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/

By Anna Houlahan Updated July 9 2026  The Senior

Maybe Engelbert Humperdinck was as surprised as the rest of the audience when a fan at his Melbourne concert passed him a pair of undies.

But judging by his wry smile, that's been a regular occurrence for more than 60 years.

Currently touring Australia, the 90-year-old crooner filled the legendary Hamer Hall with a mix of timeless hits and surprising additions, including a cover of Journey's 1983 anthem Faithfully.

The Humperdinckers and Engel's Angels were out to support the icon on the cold Melbourne night, donning heavily-sprayed coiffures, sequined outfits and well-tailored suits.

Almost 2500 fans, young and old, crammed into the sold-out hall to watch the Chennai-born singer take the stage. 

Pipes of a 90-year-old crooner

I've seen my fair share of ageing icons in concert; a 64-year-old Robert Plant, a 66-year-old Iggy Pop, a 71-year-old Paul Simon.

But seeing a nonagenarian Humperdinck belting love songs to an enamoured audience for more than an hour and a half was to witness a true feat of showmanship.

He knew his limitations, and would pause to take a breath when needed, but wielded his signature vibrato and swaggering charisma with confidence. 

Drowned out by the crowd

Humperdinck, born Arnold George Dorsey in 1936, started his show-business career playing saxophone in nightclubs but gained international fame as a 31-year-old with Release Me. 

His version of the song, also released by Dean Martin in 1967, held the number one slot in the UK for six weeks. 

Almost 60 years later, he played his legacy hits with the precision of a man who has spent a lifetime perfecting his craft. 

In another performer's hands, this may seem rote. But Humperdinck keeps it fresh with a sly joke and smooth dance moves.

Whenever the music paused, the crowd was ready to bridge the gap.

Hamer Hall is usually a civilised place for a concert, often hosting high-art acoustic shows, but this audience was unconstrained by polite music appreciation.

They could hardly resist singing along to the soaring choruses and, I admit, I was right there with them.

A Man Without Love, released in 1968, is Humperdinck's most popular song among younger generations, with more than 200 million streams on Spotify.

It was closer to 201 million by the time I finished my walk home.

Staying power

Many of the crowd came with the sober knowledge that this may be their last chance to see an ageing Humperdinck live.

But far from being a relic of the past, his concert was a masterclass in staying power.

The world has changed dramatically since he first came to fame, but he showed that a beautifully-fitted suit and a hopeful ballad are eternal.

Leaving the Arts Precinct after the show, it was clear he'd left a mark on the audience.

Loud renditions of The Last Waltz, Release Me and Quando, Quando, Quandoburst from groups of revellers as they made their way home.

Humperdinck performs at Her Majesty's Theatre in Adelaide on July 10, at Perth's Riverside Theatre on July 12 and the State Theatre in Sydney on July 14 before heading to Germany, Taiwan and Singapore.

https://www.thesenior.com.au/story/9307108/engelbert-humperdinck-brings-legacy-hits-to-his-australian-tour/

by PAUL CASHMERE on JULY 9, 2026 Noise11.com

Engelbert Humperdinck proved why he remains one of popular music’s enduring live performers, delivering a sold out Celebration Tour performance at Melbourne’s Hamer Hall that showcased a remarkable voice, genuine musicianship and six decades of Australian touring history.

For 2,500 fans at a sold out Hamer Hall on Wednesday night, Engelbert Humperdinck demonstrated that longevity in live performance is built on craft rather than technology. The 90 year old icon delivered his Melbourne Celebration Tour performance backed by a five piece band, without backing tapes or pre recorded vocal assistance, relying instead on experience, personality and a voice that, while naturally changed with age, remains capable of carrying a room.

The Melbourne concert highlighted something increasingly uncommon in contemporary touring. At a time when many arena and theatre productions depend heavily on programmed elements and vocal support, Engelbert Humperdinck’s performance was driven by live musicianship and direct audience connection. His voice has inevitably deepened over the decades, taking on a weathered, gravelly quality, but that maturity has added emotional weight to songs that have become part of popular music’s catalogue over nearly 60 years.

