Reviews

scarborough (July 2026) Yorkshire Coast Gigs

Written by Emma Stainforth

It’s Not Unusual for Tom Jones to have a crowd of thousands absolutely awestruck. The Welsh wonder brought his unparalleled stage presence and once-in-a-generation voice to the Open Air Theatre on July 26, with a masterful band to match his talent, for a trip down memory lane and a night of new discovery.

With a summer tour spanning the UK & Ireland, Europe and the States, Sir Tom Jones has shown no sign that his eighty-six years will be slowing him down. But, with the rapturous applause and standing ovation as he entered the Open Air stage, it’s easy to see where his energy comes from! With the stage simply set, just the lilting keys welcoming him on, the night opened as Sir Tom brought a spellbinding rendition of I’m Growing Older. An absolute showcase of his arresting vocals, maintaining their strong, soulful power. The stripped back simplicity of this opening drawing us into tonight’s journey; a chance to witness a master of his craft continuing to carve out his musical legacy.

Sir Tom welcomed us to the evening with his melodic Welsh tones, sharing how glad he was to be back in Scarborough, a venue he has enjoyed playing for many years. He took us back to 1965 as he introduced his debut single. It’s Not Unusual held every bit of its charm more than sixty years later, with a fresh bossa nova twist on the original, the crowd came alive ready to dive into the hits that propelled him to stardom. A driving force in the reimagination of these well-loved songs was his band; Matt White (musical director and guitarist), Scott McKeon (guitarist), Paddy Milner (keys), and Dave Bronze (bassist). With such musical talent to match Sir Tom’s own, the band expanded and explored these classics showing us how there is always so much joy to be found in brilliant music!

With star-studded anecdotes cementing Sir Tom as a true legend, he introduced the title track for Woody Allen’s 1965 comedy What’s New Pussycat? Leaning into the tongue-in-cheek nature of it all, Sir Tom brought a playful energy to his musical repertoire so famously rooted in allure. With the signature ‘oh yeahs’ and ‘whoops’ still driving the crowd just a little wild, having us giggling and kicking our feet at the subtly-suggestive and down-right cheeky lyrics! This only expanded as an undeniably sexy guitar riff held centre stage, opening up for a seductively-slow rendition of Sex Bomb. An absolute masterclass in taking songs on a fifty year journey and having the crowd enthralled every time. His booming voice, filling out every inch of this silky-smooth rendition – with the masterful band reminding us of the absolute magic of live music with face-melting riffs weaving between his hypnotic tones. Sir Tom secured himself as the ‘real deal’ as the bridge came with such punchy passion, his vocals as mighty as ever.

We took a turn back to the emotive, with Across The Borderline, I Won’t Crumble If You Fall and This Is The Sea. Evident in how Sir Tom’s vocals swam effortlessly across these songs, he is using this tour to revisit all-time favourite performances, creating an energy of pure enjoyment spreading far and wide over the crowd. Sir Tom and the band took a gospel take on the Waterboys classic, embracing the organ and guitar jangle. The guitar held the stage maintaining the jaunty, western sounds, as the stage reset for Delilah. With a quick pivot, the genre shifted to a 1960s samba to reimagine this dramatic, passion-filled song. Leaning gladly into the melodrama of the song, Sir Tom’s musical storytelling was evident as he masterfully unveiled this story of love and lust and revenge! With blood red visuals for such a cinematic, larger than life performance.

Sir Tom took a moment to ask us ‘Oh yeah?’ to which we undoubtedly replied; ‘Oh Yeah!’ – his simple catchphrase sending the crowd crazy. The energy flew sky high as he and the band moved into the rip-roaring If I Only Knew, backed by electric stage visuals, with seemingly no falter in his vigour, he brought out some of his most impressive vocals of the night, including an unexpected but welcome rap section! Wailing guitar solos brought the signature seductive sound back to the night, moving seamlessly into a tribute to the late great Prince as he launched into Kiss. With the whole crowd on their feet, he sang and screamed and hollered his way through this last number, with all the charm and talent he has built this magnificent career on. With ‘I think I better dance now’ morphing into ‘I think you better play now!’ to the band, we were reminded of the lifetime of performances Tom Jones has under his belt, and how his shows may be altered but in no way dampened by his eight-six years! As Sir Tom left us with a final Kiss, we were left wanting his ‘extra time’ as he bid us a thank you and farewell.

Madrid (July 2026) Muzikalia

Written by Fernando Del Rio

Just take a look at the advertising to see how we live obsessed with convincing us that time does not pass through us. Tom Jones did just the opposite in Botanical Nights. There was no attempt to disguise his 86 years, on the contrary, he turned his age into the starting point of a concert as honest as it was exciting.

With the venue fully packed, Jones appeared alone on stage, with the pianist’s caveat to the Hammond organ, which had come out before. He sat quietly in a chair located in the centre of the stage, greeted and began to sing “I’m Growing Old”, a whole statement of intent. Both the choice of the subject, and the live treatment of many of the topics, the veteran Welsh came to tell us that there is an elegant way to age on the boards. And that idea was reinforced by the initial sequence that would continue with Leonard Cohen’s “Tower of Song” and Dylan’s “Not Dark Yet” twilight, which prolonged that trilogy on the passage of time and its consequences.

Naturally, the public also wanted to reunite with the most popular Tom Jones, and the Welshman soon granted him that wish. “It’s Not Unusual” and “What’s New Pussycat?” They raised the temperature of the Royal Botanical Garden. The first big choirs of the night returned to the stage the old British pop icon, albeit without breaking the delicate balance that Jones had established from the beginning.

