10 July 2026 Written By Matthew Hocter Beyond the Encore

It is a curious thing how time reshapes our relationship with artists. When we are young, they often exist as distant stars whose songs drift through our homes almost by accident. Later, if we are fortunate, we find ourselves sitting only metres away from them, suddenly aware that history has a heartbeat. Two years ago, I experienced exactly that as Engelbert Humperdinck stood before a sold-out Her Majesty's Theatre. Returning to that same room once more, again with my mother beside me, felt less like attending another concert and more like revisiting an old friend whose stories somehow grow richer with every telling.

For Mum, this was another cherished evening with one of her beloved musical heroes. For me, it was another opportunity to witness a figure whose place in popular culture reaches far beyond chart positions or record sales. Humperdinck belongs to a disappearing generation of entertainers who understood that songs alone were never enough. Presence mattered. Storytelling mattered. Human connection mattered. They walked onto a stage not simply to perform, but to make every person in the room feel acknowledged.

At ninety years of age and now celebrating an extraordinary seventy years in music, Humperdinck remains one of popular music's most enduring ambassadors. The statistics still astonish. More than 140 million records sold, dozens of gold and platinum albums, Grammy nominations, honours stretching from Hollywood to Las Vegas, performances for royalty, presidents and world leaders. Yet those achievements alone are not enough to explain why audiences continue to flock to see him. Numbers can never capture affection, nor human connection.

Backed by an exceptional five-piece band, he opened with Jim Reeves' "Welcome to My World", followed by Carl Belew's "Am I That Easy to Forget”, which was elevated even more by an exquisite piano solo that immediately reminded everyone this evening would favour musicianship over spectacle. His voice naturally carries the marks of nine remarkable decades, yet it has acquired something even more valuable: experience. Every lyric arrived unabashedly carrying the weight of a life fully lived.

Watching Humperdinck perform is fascinating because he refuses to become imprisoned by nostalgia. He honours his catalogue without becoming trapped inside it. "Last of the Romantics" felt almost autobiographical, not because of its title, but because it quietly acknowledged that artists of his calibre are becoming increasingly uncommon. There is an elegance to his performance style that feels almost radical in today's world of elaborate production and technological distraction. The art of mystery still prevails.

His humour remains one of his greatest assets. Australians have little patience for self-importance, and Humperdinck instinctively understands that. His stories, whether recalling learning to dance while desperately waiting outside a family bathroom or gently poking fun at himself, landed with effortless warmth. Every anecdote dissolved any illusion of celebrity, replacing it with something infinitely more appealing. Humanity.

That humanity was on glorious display after removing his jacket, revealing a delicately embroidered white shirt adorned with sparkling diamanté buttons. Predictably, the theatre erupted with wolf whistles and raucous cheers. Rather than basking in the attention, he simply raised his glass of red wine and smiled.

"Music has been my passport to the world.”

Few statements could better summarise seventy remarkable years. The applause that followed was not merely appreciation. It was gratitude.

Songs including "Love Me with All Your Heart", "After the Lovin'", "Spanish Eyes" and the enduring "A Man Without Love", the latter having been rediscovered by an entirely new generation through Moon Knight, demonstrated just how comfortably his music continues to exist across generations. Great songs rarely belong to one era. They simply wait patiently to be rediscovered.

Perhaps nowhere was his charisma more infectious than during "Quando, Quando, Quando". Dancing playfully across the stage, teasing both the audience and himself, Humperdinck reminded everyone that performance is not measured by athleticism. It is measured by joy. At ninety, he still possesses enough charm to make an entire theatre believe romance remains wonderfully uncomplicated.

One of the evening's most affecting moments arrived with Toby Keith's "Don't Let the Old Man In". It could easily have been interpreted as a novelty selection given his age. Instead, it became something closer to a personal philosophy. Humperdinck was not singing about ageing. Far from it, actually. He was quietly rejecting the limitations people place upon it. The song became less about mortality than permission. Permission to remain curious, to keep creating, to refuse surrender while there is still music left to sing.

