Engelbert Humperdinck
QPAC Concert Hall, Brisbane
July 4, 2026
Two years ago, Engelbert Humperdinck set off around the world on his Last Waltz Farewell Tour. It seemed a fair enough proposition; after all, he was 88 at the time. But after spending two months at home once the tour ended, he realised he wasn’t quite ready to leave the stage. Reflecting on that decision now, he says he’ll continue performing “until the Good Lord calls me.” Judging by the joy inside QPAC on the opening night of his latest Australian tour, few would begrudge him that. Appropriately titled The Celebration Tour, there’s plenty to celebrate.
Ever since he abandoned the name Gerry Dorsey and became Engelbert Humperdinck in 1965, he hasn’t looked back. The QPAC Concert Hall is close to full tonight. His band—grand piano, electric guitar, bass, drums and keyboards—takes the stage ahead of him.
Humperdinck enters wearing a tuxedo and with a spring in his step that belies his 90 years. Given the occasion, “Welcome to My World” proves the perfect opener.
Before long the jacket is off, the bow tie loosened and the jokes begin to flow. This is a man who has played more clubs, theatres and Las Vegas showrooms than we’ve had the proverbial hot dinners.
The set catches alight six songs in with “Spanish Eyes”. From there Humperdinck shifts up another gear with “A Man Without Love”, before sliding effortlessly into one of his signature hits, “Quando, Quando, Quando”. Now he’s positively shimmying across the stage.
It is a celebration and the evening is filled with nostalgia for songs that, in many cases, were written more than half a century ago. At first, this writer found himself marvelling at the fact that Engelbert could still pull it off. Yes, the voice remains remarkably intact, but somewhere during the second half the evening transforms into something else entirely.
Journey’s “Faithfully” and Toby Keith’s “Don’t Let the Old Man In” were ‘pretty good, but it is when Humperdinck dedicates “How I Love You” to his late wife, Patricia, that the performance transcends nostalgia. Suddenly there’s an emotional weight in his voice that goes well beyond storytelling.
Occasionally Engelbert sits on a stool, but for most of the evening he roams the stage. By the final stretch it feels like watching a veteran truck driver guiding a sixteen-wheeler down a wide-open highway—completely relaxed and utterly in control.
“Old Time Rock and Roll” is a bit of a romp, but a highlight is a medley of “Sweetheart”, “There Goes My Everything”, “Another Time, Another Place” and “Les Bicyclettes de Belsize”.
“Release Me (And Let Me Love Again)” brings the main set to a close before Humperdinck returns, seated on a stool, for Paul Anka’s “My Way”. Leaning into every lyric, he hits one of those moments almost impossible to explain. It’s alchemy. Elevated to a place where Humperdinck’s version tonight would stand alongside those of Frank Sinatra and Elvis Presley.
Bravo, Engelbert.
Sean Sennett