Tom Jones - OLG Stage at Fallsview Casino - Niagara Falls, Ontario - October 2, 2026

Although he doesn’t have the moves like he did in his prime, Sir Tom Jones, 86, proved to Niagara Falls on Oct. 2, that he can still sing the hits that has kept him going for over 60 years. (PHOTO: Joel Naphin)

Tom Jones – Come Gather Round Tour
OLG Stage at Fallsview Casino
Fallsview Casino Resort
Niagara Falls. Ontario
October 2, 2026

On Friday, Oct. 2, Sir Tom Jones returned to the OLG Stage at Fallsview Casino for the third time in a little over three years, playing to a sold-out crowd of 5,000 on his Come Gather Round tour.

The legendary Welshman walked out onto the stage around 8:10 p.m. and settled onto a stool at centre stage under a single spotlight. With Paddy Milner accompanying him on keyboards, he opened his 19-song set with “I’m Growing Old,” a song by jazz pianist Bobby Cole that Jones recorded for his 2021 album Surrounded by Time.

He held that reflective mood for two more songs: Leonard Cohen’s “Tower of Song,” a wry meditation on a life spent in music, and Bob Dylan’s 1997 “Not Dark Yet.”

Jones spent most of the night on that stool, rising only when a song demanded it. He doesn’t move the way he did in his hip-swivelling prime, and he doesn’t pretend to. He doesn’t need to. Sitting or standing, that voice still sounds magnificent.

The mood flipped the moment “It’s Not Unusual” kicked in. This is the song that started it all more than 60 years ago: recorded in 1964, it topped the U.K. charts in early 1965 and cracked the American Top 10. On this tour it has been reimagined with accordion, acoustic guitar and congas.

Next came “What’s New Pussycat?”, the Burt Bacharach and Hal David film theme from that same breakout year. The temperature rose with “Sexbomb,” his 1999 comeback hit with producer Mousse T., slowed here into a slinky, guitar-led blues. A strutting take on Randy Newman’s “You Can Leave Your Hat On,” which a whole new generation knows from The Full Monty soundtrack, kept the swagger going.

Near the midpoint, Jones returned to Dylan with “One More Cup of Coffee (Valley Below),” the haunting desert ballad from 1976’s Desire, then moved into Ry Cooder’s “Across the Borderline” and Bernice Johnson Reagon’s “I Won’t Crumble with You If You Fall.”

Comic relief arrived with Todd Snider’s “Talking Reality Television Blues,” a sly spoken-word jab at modern celebrity, delivered as loud pop-art imagery flashed across the video screens.

And then came “Delilah.” The screens flooded blood red for the 1968 murder ballad, a perfect backdrop for its tale of jealousy and revenge, while the band stripped the arrangement down to acoustic guitars and accordion.

The back half of the main set brought Terry Callier’s psychedelic-soul “Lazarus Man” and “If I Only Knew,” originally by Rise Robots Rise. Jones wrapped it up with Prince’s “Kiss,” the 1988 cover with the Art of Noise that introduced him to the MTV generation.

No Tom Jones review is complete without the band, and no talk of the band is complete without Gary Wallis, his drummer and musical director for more than 30 years. The two first shared a stage in December 1991 at Amnesty International’s 30th anniversary concert, and by the late 1990s Wallis was running the show. He has been there for Las Vegas residencies, world tours, the 2012 BAFTA ceremony and the Queen’s Diamond Jubilee Concert at Buckingham Palace.

His résumé alone could fill an evening. Wallis played percussion on Pink Floyd’s A Momentary Lapse of Reason and Division Bell tours, and he can be heard on the live albums Delicate Sound of Thunder and Pulse. At 21, he played Live Aid at Wembley in 1985 at David Bowie’s invitation. He has also drummed for 10cc, Mike + The Mechanics, Il Divo and Westlife.

Wallis anchors a tight five-piece band: Matt White and Scott McKeon on guitars, Paddy Milner on keyboards and accordion, and Dave Bronze moving between electric and upright bass. McKeon, a blues-rock guitarist, joined Sir Tom’s band in 2014. Bronze is another longtime fixture, touring with Jones since at least 2011.

After a short break, Jones and the band returned for a four-song encore. It opened with “Green, Green Grass of Home,” his 1966 U.K. No. 1 about a man dreaming of home, followed by Katell Keineg’s “One Hell of a Life” and Sister Rosetta Tharpe’s 1944 gospel-rocker “Strange Things Happening Every Day,” often called one of the first rock ’n’ roll records. The night ended with Chuck Berry’s “Johnny B. Goode,” a fitting salute to one of the genre’s founding fathers.

Before leaving, Jones brought the band to the front of the stage and introduced them one by one, then walked off for the last time.

At 86, Tom Jones isn’t trying to be the leather-trousered sex symbol of 1969, and that’s exactly why this show works. He has become something rarer: a great interpreter of songs, choosing material that suits the man he is now and singing it with authority, humour and heart.

Three OLG Stage shows in a little over three years, and each one has proved the voice is still there. If he comes back for a fourth, don’t wait. Go.