The future also found its place within the evening. "I've Got You" introduced the audience to new material from his forthcoming album Faithfully, due for release on August 28, before Journey's "Faithfully" reinforced that Humperdinck continues to seek fresh interpretations rather than simply repeating old triumphs. There remains genuine artistic curiosity beneath that legendary reputation.

Nothing, however, prepared the audience for "How I Love You". Dedicated to Patricia, his late wife of fifty-four years, the performance quietly dissolved the line between entertainer and husband. In that moment, there was no legend, no "King of Romance", only a man singing to the woman he clearly still carries with him. The sorrow written across his face was impossible to ignore or feel. Time may preach that it heals all wounds, but it never asks us to stop loving. Every lyric seemed to come from a place far deeper than memory, and as the final note disappeared, the audience sat in absolute silence. No one wanted to be the first to break it. When they finally rose to their feet, the applause felt less like celebration and more like a collective embrace. For a few minutes, a room full of strangers shared something profoundly personal. A reminder that the greatest artists do more than perform songs. They give us permission to feel our own lives reflected back at us.

The mood shifted effortlessly into celebration with "Old Time Rock and Roll", where Humperdinck proudly introduced his outstanding band, before "The Last Waltz" restored the evening's trademark elegance. A joyous medley of "Sweetheart", "There Goes My Everything", "Another Time Another Place" and "Les Bicyclettes de Belsize" reminded everyone just how astonishing his catalogue remains. These songs are woven into the cultural memory of millions, and hearing them performed by the man who first gave them life carried genuine emotional resonance.

By the time "Release Me" arrived, the audience no longer needed encouragement. Hundreds of voices filled Her Majesty's Theatre in unison, transforming the performance into something beautifully communal. It felt less like watching history and more like participating in it.

Near the close, Humperdinck quietly reflected, "Applause is the food of an artist, and tonight you haven't starved me, or my band.”

The sincerity behind those words wasn’t lost on me or anyone around me.

His encore of "My Way" carried an almost unbearable poignancy. Not because it suggested farewell, but because it acknowledged a life lived without compromise. In lesser hands, the song can feel self-congratulatory. Here it became something gentler. A reflection. A thank you. A man looking back across seven decades with quiet contentment rather than triumph.

There will come a day when voices like Engelbert Humperdinck's exist only on recordings and fading concert memories. That reality makes evenings such as this feel immeasurably precious. We often speak about preserving musical history through archives, awards and documentaries. Yet perhaps its truest preservation happens inside theatres like this, where ninety minutes become a living conversation between generations.

For one unforgettable evening, this was not simply about watching a legend. It was about sharing time with one. And that is a privilege no standing ovation could ever fully repay.

Otago Daily Times 18 July 2026

So, a couple of weeks ago I went to see Engelbert Humperdinck in concert. The two main responses to this when telling people were, who or what is that? — generally from the younger generation — and is he still alive?

I will go back a step or two to give this some fuller context — make that a generation or two. 

My childhood was a good one and a big part of it was music. My nana (my mum’s mum) loved musical theatre and 1940s music like that of Glenn Miller, Vera Lynn, The Andrew Sisters, Frank Sinatra, Bing Crosby and she loved Louis Armstrong. She played the piano (averagely) and she would play it over the phone when I was very little and apparently, I would sing to her. I remember music and singing, and she took me to musicals and ballets at the Regent and the Mayfair theatres, music was a big deal to my nana.

Now, on my dad’s side, music was a given too. My pōua was in the Methodist Māori Choir who sung at Buckingham Palace for the Queen. It was sort of an expectation as Māori that you could sing, or, if you couldn’t, you knew the words to the hīmene and sang quietly. It was kind of a given that someone could also play the guitar and if you couldn’t, you learnt off a cousin or aunty, starting maybe with the ukulele and then on to the guitar. I can play, but I am very average . . . and, yes, it was a case of having to to be honest.

So, back to Engelbert. Growing up in a smaller rural village meant my parents went to weekend parties with their group of friends. These took place mostly in their garages or lean-to rooms, which were turned into a basic bar with drinking-type memorabilia and posters of past pop-star legends. Generally, the gatherings involved a similar demographic to them, bicultural marriages, Pākehā wife, Māori husband and kids like us.