For Australian audiences, the concert also reflected Engelbert’s longstanding relationship with the country. The legendary singer has toured Australia regularly since the 1960s and now has personal ties here through his son Scott and grandchildren, who live in Australia. That connection was evident throughout the evening as he mixed storytelling with music, creating the kind of rapport that only decades of performing can produce.

Among the evening’s surprises were previews of new material. Engelbert Humperdinck introduced the original song I’ve Got You, along with a version of Faithfully, the Journey classic that will feature on his forthcoming album of contemporary interpretations of songs from the 1980s.

One of the night’s most affecting moments came with Don’t Let The Old Man In, the song written by Toby Keith after a conversation with Clint Eastwood following a round of golf. Humperdinck recounted the story of how Eastwood explained that he never allows himself to think like an old man, an outlook that inspired Keith’s composition. Coming from a performer who has reached 90 while continuing to tour internationally, the song carried an authenticity that extended beyond the lyrics.

Equally moving was How I Love You, which Engelbert Humperdinck dedicated to his late wife Patricia. The performance transformed the theatre into a deeply personal space, with the singer allowing the emotion of the song to speak for itself.

Humperdinck also reflected on the unexpected resurgence of A Man Without Love, which returned to the charts in 2022 after being featured in the television series Moon Knight. He spoke enthusiastically about introducing the classic to a new generation of listeners, illustrating how streaming and television continue to reshape the lifespan of catalogue recordings.

His trademark humour remained intact throughout the evening, with a steady stream of well rehearsed one liners drawing regular laughter from the audience. Those lighter moments balanced a set that celebrated the songs which established him as one of the defining vocalists of his era.

The performance moved confidently through favourites including After The Lovin’, Spanish Eyes, Quando, Quando, Quando, The Last Waltz and Release Me (And Let Me Love Again). A medley featuring Sweetheart, There Goes My Everything, Another Time Another Place and Les Bicyclettes De Belsize reinforced the depth of a catalogue that continues to resonate with audiences across generations.

For the encore, Engelbert Humperdinck closed with My Way, the Paul Anka composition forever associated with Frank Sinatra. It was a fitting finale for an artist whose own career has become synonymous with enduring professionalism. Dressed in his signature Versace robe, he handed red velvet handkerchiefs into the crowd and spent several minutes shaking hands with fans gathered at the front of the stage before taking his final bow.

There is inevitably discussion whenever veteran performers continue touring into their later years, particularly around whether they can still deliver at the standard audiences expect. Melbourne’s performance answered that question convincingly. Humperdinck may no longer possess the effortless vocal power of his youth, but he remains fit, articulate and fully engaged with both his music and his audience. More importantly, he continues to perform live in the truest sense of the word.

The Celebration Tour now continues across Australia, offering audiences a rare opportunity to witness one of popular music’s genuine legends still performing with authenticity, humour and remarkable commitment. In an era increasingly shaped by technology, Engelbert Humperdinck’s Melbourne concert served as a reminder that the fundamentals of live entertainment remain unchanged when placed in the hands of a true professional.

Setlist
Welcome To My World
Am I That Easy To Forget
Last Of The Romantics
A Man Without Love
After The Lovin’
Spanish Eyes
A Man Without Love
Don’t Let The Old Man In
I’ve Got You
Faithfully
Can’t Take My Eyes Off You
How I Love You
Old Time Rock And Roll
The Last Waltz
Sweetheart / There Goes My Everything / Another Time Another Place / Les Bicyclettes De Belsize
Release Me (And Let Me Love Again)

Encore:
My Way

Upcoming Tour Dates
10 July, Adelaide, Her Majesty’s Theatre
12 July, Perth, Riverside Theatre
14 July, Sydney, State Theatre

Tickets: https://www.mellenevents.com.au/whats-on

https://www.noise11.com/news/engelbert-humperdinck-melbourne-hamer-hall-review-2026-20260709

British pop singer will perform two Tel Aviv shows in January 2027, nearly a decade after his last Israel visit

7 July 2026 YNet Global

British pop singer Engelbert Humperdinck will return to Israel for two concerts in January 2027 as part of his global farewell tour, organizers announced Tuesday.