If “It’s Not Unusual” had already adapted it to reach certain shades without perishing in the attempt, it was also interesting to see how “Sex Bomb” was interpreted away from the funk exuberance of its best-known face, to turn it into a more restful, less explosive, but equally effective version. And it is that Jones does not need to pursue the same notes or the physical energy of years ago, his stage authority is born of his presence and, of course, of a voice that practically preserves intact, but with some inevitable losses.

The concert was peppered with memories that ended up functioning as autobiographical pieces, such as in “You Can Leave Your Hat On,” popularized by Joe Cocker and which Tom Jones revisited in 1997 for The Full Monty’s BSO. Or when he said (with laughter) that, when he was invited two years ago to Willie Nelson’s birthday, he asked him if he kept singing at the age of ninety and that he quickly realised that he himself was going the same way. After these moments of humour the moving “I Won’t Crumble With You If You Fall” sounded naked and very emotional, to give way to an inspired version of “This Is the Sea” by The Waterboys, another song about the need to start again, even if it seems to be too late.

For much of the concert the armchair that Jones used to rest was almost one more character, from her she transformed the stage into a space of talk with his audience, so the fact that he abandoned it became significant. As happened with “Delilah”, in which the classic appeared reinvented, thanks to a more acoustic arrangement, with a guitar solo that started applause, also reinforcing the appearance of an accordion on stage, which brought the song closer to the atmosphere of early celebration. 

The band, much more than solvent, showed throughout the night that their function was not that of mere accompaniment and that was evident in the psychedelic reading of “Lazarus Man”, of the never-enoughly claimed Terry Callier, thanks to the return of that Hammond organ “sensero” and a guitar that ended up evoking great bands of the “psych” era.

He returned the most danceable soul, funk and Tom Jones and that everyone was waiting for with: “If I Only Knew” and the review of Prince’s “Kiss”, while the stage succumbed to the explosion of pop art in the style of Roy Lichtenstein, filling the screens of portraits of Jones.

The bises finished explaining the meaning of the night, when Jones returned back to the stage sitting again to offer a very country “Green Green Grass of Home,” stripped of any grandiloquent temptation. But there was still one last trip to Tom Jones’ wilder side.

With “Strange Things Happening Every Day,” immortalised by Sister Rosetta Tharpe, the concert returned to the roots of the electric gospel that would end up lighting rock and roll. Then came “Johnny B. Goode,” preceded by the anecdote about Elvis Presley. Jones recalled one night in Las Vegas, in which they coincided with Chuck Berry and how Elvis himself settled any argument claiming that the only King of rock and roll was Berry. The story served to contextualise a tribute that led, already without brakes, to an explosive “Great Balls of Fire”, turned into a tribute to the roots of the genre.

Before the final goodbye, Jones gathered the entire band at the centre of the stage to present them one by one. Something that reaffirmed the figure of the musicians who accompany him as a fundamental part of the Tom Jones gear today. Perhaps the battle against Cronos is lost from the beginning of our respective births and we have to be doomed to walk beside him. That’s what Tom Jones has accomplished after more than six decades on stage, making the passage of time his greatest strength.

Germany (July 2026) Rheinische Post

Written by Max Kuhlem

Cologne – The 86-year-old entertainer followed in Frank Sinatra's footsteps during his concert at Cologne's Lanxess Arena. One of the highlights of this astonishing performance was an emotional moment—and a song that no one expected.

Some musicians start thinking about retirement in their sixties. One famous band from Düsseldorf, for example, is currently on its farewell tour. Tom Jones, on the other hand, is still performing at the age of 86, and there is not the slightest hint of saying goodbye in the comfortably air-conditioned Lanxess Arena. Quite the opposite: he wants to keep going—and he has found role models for doing so.

During one of his stage conversations, the Welsh singer tells his audience of around 5,000 fans that he recently thought about the 90th birthday celebration of American country legend Willie Nelson, to which he had been invited. That was three years ago.

"So he's 93 now—and he's still singing. I'm only 86!"

Speaking of age: Tom Jones is not the kind of 86-year-old who appears untouched by time, like Beatles drummer Ringo Starr. When he walks across the stage, his movements are understandably slow and cautious. But the moment he begins to sing, everything people love about him instantly returns.

His voice still possesses soul, power, and sex appeal, while also being capable of sounding deeply vulnerable. During the opening song, I'm Growing Old, it even appears on the giant video screen as though he wipes away a tear from the corner of his eye. The exact same detail, however, appeared in a report about his previous performance at the Elbjazz Festival in Hamburg. One may therefore assume that this is simply the work of a master entertainer who knows how to play with emotions.

On stage in Cologne, the rugged-looking Tom Jones often evokes the image of the late Frank Sinatra, adding elegance and grandeur to his voice. During You Can Leave Your Hat On, one almost imagines hearing brass and string arrangements, although none are actually present.

Musically, however, the show pays tribute to different icons. The sound recalls the late Johnny Cash of the American Recordings era as well as Bob Dylan on his Never Ending Tour. Jones is accompanied by a small but outstanding band consisting of two guitarists, bass, keyboards, and drums. Together they deliver unusual, yet almost always highly successful, interpretations of well-known songs.

His biggest hits—at least in Germany—It's Not Unusual, What's New Pussycat?, and Sexbomb—all appear within the first third of the concert, with the first two performed in acoustic arrangements.

What truly steals the show, however, are some unexpected selections.

His interpretation of Bob Dylan's Not Dark Yet is nothing short of magnificent, perfectly capturing the spirit of Dylan's artistic phase in the late 1990s.