So, there was a kind of unspoken understanding and knowing between us all, I guess. And there was a particular playlist that pervaded every get-together. There was a big mixture of country music, from Green Green Grass of Home to Stand By Your Man, to all of the Elvis hits because Aunty Lyn had been to Graceland and had a spiritual Elvis epiphany, to Neil Diamond classics and Glenn Campbell and yes, Engelbert Humperdinck. Engelbert sang the classic Ten Guitars, Quando Quando Quando, The Last Waltz, Release Me and more.

His classics were loved at Kiwi garage parties. In fact, his song Ten Guitars became an absolute hit in New Zealand at the same time that his song Release Me became an international hit in 1967. Māori loved this song and it became a banger with Māori showbands and at all the parties. I am pretty sure that I started to learn the basics of the guitar to that song too. Ten Guitars became a New Zealand cultural phenomenon.

So, my cousin messages our whānau and tells us that Engelbert is playing a concert in Christchurch and Dad responds immediately. He loves this era of music and Engelbert has been a dominant feature of his localised social life, like a long lost cousin.

We are all heading to Engelbert. My partner is coming too and I salute him for that, because it is a lot when whānau are heading to the concert of a 90-year-old pop singer who is loved by our people.

We arrive at the concert and most of the aunties from Rāpaki are there (a village between Lyttelton and Governors Bay). The age group certainly made me feel somewhat younger but the audience were committed, with their phones out, recording his every move.

He had a formidable band on stage who were there for him at every step. Engelbert pulled out all the stops, jokes, the songs we all love. He talked openly about being 90, losing the love of his life many years ago and his respect for New Zealand audiences. He was very much 90 but that was quite something, because he spent an hour singing on stage and the audience loved every minute of it.

We walked away that night wondering what we had just witnessed and debriefed the experience, one I don’t imagine I will have again. Who knows though? Bruno Mars might still be going at 90?

I took a few videos throughout the concert and sent them to my three children and they all commented as if Engelbert were their uncle after a few drinks, singing karaoke to his heart’s content. However, they absolutely loved seeing their pōua up on his feet, dancing and singing to Engelbert. The intergenerational love for these old masters of epic tunes will never be forgotten.

https://www.odt.co.nz/lifestyle/magazine/still-singing-along-engelbert

While the Rolling Stones debate whether they will head out on tour one more time, one singer is preparing to hit the road at 90. 

By Jason Keil | July 16, 2026 Wide Open Country

While Mick Jagger and Keith Richards continue to debate if the Rolling Stones will head out on tour one more time, one singer is preparing to hit the road at 90. 

Engelbert Humperdinck will head out on a world tour later this summer in support of his new album, Faithfully, out August 28 on Cleopatra Records. 

Age Is Nothing But a Number to Englebert Humperdinck

The "Spanish Eyes" singer's latest album is his take on classic rock hits. In addition to covers of Journey, Ozzy Osbourne, KISS, and Aerosmith, Humperdinck has included the original "Always My Love."

To bring these songs to life, a team of extraordinary musicians was assembled. They include Journey's Jonathan Cain, Yes keyboardist Rick Wakeman, and Jethro Tull's Ian Anderson.

"I am so grateful for my good friends Brian Perera and Tim Yasui of Cleopatra Records for coming up with the fantastic idea of this album and the music videos we did for it," Humperdinck said in a statement. "And I am really honored by all of the incredible, renowned musicians who joined on the tracks. And not, by any means last, I want to thank my producers, Adam Hamilton and Pete Mills, plus our mixing engineer Jurgen Engler, for the tireless hours that went into this production."

Humperdinck Is Also a Harley Man

In the album's first video, a cover of "Drive" by The Cars, Humperdinck (or someone resembling him) is seen riding a motorcycle down the open road. That fits with the singer's life as an avid rider, which he shared in a social media post last year.

"My Harley was on my mind," he said. "It's been too long since I was out on the open road. I need to get a gadget to strap my phone to my chest so you can come along with me. I used to love riding with my friends along PCH. Wonderful memories that are so strong that I can appreciate, feel the ocean breeze, and smell the salty air."

