humperdinck – belonged to a 19th-century German composer. For a pop singer, it was wildly unconventional. And that was precisely the point.

“The name is so different that it caused a bit of a controversy,” he says. “People started to talk about it…but they couldn’t pronounce it.”
Humperdinck remembers the reaction vividly when he first took to the stage under his new moniker. “When you’re a starving singer like I was, you accept anything that comes along that is going to be successful,” he says.

If the goal was to attract attention, the strategy worked. Comedians joked about the name. Audiences stumbled over its pronunciation. But soon enough, everyone knew it.

The song that stopped The Beatles

Then came the moment that would cement Humperdinck’s place in pop history. In 1967, Humperdinck recorded “Release Me,” a sweeping romantic ballad that seemed almost old-fashioned compared with the psychedelic revolution happening around it. Against all expectations, the song exploded.

Its success was amplified by a curious piece of chart history: it prevented The Beatles’ double A-side single “Penny Lane/Strawberry Fields Forever” from reaching number one in the UK. For Humperdinck, the experience was surreal.

“That to me was something, an event, if you want to know the truth,” he says. “I was a big fan of The Beatles, and then for this non-entity to come along and knock the almighty Beatles out of the number one position…”

The victory was brief but symbolic. At the height of Beatlemania, the unlikely balladeer had scored one of the decade’s biggest hits. More importantly, it established him as one of the defining romantic voices of his era.

The Las Vegas years

If “Release Me” launched his career, Las Vegas helped sustain it. The desert entertainment capital became a second home for Humperdinck, who performed marathon runs there during the golden age of casino showrooms.

“I played Vegas in the early days…a month at a time,” he recalls. “I did two shows a day, so that was like 56 shows in a row.”

It was exhausting work, but it placed him in the company of some of the greatest entertainers of the twentieth century.

“All of a sudden you meet the Sinatras and you meet the Shirley MacLaine’s and all these big stars… even the great Elvis Presley,” Humperdinck says.

One of his early breaks in Vegas came courtesy of another legend. Another Rat Pack member.

“The casino that I played at in Las Vegas was owned by Dean Martin,” he says. “Dean put his name on the marquee saying, ‘Dean Martin presents Engelbert Humperdinck.’ I was the only one he did it for.”

The two men would later become friends, sharing dinners during their Vegas residencies. Humperdinck also remembers the dazzling excess of those shows – glamour, stage spectacle and enough jewellery to rival rock royalty.

“I was introduced to the jeweller that made all Elvis’s stuff and Liberace’s jewellery,” he says. “We all used to use the same jeweller in Vegas.”

A romantic voice that endured

Humperdinck’s persona as part crooner, part matinee idol made him a favourite among audiences seeking something softer than the rebellious rock music dominating the charts.

“Apparently, they still think of me as a romantic singer,” he says. “I gained that title a long time ago, and I still keep it going because the kind of songs that I sing have lasting appeal.”

“This has been passed down over the years from my first fans to their children, to their children,” he says fondly.

The generational loyalty has helped sustain his touring career well into his ninth decade.

Encounters with the greats

Over the years, Humperdinck has collaborated with and befriended a vast roster of musical icons.

“When I think about doing a duet with Willie Nelson, and Kenny Rogers and Johnny Mathis… and of course the great Elton John… I have to pinch myself,” he says. “I’ve been involved with these people.”

He also recalls working with Gene Simmons of Kiss, a pairing that might seem unlikely on paper.

“You think that a balladeer with a rocker… it’s two different kinds of people,” he says. “But he made me feel so comfortable in the studio. What a wonderful person.”

Those encounters were often facilitated by his television show in the 1970s, which brought major stars onto the same stage week after week.

“Having a TV show like I had in the 70s made it possible for me to meet all these people,” he says.

But yet, not every relationship from his long career has aged so warmly.

A rivalry born in the same moment

Few rivalries in music have lasted quite as long, or remained quite as mysterious, as the one between Engelbert Humperdinck and Tom Jones.

Both men emerged from Britain in the explosive musical landscape of the 1960s. Both possessed powerhouse voices that could fill theatres without amplification. Both were managed early in their careers by the same industry figure. And both would go on to become global icons, selling tens of millions of records and building loyal audiences across generations.

It was Gordon Mills, who was managing both, who rechristened the singer then known as Arnold George Dorsey with the spectacular stage name Engelbert Humperdinck. It was a move that initially bewildered audiences but soon became unforgettable.

In the highly competitive entertainment industry of the 1960s, such arrangements could be fragile. Artists were constantly touring, recording and competing for the same audiences and opportunities. When success arrived, it arrived quickly, and often unevenly.

But at some point, Humperdinck and Jones – once professional partners, once travelling under the same management – stopped speaking. The reasons have never been entirely clear. Over the decades the silence hardened into one of pop music’s longest-running feuds.

“Something happened,” Humperdinck says simply. Was it professional jealousy? Competition? Perhaps both.

That understated explanation has remained remarkably consistent over the years. The details have never been publicly dissected with the kind of acrimony that defines many celebrity feuds. Instead, the relationship gradually cooled until the two men simply stopped speaking. Even as recently as last year, the two men were trading barbs, according to various media sources.

Yet when Humperdinck is asked about it today, nearly sixty years into his career, his answer is strikingly calm, reflective and unexpectedly generous.

“I still think Tom Jones is one of the greatest singers the world has ever known,” he says. “But the fact that we don’t get along together or we don’t talk doesn’t mean to say I don’t like his voice. I love his voice, I think it’s fantastic…but we just don’t get along.”

“I regret that the fact that there is an issue,” he admits. “I’d like it to be made up. I’d shake his hand tomorrow.”

For a dispute that has lingered for decades, the absence of bitterness from Humperdinck is almost disarming. What remains instead is something closer to regret.

Still going strong

At nearly 90, Humperdinck remains an active performer with a schedule that would exhaust artists half his age.

Part of the secret to his longevity, he says, lies in maintaining a close relationship with his fans.

“I keep up with it on social media,” he explains. “I do it for a thing called Tuesday Newsday where I keep in touch with my fans around the world. I tell them exactly what I’m doing in my life for that week.” He even reads their comments personally.

“I think it’s important that you read what they have to say. Because they’re your audience.”

That sense of gratitude is perhaps the most striking aspect of his personality. After more than half a century of fame, he still speaks like someone who can’t quite believe his luck.

“I’ve been in the business about 59 years,” he says. “It’s just an amazing amount of time…and I don’t feel any different today than I did 50 years ago.”

The hair may be dyed – he cheerfully admits that – but the spirit remains intact.

A celebration, not a farewell

When Humperdinck returns to Australia for his Celebration Tour, audiences can expect exactly what they have always come for: the songs that made him famous.

“You’ve got to bring in the classics,” he says. “People come to hear the classics, no matter how much new stuff you do,” he says. And if Humperdinck has his way, the story is far from finished.

As he continues to record, tour and even dream of collaborations with modern stars, he remains driven by the same enthusiasm that first propelled him onto a club stage as a teenager.

Nearly 60 years after “Release Me” made him famous, Engelbert Humperdinck is still doing exactly what he believes he was meant to do.

Engelbert Humperdinck. What a name, and what a game.

https://startsat60.com/media/the-last-great-romantic-engelbert-humperdinck-at-90