Then, toward the end of the regular set, Tom Jones surprises everyone with a song that hardly anyone expected: Talking Reality Television Blues, written by American singer-songwriter Todd Snider, who passed away last year. Jones recorded the song for his 2021 album Surrounded By Time.

Live, the lengthy piece—more spoken than sung—about the rise of television works even better than on the album and becomes one of the evening's hidden highlights. It's a wonderfully intricate blues number in which the drummer unexpectedly shifts the beat, the electric guitar howls beautifully, and Jones's voice and lyrics sound strikingly contemporary, immediate, and full of conviction.

Yes, Tom Jones also performed classics such as Delilah, Prince's Kiss, and Green, Green Grass of Home. But what made this evening truly unforgettable were the unexpected moments—especially Talking Reality Television Blues.

Here's hoping he returns soon.

Spain (June 2026) Mondo Sonoro

The Voice

Written by - Noel Turbulencias

Anyone who dares to write a chronicle of a Tom Jones concert should first stop to x-ray, millimetre by millimetre, the anatomy of vocal cords that have been flexing for more than eight decades to emit silky, velvety and exuberant sounds. There, in that prodigious gorge, a good part of the mystery of the Welsh Tiger continues to reside. A unique singer, owner of a voice that continues to command respect even when time is already an essential part of the story.

Tom Jones opened his concert in A Coruña facing senescence. “I'm Growing Old”, “Tower Of Song” and “Not Dark Yet” sustained the first section of the recital. Songs crossed by the section of life in which he finds himself. “It's Not Unusual” or “Sex Bomb” arrived early, quickly getting inevitable anthems out of the way and opening space for a broader reading of their repertoire. Every time Jones slightly pressed the accelerator, the crowd responded with spontaneous applause, even in the middle of a song.

There were compliments, flattery and constant admiration in the air. The audience watched as a historic voice continued to find air and presence. The final section, with some encores with a more rockabilly profile, rounded off a night in which Tom Jones once again demonstrated his ability to appropriate other people's songs until they seemed like an inseparable part of his biography.

Without a doubt, a pristine concert – framed within the O Gozo Festival program – with a sound that accompanied impeccably, in which Jones was accompanied by a band that held a classic and elegant concert, adapting the greatest hits to other tempos, with arrangements designed to respect the singer's pulsations and keep the emotional impact of the songs intact. It remains an incalculable luxury to hear this music legend on stage.

Spain (June 2026) La Opinion A Coruna

The Conquest of Tom Jones in A Coruna

Written by: Marta Casais

At 86, many artists live off nostalgia. But this is not the case for Tom Jones, who continues to defend the songs with a notorious voice recognized around the world. Fill the stage and conquer the audience. This was the concert this Thursday in a Coliseum in A Coruña completely delivered.

The magic began with I’m Growing Old, which the artist performed sitting on a stool accompanied only by the piano. After emotional songs like Tower of Song, the Tiger of Wales woke the audience with songs like Not Dark Yet.

With many of the attendees pulling fan to combat the heat, one of the great moments of the night was starred by It’s Not Unusual. Many raised their mobiles to immortalise the song. Same with Sexbomb.

Delilah was the subject that conquered the public, where many rose from their seats and gave a great ovation at the end.

“It’s good to be back in Spain again,” said Jones, who sang a “Viva España” and expressed confidence in a team win, which played its match against Austria in the World Cup during this performance. “I’m sure it will be a great game and I’m sure it’s going to be a great night.” And so it was. It didn't fail.

Athens (June 2025) SOUNDARTS

Reportage | The Sir Who Enchanted Lycabettus: Tom Jones in His Most Authentic Night

For the first time in Greece, the legendary Tom Jones delivered an unforgettable night at a packed Lycabettus Theater.

On the evening of June 21, 2025, the hill of Lycabettus overflowed with nostalgia, smiles, and songs that spanned decades. The iconic Sir Tom Jones performed live in Greece for the very first time, offering the audience a concert that will remain etched in the memory of everyone present. From 8:45 to 10:30 p.m., he proved why he remains unrivaled, with a voice that has lost none of its power and emotion, a stage presence full of confidence, humor, and genuine connection with the audience.

Set against the Athenian sky and a pleasant breeze cooling the hill, Tom Jones made a modest yet captivating entrance. He opened with “I’m Growing Old,” a touching choice that immediately signaled his intention to narrate a musical journey of a lifetime. He followed with Leonard Cohen’s “Tower of Song” and Bob Dylan’s “Not Dark Yet,” confirming his love for songs with depth, introspection, and poetry.

But the night was far from a purely emotional introspection. When “It’s Not Unusual” kicked off, the crowd erupted into thunderous applause. It was the first big throwback to the ’60s and ’70s—the era that made Tom Jones a global household name. The following “What’s New Pussycat?” brought smiles and sing-alongs to every corner of the amphitheater, proving that his classics have not lost their charm.

Things heated up even more with “Sex Bomb” and “You Can Leave Your Hat On,” as the Welsh performer moved into more seductive territory, showcasing the bluesy tone that has defined his voice for decades.

The setlist was enriched with impressive selections from artists like Cat Stevens, Ry Cooder, and Terry Callier, lending a more soul, folk, and alternative edge to the evening. Songs like “Pop Star,” “Across the Borderline,” and “Lazarus Man” were delivered with disarming honesty and emotional depth that only a performer with such vast experience could convey. A standout moment was his rendition of “The Windmills of Your Mind,” where Jones’s expressive delivery gave new life to Michel Legrand’s classic melody.