Humperdinck's tour kicks off in Germany in August. You can check out his full list of tour dates here.

https://www.wideopencountry.com/move-over-rolling-stones-this-90-year-old-singer-is-gearing-up-for-a-tour/

Jul 15, 2026 That Eric Alper Media

Engelbert Humperdinck is opening a new chapter after six decades in music. The internationally renowned vocalist will release his new album, ‘Faithfully,’ on August 28 via Cleopatra Records, marking one of the most ambitious recordings of his storied career.

Humperdinck brings his own interpretation to a collection of blockbuster songs originally made famous by Journey, Ozzy Osbourne, KISS, Aerosmith, and more, blending his unmistakable voice with fresh emotional depth. The album also includes a newly composed original, “Always My Love,” giving the project a personal touch.

The 15-track release features an extraordinary lineup of guest musicians, including Journey’s Jonathan Cain, keyboardist Rick Wakeman (Yes, David Bowie), Grammy-winning guitarist Al Di Meola, Canned Heat’s Harvey Mandel, Jethro Tull frontman Ian Anderson, and guitarist Eric Gales. Rich orchestral and string arrangements round out the production, pairing classic sophistication with modern rock energy.

“Our entire team at Cleopatra Records couldn’t be more thrilled to embrace this global legend into our artist roster and are looking forward to what we feel could truly be a shining release in his remarkable career,” says Cleopatra’s VP/General Manager, Tim Yasui.

With a catalogue built on timeless hits like “Release Me,” “After the Lovin’,” “Spanish Eyes,” and “The Last Waltz,” Humperdinck has sold over 140 million records worldwide, cementing his place among music’s most distinguished performers.

Humperdinck shared his gratitude for the team behind the project: “I am so grateful for my good friends Brian Perera & Tim Yasui of Cleopatra Records for coming up with the fantastic idea of this album & the music videos we did for it. And I am really honored by all of the incredible renowned musicians who joined on the tracks. And not, by any means last, I want to thank my producers Adam Hamilton and Pete Mills plus our mixing engineer Jurgen Engler for the tireless hours that went into this production.”

Humperdinck will support the album with a global tour across North America, Europe, and beyond, with dates to be announced in the coming weeks.

The first single, “Drive,” is out now with a music video shot on location in West Hollywood, California, and a second single and video for “Beth” arrive August 12. ‘Faithfully’ will be available on all major streaming platforms, plus CD and limited-edition vinyl through Cleopatra Records.

Faithfully Track Listing:
“Faithfully” feat. Jonathan Cain & Keven Eknes
“Take My Breath Away” feat. Al Di Meola
“More Than Words” feat. Eric Gales
“Something” feat. Carmine Rojas
“I Was Made For Lovin’ You” feat. Harvey Mandel
“Mama, I’m Coming Home”
“Drive”
“Feel Like Makin’ Love” feat. Ian Anderson & Bob Daisley
“Heaven” feat. Marcus Nand
“I Don’t Want To Miss A Thing” feat. Sonny Landreth
“Beth” feat. Rick Wakeman
“Always My Love” feat. Rene Le Blanc
“Alone” feat. Steve Morse & Jonathan Cain (CD only)
“Can’t Get It Out Of My Head” feat. Marcus Nand & Jonathan Cain (CD only)
“I Won’t Back Down” feat. George Lynch (CD only)

https://www.thatericalper.com/2026/07/15/engelbert-humperdinck-announces-new-album-faithfully/

He’s not slowing down!

Jul 15, 2026 4:30 PM EDT

By Megan Johnson Trending News Writer, Parade

Englebert Humperdinck is not only releasing a new album. The 90-year-old music icon is heading back out on the road for a world tour.

Humperdinck, 90, rose to stardom with hit songs like “Spanish Eyes” and “Release Me.” But the legendary crooner isn’t slowing down anytime soon. The singer will release his highly anticipated new album Faithfully on August 28 via Cleopatra Records.

 “I am so grateful for my good friends Brian Perera & Tim Yasui of Cleopatra Records for coming up with the fantastic idea of this album & the music videos we did for it,” Humperdinck said in a statement. “And I am really honored by all of the incredible, renowned musicians who joined on the tracks. And not, by any means last, I want to thank my producers Adam Hamilton and Pete Mills, plus our mixing engineer Jurgen Engler, for the tireless hours that went into this production.”