The performances, part of The Last Waltz – Farewell Tour, are scheduled for Jan. 25 and 26 at the Charles Bronfman Auditorium in Tel Aviv. Ticket prices range from 329 shekels to 849 shekels.

"I have a special affection for the Israeli audience," Humperdinck said in a statement ahead of the concerts. "I am very happy to return to Israel. During my previous performances, I discovered how romantic and warm the Israeli audience is. I am coming back to return that embrace."

Humperdinck, who was born Arnold George Dorsey in Britain, rose to international fame in 1967 with the release of Release Me, featuring future Led Zeppelin guitarist Jimmy Page. The single spent weeks near the top of the British charts and became one of the defining songs of his career.

Over more than six decades, Humperdinck has sold more than 140 million records worldwide, earning dozens of gold and platinum albums, two Grammy Award nominations, a Golden Globe and a star on the Hollywood Walk of Fame.

The British romantic pop singer, who turns 90 this year, is best known for hits including Release Me, Quando, Quando, Quando, The Last Waltz and A Man Without Love.

Humperdinck has performed in Israel several times during his career. His most recent visit came in 2015.

https://www.ynetnews.com/culture/article/rjaupvimgl

Ahead of his September return to Manila, the legendary crooner reflects on six decades of timeless love songs, Filipino fans, and why romance remains at the center of his music.

BY JASON CABALLA Billboard Philippines 3 Jul 2026

Even at 90 years old, Engelbert Humperdinck still measures time by the next show. Nearly six decades after “Release Me” launched him into international stardom, the British singer continues to travel the world performing the romantic ballads that have become woven into generations of listeners’ lives. With over 150 million records sold and a catalog that includes enduring classics like “The Last Waltz,” “Quando Quando Quando,” and “A Man Without Love,” Humperdinck remains one of popular music’s most enduring voices, carrying a repertoire that has outlived changing trends and formats.

That longevity has found a particularly warm home in the Philippines, where his songs have long been staples of family gatherings, karaoke sessions, and concert halls alike. Ahead of his return to Manila for a one-night performance at the New Frontier Theater on September 25, 2026, Billboard Philippines caught up with the legendary singer to reflect on a career spanning nearly six decades, the lasting appeal of love songs, his special connection with Filipino audiences, and what continues to inspire him to step onto the stage after all these years.

Billboard Philippines: After decades in music and timeless classics like “Release Me,” “The Last Waltz,” and “Quando Quando Quando,” how do you reflect on your legacy at this stage of your career?

Engelbert Humperdinck: I’m very proud of the fact that when I started recording many years ago, in 1967, and I had my first release, I never realized that I would have many hits. I just thought I got lucky with one. But I did get lots of hits, one after the other, one after the other.

And I think I’m one of the only people in the world that has had one, two, three in the charts at the same time. 

I’ve been lucky enough that I think I’ve sold over… the count is about 150 million albums around the world, or more. It’s more now. 150 was 15 years ago. So, it must be a little bit more right now. But I don’t know with the new count, you know, how they do it. Now they’re downloading and all that business. I have no idea. But I recorded some beautiful songs, as you put them — “The Last Waltz,” “Quando Quando…” “Quando Quando…” has been in so many TV shows and in movies and things like that. And I’m very proud of the fact that they asked for my songs to go into these movies.

What can I tell you? The songs I’ve recorded have a lasting appeal. And I’m very proud of the kind of songs that I’ve recorded. And I’m going to keep recording songs like that for the next few years that I’ve left in my show business career.

Billboard Philippines: Are there other songs in your catalog that you wish got bigger or more popular?

Engelbert Humperdinck: You should be satisfied with small mercies. And I’m thankful for everything that has happened in my life. Even though some of them didn’t get to number one, they did stay in the top five. So that’s good enough for me. I don’t want to be that greedy. But having number ones is a very special feeling.

Billboard Philippines: You’ve performed for audiences across generations and continents, including many memorable visits to the Philippines. What has always stood out to you about Filipino fans and the way they respond to your music?