One of the most emotionally charged moments of the night came with “I Won’t Crumble with You If You Fall,” a song dedicated to personal losses, featured on his most recent album Surrounded by Time (2021). Jones performed with nothing but his voice and a single spotlight, while the large video wall’s special effects created an electrifying atmosphere.

Naturally, the energy peaked with “Delilah,” perhaps his most recognizable song. The audience sang every word with passion, turning the amphitheater into a massive choir. The same reception met “If I Only Knew” and his funky, high-spirited cover of Prince’s “Kiss,” proving he’s still a multi-faceted performer.

The encore began on an emotional note with “Green, Green Grass of Home,” which held the crowd in silence and reminded everyone why the song is a timeless gem. The night closed with “One Hell of a Life” and the rock ’n’ roll gospel number “Strange Things Happening Every Day,” sealing the performance with spirituality, soul, and the raw passion Tom Jones brings to every stage.

His long-anticipated performance in Greece did not disappoint. It was an evening that combined the mastery of a seasoned artist with the emotion of a crowd that grew up with his music. Tom Jones is not just a living legend—he is living proof that talent, when fueled by passion, dedication, and truth, can remain timeless. And on the hill of Lycabettus, he proved that with every note, every word, and every look.

Athens - StreedRadio

"Time Sang on Lycabettus. And It Had the Voice of Tom Jones"

Written by Evangelia Tzakou

It took 60 years of a celebrated career for us to finally witness him live on Greek soil—at Sani Festival in 2024.

And then, on the night of June 21st—the longest day of the year and World Music Day— legendary Tom Jones took the stage in Athens for the very first time, at the Lycabettus Theater. A once-in-a-lifetime experience, overflowing with emotion, power, and musical magic.

He spoke to the audience like an old friend. With humor, warmth, and a deeply moving generosity. His voice (wait, who said he’s 85?)—rich, soulful, and unfiltered—haunted our hearts and left no doubt that he remains one of the greatest of the greats.

Spellbinding. From Dylan and Cohen to “What’s New Pussycat?”, “Sex Bomb,” and, of course, “Delilah,” every song was a snapshot, a story, a memory. Each one unique. Each one beloved.

Then came “Lazarus Man.” Absolute silence. His voice—raw, earthly, laced with the weight of experience—made the entire theater breathe with him. It was the moment when music became a whisper of life. And we all felt privileged to be there.

The audience sang out loud. They stood up, applauded endlessly, and shouted for him to return soon. It was a moment of collective emotion—somehow, we all felt that we had lived something extraordinary, a night that spilled music into our very core.

Tom Jones stood tall and gracious, saying nothing. He didn’t have to. His voice said it all.

He was a Sir in every sense of the word.

ATHENS - LOADED

We admired Tom Jones on Lycabettus By Giorgos Myzalis

Last Saturday (June 21st) was a truly musical evening for the city of Athens. Music lovers were faced with tough choices (myself included). In the end, I chose to go see Tom Jones at Lycabettus, and I must tell you right away, dear reader—it was the right decision. Everything I had hoped to “encounter” on that hill was there.

Sir Tom Jones made his entrance in the simplest of ways: at around 8:36 PM, those in attendance simply saw him walk on stage, without fanfare or announcement. With moving humility, he picked up the microphone and, for nearly two hours, took us on a journey through familiar and beloved sonic landscapes. At 85 years old(!), Jones was anything but “out of shape.” His voice—ageless, deep, resonant, and technically flawless—delivered each song on the playlist with precision.

Between songs, the Sir unfolded his humor, charm, and the confidence of a man who knows every inch of the stage—a stage he has served faithfully for 61 years(!) with the same passion and love. His stories were laced with memories, personal anecdotes, and mentions of legendary figures from the global music scene. A glance at the setlist told you exactly who the man in the blue shirt was. With him—spiritually—were: Bob Dylan and Cat Stevens, Ry Cooder and Michel Legrand, Willie Nelson and Prince, and many other beloved veterans of global music.

In his “arsenal,” a voice untouched by time, that only improved as it warmed up—though I must point out that from the very first note, it was spot-on and impressive. There were moments that left us open-mouthed: the catch in his delivery, his crystal-clear diction, and masterful vibrato control. The highlight of the evening for me? “This Is the Sea” by The Waterboys. Also of note was his top-tier band, with solid performance standards and refreshing takes on timeless songs.

I'm especially happy that in the years to come (or the years we have left, if you prefer, dear reader), I’ll be able to say, “I was there”—among the (middle-aged and above), courteous crowd of Tom Jones at Lycabettus.

haydock racecourse, UK (July 2025) - The Soundboard

Ben Whitehurst

Sir Tom Jones took to the Jockey Club Live stage at Haydock Park Racecourse on Friday 4th July, defying the relentless rain with a powerhouse performance that proved why he remains one of the UK’s most cherished performers. Excitement had been building all evening, and it reached fever pitch when Tom arrived by helicopter just before the final race, drawing cheers from the crowd as he was escorted by car to his dressing room. It was a rockstar entrance befitting a living legend, and it only heightened the anticipation for the main event.

Following the final race, the drenched but determined crowd surged toward the stage, ready for a night to remember. Sir Tom opened with the reflective trio of I’m Growing Old, Tower Of Song, and Not Dark Yet—poignant selections that have become staples of his Defy Expectations tour this year. They set the tone for a performance that balanced deep emotional resonance with undeniable showmanship. His deep, commanding voice cut through the downpour with stunning clarity, and as the show progressed, the energy only built as he moved into more familiar anthems from his storied catalogue.