Humperdinck will also head out on a global tour to support the album. 

Reflecting on Losing His Wife and Infidelity

Humperdinck recently opened up about the loss of his wife, Patricia, and how he recalled asking for his wife’s forgiveness after being unfaithful.

“She was my soulmate, an amazing lady who put up with a lot of things I’m not proud of. I always apologized for not being faithful,” Humperdinck told The Times, noting that “the dinner table can feel pretty lonely” without her these days. “She forgave me, and we stayed together. It brought us closer in fact. 

Will I fall in love again? Can’t see it happening.”

Humperdinck added that while Patricia’s death made him “angry,” he “came around in the end. God had his reasons.”

Humperdinck Loves Social Media

In addition to his work on the stage, the beloved singer has a significant following on social media, where he’s an avid user of TikTok and Instagram. Last June, he opened up there about how much he misses cruising the open road on his Harley.

“My Harley was on my mind. It’s been too long since I was out on the open road I need to get a gadget to strap my phone to my chest so you can come along with me. I used to love riding with my friends along PCH. Wonderful memories that are so strong that i can appreciate, feel the ocean breeze, and smell the salty air,” he shared in a stream-of-consciousness post without much punctuation.

https://parade.com/news/at-90-music-icon-defying-expectations-with-new-album-world-tour

https://www.youtube.com/watch?v=8uzXvaIf-08&list=RD8uzXvaIf-08&start_radio=1

By eLanka ELanka.com.au July 14, 2026 10:34 PM

Last night, Sydney audiences rose to their feet to celebrate one of the greatest entertainers of our time as Engelbert Humperdinck brought the Australian leg of The Celebration Tour to a memorable close at the magnificent State Theatre.

At 90 years of age, Engelbert continues to demonstrate why he has remained one of the world’s most loved performers for more than six decades. His unmistakable voice, timeless charm and effortless connection with his audience transformed the evening into much more than a concert—it was a celebration of an extraordinary musical journey.

From the moment he stepped onto the stage, the audience responded with warmth and affection. Classic songs including Release Me, The Last Waltz, Quando, Quando, Quando and many other favourites brought back cherished memories for fans who have followed his remarkable career across generations.

What was particularly inspiring was not only his vocal performance but his humour, storytelling and genuine appreciation for his audience. Even at ninety, Engelbert remains every bit the consummate entertainer, proving that true talent never grows old.

A Remarkable Career

Born Arnold George Dorsey in Madras (now Chennai), India, on 2 May 1936, Engelbert Humperdinck adopted his now-famous stage name in the 1960s and quickly became one of the biggest recording artists in the world. His breakthrough hit “Release Me” famously kept The Beatles’ Penny Lane from reaching the number one position in the United Kingdom in 1967, launching one of the most successful international careers in popular music.

Over an extraordinary career spanning more than sixty years, Engelbert has sold over 150 million records worldwide, earned dozens of Gold and Platinum albums, received multiple Grammy nominations and a Golden Globe, and continues to perform before enthusiastic audiences across the globe. Even today, younger audiences continue to discover his music through films, television and streaming platforms.

A Favourite Among Sri Lankans

For many Sri Lankans, Engelbert Humperdinck has always held a special place in their hearts.

His romantic ballads became the soundtrack to countless weddings, dances, family gatherings and social events throughout the 1960s, 70s and 80s. Songs such as Release Me, The Last Waltz, There Goes My Everything, Spanish Eyes and A Man Without Loveremain favourites among Sri Lankan music lovers, with many still able to sing every word.

His music crossed cultures and generations, creating memories that continue to live on today. It is no surprise that many members of Australia’s Sri Lankan community were among those who attended this very special Sydney performance.

Thank You, Engelbert

Whether this proves to be his final Australian performance or simply another chapter in an extraordinary career, one thing is certain: Engelbert Humperdinck has left an unforgettable legacy.

For more than six decades he has brought romance, elegance and timeless music to audiences around the world. Last night’s performance was not simply a concert—it was a heartfelt celebration of a remarkable artist whose songs will continue to touch hearts for generations to come.