Engelbert Humperdinck: Well, the Filipino people, they love music. Whenever I come there, I can’t believe how many people know my songs. And I know that karaoke has played a big part in my [popularity in the Philippines], and people in the Philippines love the karaoke machines. And they love to sing. And of course, my songs are very, very prevalent in the Filipino market.

Billboard Philippines: Your songs continue to resonate with listeners long after their original release. Why do you think romantic ballads and classic showmanship still connect so strongly with audiences today?

Engelbert Humperdinck: You know, it depends on the content of a song. And I like a good storyline, a good melody line. And the reason why people love that is because they live by love. Love is what makes the world go around, and all my songs have the meaning of love in them.

And I think that is one of the reasons why I have been successful. And they deem me the “King of Romance,” you know. I thought, what a nice title to give me. And so therefore, I carry on singing romantic songs. And I always will, because romance is part of living. And that’s what I’m going to do [and] keep doing it.

Billboard Philippines: You’ll be returning to Manila for a concert at New Frontier Theater on September 25, 2026. What can Filipino fans expect from this upcoming performance, and how do you prepare for shows after all these years onstage?

Engelbert Humperdinck: I travel all over the world. And I prepare a show that I think the world audience would like. So that’s what I prepare for — a world audience. But when I come to Manila, I do sing a Filipino song in my act. And I do enjoy the way they enjoy my music. Some of the Filipino people in this country, in the United States, when I play, I know they’re Filipinos because they’re the loudest in the audience. They love music, and I appreciate the fact that they love my music.

There are songs that have world appeal. And the ones that stand out in that world appeal, I keep those songs in my show. Like, for instance, “Release Me,” “After the Lovin’.” Some of the songs like “There Goes My Everything” [and] “A Man Without Love” stay in my show. “Quando” stays in my show, “Spanish Eyes.” There’s so many beautiful songs that I’ve recorded that I keep in my show and promote at my concerts.

Billboard Philippines: Looking back on your journey — from the height of your chart success to still performing today — what continues to motivate you to keep stepping onto the stage and sharing these songs with audiences around the world?

Engelbert Humperdinck: It’s in my blood. I’ve been doing it since I was 17 years old. And I’m 90 now. I can’t believe I’m 90, by the way. I don’t even consider that, you know. I sing a song in my show called “Don’t Let The Old Man In” by Toby Keith. It’s a fantastic song, and it tells the people how I feel at this time in my life. And it’s very humble; it has a lot of humility to it. And I enjoy singing it and telling the people, “Look at me. At this age, I’m still doing my thing.” And I’m doing it to the best of my ability.

Engelbert Humperdinck: The Celebration Tour 2026 Live in Manila happens on September 25, 2026 at the New Frontier Theater in Cubao, Quezon City and is brought to you by Steve O’Neal Productions. Tickets are available via TicketNet.

https://billboardphilippines.com/music/features/engelbert-humperdinck-manila-concert-2026-interview/

ROBIN KEARNS 1 July 2026 13th Floor

A confession. It’s curiosity that’s brought me here. What would it be like seeing a singer take the stage at ninety? Curiosity plus memories of my late parents singing along to Engelbert Humperdinck songs when I was a child of about eight. And that’s long time ago…..

We’ve been advised to be here by 7pm. No support act. Just a buzz of expectation. And a walking stick parting company with it’s owner skidding down the theatre steps to great collective mirth. Symbolic maybe. An older audience letting go and letting themselves be young again. 

Enthusiasts nearby start clapping and chanting En-gel-bert. Down on the stage, keyboardist Todd Schroeder gestures in approval. And at 7.05 pm the man steps out. All in black except a red shirt and well-placed red handkerchief in his jacket pocket. Walking just a little stiffly but clearly fitter than many in the audience.

Five years older than Bob Dylan who in this year’s leg of the never-ending tour dons a hoodie and sings in the near-dark. Seven years older than Barry Manilow in whose recent shows he seems to lip-synching his songs.  Nine years older than Rod Stewart who last week needed oxygen on stage in Utah.…. And here he is. Engelbert looking and sounding mighty fine and younger than all of them at ninety. Ageing’s such a roll of the dice. 