What made the evening particularly special was the diverse audience: a mix of generations, from long-time fans who grew up on Tom’s music to younger racegoers discovering the legend for the first time. With drinks flowing and spirits high, the wet weather only seemed to add to the sense of camaraderie and celebration. Songs like Delilah and Green, Green Grass Of Home turned into full-throated singalongs, the kind of moments that remind you why live music matters.

This may be one of the last chances to catch Sir Tom Jones on tour, but he delivered and then some. His voice, powerful, soulful, and utterly distinctiver—one of the greatest in popular music. As part of the Jockey Club Live summer series, Tom’s show was a shining highlight, an unforgettable evening where music and memories collided, rain or no rain.

A personal highlight of the night was his electrifying performance of Sex Bomb. Backed by his impeccably tight band, the track exploded with funk-driven energy that had the crowd moving despite the soggy ground. With its infectious rhythm and cheeky charisma, it was a reminder of Tom’s ability to bring joy and swagger to the stage with ease. Every brass stab and bass groove landed perfectly, and Tom’s vocal delivery was as playful and commanding as ever, proof that even after all these years, he can still light up a stage with pure style and attitude.

Ahead of a run of shows across the United States and Canada later this year, Sir Tom is showing no signs of slowing down. While the days of leaping across the stage might be behind him, his vocal ability remains nothing short of astonishing. His voice, rich, textured, and emotionally resonant, continues to outshine many of today’s chart-topping stars. The maturity he brings to each performance adds a depth and sincerity that can only come from decades of experience, and it’s clear that audiences on both sides of the Atlantic are in for something truly special.

Berlin (July 2025) - TIP - Berlin

Redemption and a good time: Tom Jones triumphs in Berlin's Tempodrom

At the age of 85, Tom Jones delights audiences over 50 - and delivers an evening of soul, gospel, blues rock and pop history at the Tempodrom in Berlin. A concert that tells more than just the hits.

In front of the Tempodrom on this balmy summer evening in mid-June, bourgeois eccentricity reigns supreme. Ladies in long dresses and colorful scarves, shrill patterns, extravagant colors, quirky hats and sunglasses that are probably referred to as “funny” or “crazy” behind closed doors during coffee breaks or after-work piccolo sessions. The men look even more fantastic: white suits, sparkling silver jackets, one wearing a shirt printed with the Langnese ice cream range. In a cornetto pattern to Tom Jones? It promises to be a good evening!

8 pm. The rock'n'roll fades out. Roadies are tuning guitars, the amplifiers are humming. 8:10 pm. The star of the evening enters the stage in a light shirt and dark trousers, his step is wobbly and he immediately receives a standing ovation. Jones sings “I'm growing old”, written by Bobby Cole, accompanied only by the piano. The voice is there, it fills the room. There is applause during the chorus. Growing old - the audience empathizes. Jones used to be a dark, angular guy. He has become lighter, silvery-white and rounder at the edges, softer in a way. In the next song, he immediately makes it clear where he sees himself: in Leonard Cohen's “Tower of Song”, where he pays the rent - like Hank Williams before him. Another round of applause at the line “I was born with the gift of a golden voice”; Cohen's audience was always particularly pleased at this point.

Tom Jones never really made it to songwriting. He has remained a singer, not become a songwriter - an interpreter who comes from an earlier logic of the music business that was soon broken up by the Dylans, Cohens and Youngs of this world. With the classic separation of songwriter, arranger and singer, Jones moved dangerously close to the hit song business, to the commercial hit slingers, throughout his life. But he has never lacked coolness, that is more than clear. Cohen is followed by Dylan - but not with a classic, but with “Not Dark Yet”, a song that is more appreciated by Dylan connoisseurs.

In a way, Dylan floats above Jones' show. Even the band - bass, two guitars, drums, electric piano - virtuoso, grounded, seems modeled after Dylan's tour band. And almost like the 84-year-old Dylan, the 85-year-old Jones stands on stage, slightly unsteady yet pithy and wide-legged, holding onto the microphone. Video screens, flickering lights, rhythmic clapping along - that would be unthinkable with Dylan. Jones has both. The band rumbles in a country rock twang. The direction is clear: Jones doesn't just play the hits, he plays songs that speak to him from the soul. He doesn't have to write them - he just has to sing them.

“Back to the beginning of my recording career,” he says. The announcements are charming, anecdotal, he takes us back to 1965 to his first number one: “It's Not Unusual”, with acoustic guitar, percussion and accordion in the background. Then the tiger purrs for the first time. An old, wise tiger - not one that still hunts the Pussycats. Rather one who tours from city to city with his buddies and does what he wants. Because he no longer has to prove anything to anyone.

The accordion creates a South-of-the-Border feeling - the Burt Bacharach song from the Woody Allen film “What's New Pussycat?” follows. There is swaying - but more like in a Mexican cantina or a boozy workers' hostel in Cardiff, not like in a Musikantenstadl.

But the evening does not remain constant - it is biographical, eclectic, experimental. Space projection, light and airy Dire Straits guitars, a cosmic blues with which Jones conjures up the Lonely Blues in a sublime voice. It is the overture to “Sexbomb” as an epic Great Gig in the Sky. Jones recalls that this hit, with which he once again celebrated a comeback in 1999, was recorded in Hanover and written for him by the German music producer Mousse T.

Then “Pop Star”. "This song was written by a friend of mine - his name is Cat Stevens. Back in the sixties," he says. He has a lot of friends in the business - that's probably how it is when you've been in the business for a good 60 years. It's as if Jones wanted to tell his story with the setlist. And it's a good story.