From all of us at eLanka, thank you, Engelbert, for the music, the memories and an unforgettable evening. 

Southeast

Asians & Pacific Islanders

Produced by eLanka Australia

https://www.elanka.com.au/engelbert-humperdinck-bids-farewell-to-australia-a-night-sydney-will-never-forget/?fbclid=IwY2xjawTDmzxleHRuA2FlbQIxMABzcnRjBmFwcF9pZBAyMjIwMzkxNzg4MjAwODkyAAEetZoPfgJpPRDvlboZKWHdlL4_L45jEzZ0GoHclPxInCLLambTuRXf7fQpdVM_aem_dG9x05WLF2J4GX3gxIFkKg

By Markus Hamence·12 July 2026 On Your Markus

Engelbert Humperdinck brought 60 years of craft and genuine enjoyment to His Majesty's Theatre on 10 July, delivering the hits with warmth and a tight band that elevated the songs beyond nostalgia. A heartfelt tribute to his late wife anchored the evening emotionally, while the energy and playfulness throughout proved this was anything but a going-through-the-motions affair. Rating: 5/5

Engelbert Humperdinck walked onto the Her Majesty's Theatre stage looking every bit the showman who has spent 60 years perfecting the craft, and within minutes the audience knew this wasn't going to be a nostalgia act going through the motions. The Celebration Tour 2026 stop in Adelaide on 10 July was, first and foremost, fun. Humperdinck was playful all night, cracking jokes between songs and riffing with the crowd like a man who still genuinely enjoys being up there.

That energy made the show's one quiet moment land even harder. Partway through the set, Humperdinck paused to pay tribute to his late wife, introducing "How I Love You" with a stillness that hadn't been in the room before. It was a brief, heartfelt detour from the banter and the big numbers, and the audience felt the shift immediately. No theatrics, no oversell, just a man singing about someone he loved. It was the emotional centre of the night precisely because it wasn't dwelled on.

The rest of the set delivered on the promise of a career spanning six decades. A Man Without Love, Quando Quando Quando and Spanish Blue Eyes drew the loudest response of the evening, and it was easy to see why. These are songs that have earned their place in people's lives over generations, and Humperdinck still sings them with the same conviction that made them hits in the first place. There was a nice touch when he mentioned A Man Without Love's unexpected second life after featuring in Marvel's Moon Knight, a reminder that these songs keep finding new audiences decades after they were first recorded.

None of it would have worked without the band behind him, and two players in particular stood out. Pianist Todd Schroeder brought real finesse to the arrangements, finding space and colour in songs that could easily have been played on autopilot. Guitarist Kevin Eknes matched him for feel, adding texture without ever crowding Humperdinck's vocal. Between them they gave the evening a musicality that elevated it well beyond a straightforward greatest-hits run-through.

At 60 years into a career, there'd be no shame in an artist simply cruising through the hits. Humperdinck did something better. He was warm, quick-witted and clearly still invested in the songs, while trusting a tight band to do the heavy lifting when it mattered. The tribute to his late wife gave the night its heart; the hits gave it its energy. Her Majesty's Theatre got both in equal measure, and the crowd left knowing exactly why this catalogue has endured.

https://onyourmarkus.au/reviews/engelbert-humperdinck-brings-60-years-of-craft-to-her-majestys-theatre/?fbclid=IwY2xjawTB6bpleHRuA2FlbQIxMABzcnRjBmFwcF9pZBAyMjIwMzkxNzg4MjAwODkyAAEeYh7J1igLFa95fFWutIe5WLndXDMCRZwdvFAKyxvePgunKB23QcQoId6m-o8_aem_Y9GOc0zb7yeqlZsYTpffcg

July 13, 2026  Sheldon Ang  Sheldon Ang Media

The Celebration Tour 2026 – 12 July 2026 at the Perth Riverside Theatre, Western Australia

Or is it? Given the legend’s age and touring life, the headline asks the inevitable question.