First up is Welcome to our World. A song we’re more accustomed to hearing from the baritone voice of John Grennell. But here it’s an overture into Englebert’s world. 

Significantly this is his Celebration (not Farewell) Tour. Even though it might well be realistically called the latter. The upbeat description celebration speaks to hope, achievement and possibility. 

What is it that keep performers going into advanced years these days? Nostalgia? Earning? The sheer love of performing? A belief that age is but a number? 

He brings a bit of Las Vegas to Auckland tonight, fully entertainer as well as singer. I’ve been in this business about five years. The first of many self-deprecating comments, pretending to deflect attention from his age. My career’s been built on love songs. I feel kinda responsible for some of you out there. A lead-in to his sultry song Last of the Great Romantics.

He moves between three swivel stools on stage and occasionally leans on the piano. Hope you don’t mind me sitting down. I’m 49 years old. Irony threads through his banter.

After the Lovin’ is all croon and swagger accompanied by a crowd of backing singers that surround us and number at least half the theatre’s capacity. 

Time to get loose-jointed he says as he teases the audience. Removes his jacket and undoes the upper buttons of his shirt. 

We get snippets of his bio between songs. I learned to dance young. I came from a family of ten kids. I learned to dance waiting for the bathroom.

Quando, Quando, Quando, a song he tells us pipped the Beatles for #1 on the charts, finishes with his guitarist who looks a little like Jack White from afar offering a little shredding moment. A nod to more youthful idioms. His band is tight and never dominates. 

Englebert sips on tea. I have a B-side from 1967 for you. It’s the unmistakable strum of Ten Guitars. The audience erupts. An unexpected hit here in Aotearoa more than anywhere else. That song sung at kiwi campfires, pubs and beach barbecues. A song honoured in Geoffrey Cawthorn’s excellent 1996 documentary exploring this unofficial backyard anthem that Humperdinck gifted us (https://geoffreycawthorn.com/ten-guitars/).  

Till now I have been a curious observer. With this song I cannot help but join in the chorus as aisles fill with fans out of their seats and dancing. 

We’re getting all the hits. Man Without Love takes me back. Another childhood memory and parents’ favourite. His voice has power as does his presence

He apologises again for sitting down. Plays up to the playboy image. I’ve got to sit down when I can. It’s the only time I rest. When I go to bed there are ladies banging at my door. 

His sung enunciation seems clearer than his speech. Big vocals. Big songs.  And a turn to the bluesy with Don’t Let the Old Man In. His ode to aging well. 

And at his age and stage you’d might expect a purely greatest hits set.  But we get two new songs. Well, sort of new. One’s a  Journey cover. From my new album out next month. Buoyant and little bombastic as only 80s songs were. 

A wonderful late set highlight is the pair Can’t Get My Eyes Off You and How I Love You, the latter dedicated to his late wife. He’s outlived most of his peers, spouse included, 

If that was a little raw, the mood is countered by Old Time Rock and Roll. Offered as a vehicle to introduce his crack band who each offer a solo. Then it’s Last Waltz and Release Me (they say this song is 59 years old). He delivers it with gusto, splicing in the new lyric release me and I’ll be back soon.

An encore brings him back with a rendition of My Way and a tossing of red handkerchiefs into the audience. With a final bow he dons an impressive red embroidered housecoat and walks off. To the next show not into the sunset.

He’s doing it his way. Decades beyond the usual age of retirement. Not letting the old man in. A total performer. 

One word: respect.

Robin Kearns 

1. Welcome to our World

2. The Way It Used To Be

3. Last of the Romantics

4. A Man Without Love (Anna Identici cover)

5. After the Lovin’

6. Spanish Eyes (Freddy Quinn cover)

7. Am I that Easy to Forget (Carl Belew cover)

8. A Chance to be a Hero

9. Don’t let the Old Man In (Toby Keith cover)

10. Quando, Quando, Quando (Tony Rennis cover)

11. Ten Guitars

12. Faithfully (Journey cover) 

13. Always My Love

14. The Last Waltz

15. How Do You Keep the Music Playing (James Ingram cover)

16. Release Me (and Let Me Love Again) (Eddie Miller and His Oklahomas cover)

17. Can’t Take My Eyes off You (Frankie Valli cover)

18. How I Love You

19. Old Time Rock and Roll (George Jackson cover)

Encore

1. My Way (Paul Anka cover)

29 Jun 2026 The Post

Engel­bert Hump­erdinck – Cel­eb­ra­tion Tour. Michael Fowler Centre, Wel­ling­ton, June 26. Reviewed by Scott Weaver

Walk­ing to my seat, I over­heard a woman of a cer­tain age sound­ing thor­oughly con­fused.