With “Surrounded by Time”, Jones officially became the oldest person in England to have a number one album in 2021, replacing none other than Bob Dylan.

He is still the proverbial thoroughbred entertainer who, one could imagine, sings all night long to the sound of the Hammond organ - until the last Nighthawks disappear and the pals from the night shift stop in for a first (or last?) pint.

With “Surrounded by Time”, Jones officially became the oldest person in England to have a number one album in 2021, replacing none other than Bob Dylan. Dylan again. And this Tom Jones album also features a cover of the 1976 Dylan classic “One More Cup of Coffee”. A great song that produces images in the mind like a movie and which Jones may not make his own, but nevertheless captures the greatness of the original. He did not announce Bob Dylan as a “good friend” - this should be noted here - but in Los Angeles two years ago, he was there when the country legend Willie Nelson celebrated his 90th birthday. Tom, then only 83, sang “Across the Borderline” at the celebration in the Hollywood Bowl, as Willie had requested. And now, at the Tempodrom in Berlin, once again. Festive atmosphere, cell phone lights.

Immediately afterwards, Dusty Springfield - “a very dear friend of mine” - another highlight with “The Windmills of Your Mind”. The magic of pop music, the mystery - everything comes together in this song. In the windmills of the mind. But what comes next springs from such confused and unexpected levels of the mind that you can't help but marvel in awe at Tom Jones.

The “Talking Reality Television Blues” follows - a consumer-critical space blues written for Jones by the US songwriter Todd Daniel Snider, which comes across live with a gaudy pop art video projection. The band plays minimalist psychedelia, Jones declaims shamanically, politically, philosophically, critically - and sings these lines: “Then a show called ‘The Apprentice’ came on and pretty soon / An old man with a comb-over had sold us the moon / We stayed tuned in, now here we are / Reality killed by a reality star / I got the talking blues.” The Apprentice sold us the moon.

At 21:20, the Spanish guitar rang out and the audience was reconciled: “Delilah” and all together “My, my, my, Delilah” - a rather harmless song from the actually revolutionary year 1968. A flowery summer cloud in its prime rose up and everyone rocked along to Uncle Tom's beautiful hit as best they could. A pleasing moment, but that too is Tom Jones - a crowdpleaser. The cheering never ends.

But Jones is not in the mood for an oldies show. After “Television Blues” comes perhaps the most insane moment of the evening: the electric piano shimmers its way into the “Delilah” cheers. Then the band plays a progressive-epic plank, a completely obscure affair - they actually play “Lazarus Man” by US jazz and folk guitarist Terry Callier from 1998. If you don't know it, google it. The hat that, according to Jones, should have been left on during the disco hit “You Can Leave Your Hat On” - is now taken off, out of deep respect for the choice of material.

At 21:38, his greatest success of the post-sixties phase plays: “Kiss” by Prince. A story in itself. Last song. Long applause. Encore? Of course. Piano, shreds of blues, the old tiger comes on stage again - and murmurs. The band rolls routinely, as if Jones were also on the Never Ending Tour. The first encore is his standard “Green, Green Grass of Home”, which he has been singing since 1966, here in a touching, highly un-embarrassing version. Is he singing about the green grass of the Welsh valleys?

Tom Jones sends his Berlin audience off into the night with Sister Rosetta Tharpe's boogie-woogie gospel “Strange Things Happening Every Day”. With this last song, he reminds us of his roots - of soul and R'n'B, of the African-American music culture that longs for redemption and a good time and that sent the little boy called Thomas John Woodward from the small Welsh town of Pontypridd into the world.

Redemption and a good time. Tom Jones offered both on this great evening at the Tempodrom in Berlin. One wished him a rediscovery by the younger generation - like Johnny Cash experienced with the Rick Rubin albums. It's not too late yet. The tiger has grown old - but he is still dangerous. “Good night and God bless you all,” were Jones' last words.

Berlin - bild

Back on tour in Germany at 85

World star Tom Jones sings about his death

His hair has turned gray, his gait a little unsteady. But his voice is as strong and powerful as ever. Welsh star entertainer Tom Jones has just started his tour of Germany. And this only a year after he had already filled the arenas here.

On Wednesday evening, the “Tiger” gave a highly acclaimed concert at the Tempodrom in Berlin. And in doing so, he let completely new sounds resonate.

Tom Jones' age is hardly noticeable

At 8.11 pm, Tom Jones enters the stage to a standing ovation. Then he starts, almost without the musical accompaniment of his five-piece band, with the anthem “I'm Growing Old”. He sings with a quivering voice: "My eyes are getting weaker, my sighs are getting deeper. I'm growing old ..."

But the world star, who turned 85 on June 7, is hardly aware of this. Although he occasionally sits on a bar stool, he even dances discreetly during many of the songs.

In his famous song “It's Not Unusual”, Tom Jones lets the big cat out and growls like a tiger - to thunderous applause. In fact, the man still has sex appeal in his voice. When he launches into his cult hit “Sex Bomb”, hardly anyone is kept in their seats. Tom Jones repeatedly thanks the applause in German with “Dankeschön” and a smile.

Old classics such as “What's New Pussycat” and “Delilah” alternate with new songs from his latest album. With the latter, he became the oldest artist of all time to reach number 1 in the British charts in 2021 at just under 81, as Jones proudly recounts.