Since our media launch in June 2022, we’ve covered a handful of octogenarians: Gladys Knight (then 80), Dionne Warwick (then 83), Tom Jones (84), Cliff Richard (85) and Herbie Hancock (also 85 then) – to name a few. And many more in the septuagenarian category then, including KISS’s Paul Stanley and Gene Simmons, AC/DC’s Brian Johnson, Sting, Rod Stewart, Alison Moyet, and the list go on. And on every occasion, we were blown away by the stamina and vocal reach of every one of them, despite their age. But we’ve never covered a nonagenarian, and I am not speaking Italian.

It is not ageism, but that’s the inevitable reality for mere mortals. The title is not meant to poke at the age of the 90-year-old legend, but given that his age has been mentioned a few times last night, it felt like we’ve been permitted to mention his age in this review.

“I’m celebrating by just being around,” said Engelbert Humperdinck, who in May entered the last decade before the centenary milestone.

The crowd roared in approval, implying that he has a long way to go before the inevitable visit to Moses. He also joked about being 47, before taking his medical syrup on stage, rather than whiskey or a shot – which is a frequent refresher in aforementioned performances.

So how did the Indian-born legend stack up in Perth after a whirlwind world tour?

At 7 pm (that’s right, 7 pm), we were greeted by the band, consisting of the pianist, lead guitarist, bass player, synth keyboardist, and drummer. It was a full-piece band. 

Engelbert graced the stage as if he was walking to a party on a yacht. Yes, I borrowed the line from that song, but it was the vibe he personified: the posture, the stance, the vitality and confidence oozing from the performer. The crowd, mainly from the baby boomers category went berserk as if it was the 60s and 70s. There were a few 20-somethings, ensuring the baton of classics that generated over 150 million records spanning 60 years is passed onto the next generation.

He commenced with Welcome to My World, a Jim Reeves track. And within the first verse, we were pleasantly surprised at his vocals: the grit and hold, the minor croak that propagates with energy. At 90, think of Engelbert’s vocals as Neil Diamond’s recorded chapter – that slightly gritty edge, a raspy one, with deep, resonant baritone weaved through emotional propagation.

So Engelbert’s vocals of the last millennium changed from bright, powerful tenor to baritone and strong vibrato with big projection in his recordings to a deeper, warmer baritone, more texture and rasp, slower vibrato, but he made it up with emotional storytelling over vocal gymnastics. He is the storybook with 70 years of adulthood chapters; the authenticity is gracefully real, and the projection is palpable. He’d still get a standing ovation from Simon Cowell if he were to perform as a special guest on American Idol.

He still got it.

It wouldn’t be anytime soon that Engelberts performance will be forgotten, thanks to the likes of Carl Belew’s Am I That Easy to Forget on the setlist, followed by one of baby boomers’ favourites, A Man Without Love. The room lit up to another level as many appointed themselves as back up singers, singing “every day I wake up, then I start to break up, lonely as a man without love…” blasting the choruses gleefully despite the heartbreaking lyrics.

What we noticed was that there were no backup singers or backing tracks. The musicians hardly got involved in the backups apart from the occasional ooh’s and ahh’s. Even the crescendo was all Engelbert’s. 

The hits kept coming along, including Freddy Quinn’s Spanish Eyes, and with that sort of familiarity, the crowd sang along gently, as they saw themselves again as the backup performers, followed by Quando, Quando, Quando, a track that has been sung by a few artists in this venue. Hands were waving side to side to the cadence of the music.

Engelbert again touched on mortality and on how he managed to stay the way he is – alive and kicking. He pointed to the track Don’t Let the Old Man In. It was a slow number, where we were emersed into his storytelling cues without any sonic interruption.

He also touched on the giant rock track Faithfully by Journey, although he did a country sit-down version before going to another sing-along in Frankie Valli’s Can’t Take My Eyes Off You, and indeed, it became a sing-along.

The night then darkened metaphorically in one of the most poignant moments. “When I wrote this song 30 years ago, I never knew how poignant this song was gonna be, now that my wife is in heaven.” How I Love You is one of the heart-wrenching performances we have witnessed. This track is a devotion, and towards the end, his voice broke with sadness as he looked up at the heavens. There were tears in his eyes, and there were tears in the audience. We were shattered for him.