I thought we were see­ing John Rowles, she said. My own first memory of the name Engel­bert Hump­erdinck was won­der­ing as a small child whether he was friends with Rumpel­stilt­skin.

Surely that couldn’t be a real name. Turns out it was, bor­rowed from a Ger­man com­poser, and the man him­self has spent six dec­ades and sold more than 140 mil­lion records mak­ing sure nobody for­gets it.

Hump­erdinck opened at the Michael Fowler Centre with a five-piece band behind him, launch­ing into Wel­come to My

World before cut­ting the song short and re-enter­ing to start again. Genu­ine tech­nical hitch or delib­er­ate show­man­ship, it was hard to tell.

Either way, it was a sign of things to come. He looked and soun­ded fant­astic walk­ing out, noth­ing like a man of 90, so much so I briefly wondered if he was mim­ing. He was not.

The sound issues that plagued the even­ing made that abund­antly clear. He missed his own cue on one song entirely, ask­ing his gui­tar­ist to sing the open­ing line, only for that micro­phone to die as well.

He spent much of the night ask­ing for a wider sound and a clearer sig­nal in his earpiece. He took all of it with good grace, blam­ing the first night of the tour and apo­lo­gising to a crowd who adored him regard­less. When the sound did cooper­ate, that voice still had it.

His between-song banter revealed a man who still loves an audi­ence. Dad jokes, or rather great-great-great-dad jokes, landed every time.

When his voice wavered, cha­risma and tim­ing car­ried him through. By the third song he had lost the tux jacket and was unbut­ton­ing his red shirt to the band’s striptease tune, and I am fairly cer­tain I saw a couple of women in the rows ahead of me swoon.

The night’s best moment came with Ten Gui­tars, the B-side to his very first single

Release Me and an endur­ing Kiwi clas­sic in its own right.

Pock­ets of the audi­ence were on their feet, the rest singing along from their seats. Sens­ing how much it meant to the room, he asked the band to play it again, invit­ing every­one to sing it back to him, and sat on his stool grin­ning, soak­ing it all in.

There was real heart else­where too. Intro­du­cing Toby Keith’s Don’t Let the Old

Man In, he told the crowd he had turned 90 a couple of weeks earlier, and that his fam­ously dark hair owed noth­ing to nature, hav­ing gone grey in his early 20s and been dyed ever since.

He took on Jour­ney’s Faith­fully, a brave choice given the strength of the ori­ginal vocal, and did it faith­fully indeed. Quando, Quando, Quando, The Last Waltz, A Man

Without Love and Can’t Take My Eyes Off You all found their way into the set, along­side a band intro­duc­tion over Old Time

Rock and Roll that gave every musi­cian their moment in the spot­light.

He closed his main set with Release Me, the song that made him a house­hold name world­wide, before return­ing for My Way ,a robe over his shoulders, red handker­chiefs tossed into an ador­ing crowd. Sound issues and all, I left thor­oughly enter­tained by one of the great enter­tain­ers of our time.

https://www.pressreader.com/new-zealand/the-post-1022/20260629/281608132159249

By Jennifer Merigan - 29/06/2026 Have a Go News

The world is fascinated by superagers — people redefining what it means to grow older — few embody the idea more than Engelbert Humperdinck. 

Still touring internationally at 90, the legendary entertainer will return to Australia in July, including a performance in Perth, continuing a remarkable career spanning more than six decades.

Have a Go News spoke to Engelbert from his home in Los Angeles about longevity, music and the secret to life on the road at an age when most people have long retired.

“I did 300 shows a year, travelling the world, and it was a very exciting career,” he said. “It took me away from home a lot, but I was able to support the family well and give my kids a good education.”