A highlight of the encore is the new song “One Hell Of A Life”, which Jones presents with cheerful composure. Although it deals with a serious subject - his death. He sings in English: "When I'm dead, feel no regrets. Throw my ashes to the wind and remember me: I've had one hell of a life, one hell of a life!"

But Tom Jones is not really thinking of leaving any time soon. After the encore, he promises to continue coming to Germany with his show. Jones: “Performing live is the center of my life.”

He also emphasized this before the start of his tour with the words: "As long as my voice is still going strong, I see no reason to stop. At some point, of course, that time will come. Time is my enemy, but I hope it's still a while away."

copenhagen (July 2025) Gaffa

***** (5 of 6 stars)

Tom Jones has always been great. Now he’s simply even better.

“And now, as we get to the six decades and life as a crooner.
Not for a single moment during the nearly two-hour concert did I think, “he can’t pull this off anymore.” On the contrary, Jones grew more and more commanding as the show progressed. Truly impressive – and once again, the word that comes to mind is awe-inspiring.”

The whole Review:

Aging (Musically) with Grace Is a Rare Art. Tonight in Tivoli, 85-Year-Old Tom Jones Showed Us How.

This was my first Tom Jones concert, and I was both excited and slightly apprehensive.
Excited because I’m quite fond of his 2021 album Surrounded by Time — thanks to his voice, the excellent band, and most of all the carefully curated repertoire that suits both his voice and his age perfectly.
I’ve read that it was his first album after a longer break following the death of his wife in 2016. And the Tom Jones who stepped forward on that album was clearly different from the brash, tight-trousered crooner women used to throw their underwear at. That was the man I wanted to hear.

My concern was whether it would be like so many other legacy acts — mainly performing early, crowd-pleasing hits. And I must admit that I, for one, haven’t exactly been missing “What’s New Pussycat.”

But it soon became clear there was no reason for concern. I simply didn’t know better. Now I do.

Bold and Awe-Inspiring Repertoire Choices

Jones opened with “I’m Growing Old” from Surrounded by Time. He sang seated on a high stool, accompanied only by a pianist, with a moody black-and-white headshot on the screen behind him. It was one of those openings that cuts straight to the bone — and a clear statement to the audience that age would be a central theme, something Jones intended to use as artistic fuel.

The second song was Leonard Cohen’s “Tower of Song,” another dark number in a stripped-back setting. It’s about the struggle of artistry in the face of time’s relentless march.

From the third song, Bob Dylan’s “Not Dark Yet,” the full band joined in — but as the title suggests, it too deals with life’s wear and tear and the bruises time leaves behind.
I found it deeply moving, brave, and entirely fitting for an 85-year-old man to insist on singing songs that reflect what’s currently on his life’s plate.

Those three songs stood as an opening “laying the cards on the table” chapter of the concert.

Then the tone shifted, and probably for the best — it was time to give the audience a bit of what many had likely come for. Jones now “invited” us back in time and delivered a few of the arguably obligatory songs from his mid-60s debut albums.
These had all been rearranged, though. For instance, “It’s Not Unusual” was dressed up with accordion, acoustic guitar, and congas, making it more charming than kitschy.

Closing out this “sexy” chapter, he delivered “Sexbomb” as a full-on blues shuffle.

He then returned to material from Surrounded by Time, from which he played the majority of the songs, supplemented by a few select tracks from older albums.
The band was excellent, and as the concert progressed, they became more and more present.
It’s no small feat to accompany an artist with a six-decade-long career spanning countless genres and still make it all feel coherent — but they did just that.

Still a Mighty Voice

And speaking of those six decades and life as a crooner:
There wasn’t a single moment during the nearly two-hour concert when I thought, “he can’t do this anymore.” Quite the opposite — Jones only grew more commanding as the evening wore on. Truly impressive — and once again, the word awe-inspiring comes to mind.
The wear and tear of time on his voice adds character to the tone, and it doesn’t seem to hinder his vocal control.
Life, all those shows, and the years may have taken some of the polish off, but that only makes him more emotionally tangible.

A Set Full of Strong Interpretations

Tom Jones doesn’t write his own songs. He’s a master interpreter — which makes it all the more important to pick the right material.
This setlist, like the most recent album, is full of carefully chosen tracks that steer well clear of that awkward territory where aging legends and their audiences pretend time hasn’t passed. That’s definitely not what Tom Jones is doing.

Beyond the opening number “I’m Growing Old,” most of the evening’s highlights came in the second half of the concert.

“Across the Borderline,” written by Ry Cooder but made famous by Willie Nelson, was a standout. The lyrics, originally about Mexican immigrants and the physical borderline between Mexico and Texas, took on a different shade in Jones’ delivery — sounding more like a longing for the great beyond.
The line “you paid the price to come so far just to wind up where you are” hit differently.
It’s essentially a country song — and honestly, I wouldn’t mind if Jones made a dark, brooding country album. The idea is now out there.

Jones was also cool and elegant in his phrasing during the more rhythmic spoken-word pieces, such as “Talking Reality Television Blues.”

Surprisingly, “Delilah” — one of his old hits — made it onto my list of favorites too. Mainly thanks to the band, who gave it new wings with a lovely Spanish-inspired guitar intro that morphed into a Tex-Mex/surf-guitar vibe so infectious it was hard to stay still.

But the most smiley faces in my notebook went to “Lazarus Man” — a long, slow build over a simple ostinato, where Jones began in spoken word and gradually ramped up the intensity toward a sung sermon in the style of an American Baptist preacher.
Meanwhile, the band took more and more room, playing short solos between verses and letting the music evolve.
It felt like being teleported back to Woodstock, to a time when music was allowed to take its time — and a song could stretch to nine minutes because it was a journey.