This is when Engelbert performs at his best in his twilight years: a ballad told in a storytelling mode, propagated with utter, palpable sincerity.

The mood switched again with George Jackson’s Old Time Rock and Roll. Every band member had their solo moment, including the lead guitarist, who oozed a rock star vibe scintillating in an end-to-end riff at the front of the stage, akin to a rock concert, before everyone settling with The Last Waltz. We were in a musical carousel, and for a minute, we were dancing to The Last Waltz. It’s no longer a song about romantic memory; rather, it is about time aging, where his older voice adds more emotional authenticity than the 1967 studio version.

In those moments, it was as if we were at an André Rieu concert; everyone was dancing in their minds, singing in real life that echoed across the Perth Riverside Theatre. It was a gleeful moment as the lights painted across the hall, as we felt the orchestral sweep, ballroom elegance and cinematic warmth, but without the onstage extravagance. It was a raw performance.

“Can I have the last waltz with you… too lonely together… I fell in love with you” the words resonated well into the night.

The main set ended with Release Me (And Let Me Love Again). It was the classic karaoke song among the baby boomers, especially in Asia, where the “uncles” and “aunties” (meaning older people) would be singing with their karaoke sets, and tonight, the uncles and aunties get to sing along with the OG himself. The rasp in his voice adds emotional honesty, and he sang like a man who has lived the story.

It is an interesting point to note about matured songwriters: the songs written a generation or 60 years ago carry a different weight now. These song in record are about a dramatic breakup, love at first sight, a macho take, but the live versions in the later years are about reflections through the kaleidoscopic views on life, regret, time and honesty, and when his voice is calibrated to maturity and life experience, we as the audience are immersed in a lifetime of storybook nostalgia – and that was what we were presented in the Engelbert Humperdinck show at 90, while he stood on his feet for most parts for 90 minutes.

The experience is priceless.

Engelbert Humperdinck will be performing his final show of the Australian / NZ tour in Sydney. Tickets are available from Mellen Events

https://sheldonangmedia.com/live-review/live-review-the-last-waltz-of-engelbert-humperdinck/

His “Release Me” may have kept THE BEATLES’ “Strawberry Fields Forever / Penny Lane” single off the top spot back in 1967 but, unlike Tom Jones, Engelbert Humperdinck never really found favors with the rock crowd – and that’s something the 90-year-old seems to want to remedy on his new album, which will be released on August 28th. Titled “Faithfully” after a JOURNEY evergreen the veteran has been performing in concert for some time now, it offers one specially penned, fresh piece called “Always My Love” alongside classics by heavier artists – although the Brit didn’t go as far as tackling metal classics as Pat Boone once did.

Still, unlike his American counterpart whose record was graced by the presence of only a few stars, including Ritchie Blackmore and Ronnie James Dio, Humperdinck’s offering features, on CD and vinyl, many more notable instrumentalists, so what Engelbert did promises to be quite interesting.

1. Faithfully (JOURNEY)
feat. Jonathan Cain & Keven Eknes
2. Take My Breath Away (BERLIN)
feat. Al Di Meola
3. More Than Words (EXTREME)
feat. Eric Gales
4. Something (THE BEATLES(
feat. Carmine Rojas
5. I Was Made For Lovin’ You (KISS)
feat. Harvey Mandel
6. Mama, I’m Coming Home (Ozzy Osbourne)
7. Drive (THE CARS)
8. Feel Like Makin’ Love (BAD COMPANY)
feat. Ian Anderson & Bob Daisley
9. Heaven (Bryan Adams)
feat. Marcus Nand
10. I Don’t Want To Miss A Thing (AEROSMITH)
feat. Sonny Landreth
11. Beth (KISS)
feat. Rick Wakeman
12. Always My Love
feat. Rene Le Blanc
13. Alone (HEART)
CD-only:feat. Steve Morse & Jonathan Cain
14. Can’t Get It Out Of My Head (ELECTRIC LIGHT ORCHESTRA)
feat. Marcus Nand & Jonathan Cain
15. I Won’t Back Down (Tom Petty)
feat. George Lynch

https://dmme.net/engelbert-humperdinck-covers-ozzy-kiss-bad-co-and-more-on-star-studded-album/