He said the decision to adopt his famous stage name came early in his career after advice from an ambitious manager.

“He’s the one that found all the songs for me and changed my name to Engelbert Humperdinck,” he said. “The name I had before wasn’t striking the public very well. We had to come up with something different in order for people to take notice. Of course, a name like Engelbert Humperdinck certainly made people look twice, and thank God it’s been very instrumental in my career.”

Engelbert insists he still feels decades younger once he walks on stage.

“People ask me all the time, ‘How can you still do it at your age?’” he said. “I’m very proud to say I don’t look my age, and I don’t act it either. When I’m on stage, I feel like I’m 25 years younger.”

He credits exercise and discipline for helping him maintain the stamina needed for touring.

“Oh yes, I do exercise quite a lot,” he said. “As a matter of fact, I do aerobics in my swimming pool, which makes it a lot easier, especially with all the sunshine over here. I exercise about five days a week.”

This superager has also enthusiastically embraced social media to stay connected with audiences across generations.

“My days are taken up with interviews and keeping up with social media,” he said. “I do something every Tuesday called ‘Tuesday’s Newsday’, where I share what’s been happening in my life that week with people around the world.

“Social media is wonderful because you can connect with people instantly no matter where they are. And of course, I read their comments as well, which makes it even better.”

The digital world has also introduced him to younger audiences after one of his songs appeared in the Marvel series Moon
Knight.

“I started getting young faces in my audience who wanted to find out what Engelbert Humperdinck was all about,” he said. 

He laughed when asked about the famously devoted and underwear throwing female fans he and Tom Jones attracted during the height of their fame.

“Well, all the underwear that was thrown on stage, I donated to Hard Rock Cafés around the world,” he joked. “But yes, I’ve had them thrown at me by the thousands over the years.”

Despite more than 60 years in show business, he admitted he still gets nervous before performances.

“Oh totally, I certainly do,” he said. “I’m probably the most nervous person before a show. I’m pacing up and down backstage, testing my voice, checking the sound — and my hands are freezing cold.

“But once I’ve been on stage for about five or 10 minutes, everything goes back to normal.”

Remarkably, Engelbert believes his voice has improved with age.

“The funny thing is, my voice has actually become better and more commercial as I’ve gotten older,” he said. “Usually when people get older, their vibrato slows down, but mine practically disappeared, and it’s given my voice a more commercial sound now.”

He has also recently released a new single, I’ve Got You.

“I still try to keep up with all these charts and streaming platforms, although I don’t really understand how they all work anymore,” he laughed. “But it became the number one new release and the number two best-selling new release on Amazon.”

Talking about the songs that have shaped his life, Engelbert said classics such as The Last Waltz still resonate strongly with audiences.

“Well, I’ve got a couple of songs that have been very instrumental in my life,” he said. “Songs like The Last Waltz were played in every dance hall around the world.”

Australian audiences can also expect plenty of those classic hits during his July tour.

“Without a doubt, I’ll be doing all the big ones,” he said. “There’ll be The Last Waltz, Release Me, Quando, Quando, Quando, Spanish
Eyes, and all those magical songs I’ve recorded over the years.”

Humperdinck said one of the great joys of performing today is the confidence and professionalism that comes with experience.

“I think I’m more professional in the way I appear on stage these days,” he said. “I’m always improving myself, and I think people enjoy that.”

Reflecting on his long career, the singer warmly recalled working alongside legendary entertainers including Elvis Presley, Johnny Mathis, Willie Nelson and Kenny Rogers.

“It’s been a great journey,” he said. “And maybe in the near future, I can record with some younger artists as well.”

Asked how he would like to be remembered after such a remarkable career, his answer was simple. “A consummate performer.”

Ahead of his return to Australia, he also had a message for Perth audiences.

“I’m looking forward to coming back to Perth,” he said. “I can’t wait to see everybody there and share the music once again.”

Engelbert Humperdinck performs at the Riverside Theatre in Perth on Sunday July 12.

https://www.haveagonews.com.au/entertainment/engelbert-humperdinck-talks-longevity-and-music/