Kudos to Tivoli and the Sound Team

The fact that I could reflect on the lyrics and enjoy Jones’ voice so deeply comes down to two things.
First: Tom Jones belongs to the old school of diction — you can understand every word he sings. Sadly, that’s not a skill many modern singers have cultivated.

Second: Despite standing quite far back, I have to say the sound was excellent. The vocals came through beautifully.
Kudos to Tivoli and the sound engineers — you cracked the code. Many large-scale concert organizers could learn something from you.

“That Was the River / This Is the Sea!”

The quote comes from the song This Is the Sea, yet another cover — this time from the '80s. It also made my list of highlights, partly because the metaphor for past versus present felt particularly poignant: “That was the river / This is the sea!”
To me, it symbolized the journey of Tom Jones — from the bold, seductive entertainer full of bravado and sex appeal to the wiser, more introspective man he was tonight.
From the surging, shallow river to the vast, deep sea.

He’s always been good — now he’s simply better.

ATHENS - YDE NEWS

An Evening of Patina, Poetry, and Pop Power

Some nights make history. And then there are nights like this one — where history itself takes the stage.
Sir Tom Jones — living legend, silver-haired charmer, and still a vocal force of nature — took over Plænen in Tivoli on Saturday, July 19, 2025, delivering a concert that ranged from the deeply intimate to the deliciously cheeky. A musical life summary wrapped up in one summer evening. And what an evening it was.

Tivoli had gone all in. The setting for Saturday Hits was perfectly arranged, with the weather on its best behavior and a crowd ready for everything from tear-jerking ballads to hip-shaking classics. And what a crowd: Tivoli was packed to the brim. There was barely room for more bodies — or more memories. Silver strands sparkled in the spotlight while fans of all ages sang, danced, embraced, and maybe even fell in love all over again.

A Voice Marked by Time

Right from the opening number, “Growing Old,” Tom set the tone — and it wasn’t shrill nostalgia, but a proud, raw, and moving acknowledgment of age and experience. It almost felt like a direct response to the skeptics who might ask: Can he still do it?

The answer is yes. Not like before, but in a way that’s just as powerful. His voice now has patina. It cracks, it trembles, and it’s no longer carried by youthful energy, but by deep emotion and a powerful presence. It was a perfect match for Leonard Cohen’s “Tower of Song,” delivered with dignity and dark humor that made the audience both laugh and nod with gravity.

That same emotional weight shone through in Bob Dylan’s “Not Dark Yet,” where night and death hover on the horizon — but the man on stage still stands tall and sings.

But hey — this is Tom Jones! It didn’t stay heavy for long. He quickly sprinkled glitter and groove over the evening with “Unusual” and, of course, “What’s New Pussycat?” which still makes the crowd squeal in unison like a cat hit with a jolt of electricity. A shameless, charming crowd-pleaser.

When Sex Still Bombs

And yes, of course “Sex Bomb” came. And yes, he meant it. Maybe with a bit more of a wink than before — but still with a beat that could shake a walker. This was the moment everything exploded: the fans danced, waved, and one woman in a Panama hat threw what looked like a bra.

He put the hat on — for “You Can Leave Your Hat On,” a Joe Cocker number delivered with surprising swing — and followed with “Popstar,” where he playfully poked fun at his own image. Even at 85, he clearly knows how ridiculous — and wonderful — it all is.
“Cup of Coffee” and “Borderline” pulled us back into the melancholy — little films in song form — while “Windmills” made us reflect on the past as something both beautiful and broken, with wings that still spin in the wind.

But when he reached “I Won’t Crumble If You Fall,” it was as if all of Tivoli stood still. This was the heart of the concert. A song about strength, fragility, and love.
Many in the audience wiped their eyes. Others held each other’s hands.

Talking Blues and Singing Seas

He rolled up his sleeves and launched into “Talking Reality Television Blues,” delivering a sharp yet funny spoken-word performance about the media circus and the madness of the world. From there, we drifted straight into the poetic ocean of “This Is the Sea” — a Waterboys cover where his voice became a tidal wave of longing and wisdom.

And then — “Delilah.” No concert without it. All of Tivoli sang along. Everyone knew the lyrics — even those who would never admit it. The dramatic murder ballad came with acting, laughter, and a theatrical stab into the air. A festive, fatal crowd favorite.

He went deep and dark with “Lazarus Man,” before bursting into “If I Only Knew” — and then: “Kiss.” Yes, the Prince song. Delivered with the kind of funky ease only Tom can pull off. People danced like maniacs. One elderly woman waved her cane like a conductor’s baton. Pure magic.

Green Grass and Strange Things

Toward the end, he settled into “Green, Green Grass of Home” — still one of the most beautiful songs ever written about coming home. He sang it like a prayer, and the audience responded with a soft choir of voices.

He closed with “Hell of a Life,” “Strange Things,” and a glance that seemed to say: It really has been. A tribute to the wildness, absurdity, and beauty of life.

Thank You for Everything, Sir Tom

The concert wasn’t perfect — but it was wonderfully human. You could hear his age, but also his experience. He wasn’t fighting time. He was using it. Like a true artist. A master of giving people what they didn’t know they needed.

A heartfelt thanks to Tivoli for creating such an elegant and effortless setting.
So yes — Tom Jones can still do it. And more than that: He’s found new layers. New shades. He hasn’t just survived — he’s evolved. And he’s still giving.

An evening where music became life.
An evening where the audience became a choir.
An evening with Tom.

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