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[Updated]: Yusuf will be returning later this year for an innovative four-date tour around the UK and Ireland after 33 years away from the stage.

This will definitely not be a tour in the usual sense and is set to incorporate Yusuf’s timeless hits such as Wild World, Father & Son and The First Cut Is The Deepest, alongside music from his highly acclaimed new albums, An Other Cup and Roadsinger.

To make it even more of a spectacle for fans, Yusuf will also weave his latest creative voyage, his first musical, Moonshadow, into the shows.

Speaking about his work on Moonshadow, Yusuf said: “My songs always told a story, so it’s natural for me to extend that into a stage musical form.

It’s taken a long time to arrive, but it’s always been a dream of mine to write a musical. Growing up in the West End of London, surrounded by theatres and shows, obviously left a strong impression on me.

I originally wanted to be a composer, not a pop star. Strange how it’s taken almost a lifetime, but it had to – the story is somewhat a metaphorical mirror of my own journey, so I suppose it had to wait to reach where I am today.”

Yusuf has asked Harvey Goldsmith CBE to manage this project. The musical director of “Moonshadow” is Christopher Nightingale, who has previously worked on the Lord of The Rings Musical and Bombay Dreams alongside A.R. Rahman. The choreographer, Nichola Treherne, was behind box office smashes from Starlight Express to Joseph and the Amazing Technicolor Dreamcoat. Renowned lighting designer Mark Brickman is designing the stage and lighting. He lit Pink Floyd’s “The Wall” and is currently designing Cirque du Soleil’s new show in Las Vegas. Rob Hallet is promoting the shows for AEG Live following his success with Leonard Cohen.

The four city “Guess I’ll Take My Time Tour” will commence in Dublin and continue to Birmingham, Liverpool and end in London at the Royal Albert Hall.

The full dates are:

November 15 – Dublin The O2 November 23 – Birmingham NIA December 5 – Liverpool Echo Arena December 8 – London Royal Albert Hall

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I saw Yusuf/Cat Stevens at the Ryman Auditorium a few years ago. In Nashville, we’re kind of spoiled with all the concerts available to us but this was truly exceptional. We were given an intimate look into his life, almost as if we had been invited into his living room for a personal chat with his music woven in. Truly one of the most memorable concerts I’ve ever attended and I feel fortunate to have had the experience!

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The Cat is AMAZING!

Saw him in London at the "You Are Not Alone" charity concert.

Powerful, moving, elegant, and masterfully human. Catch any show where he performs, prepare to cry, with joy.

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Cat Stevens announces 5-city US concert tour

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NEW YORK (AP) — New Rock and Roll Hall of Fame member Cat Stevens is taking the “Peace Train” back on the road.

He announced Monday that he will make a six-city concert tour in North America this December, his first series of shows in the U.S. since 1976. His conversion to Islam followed, putting his music career on hold for a quarter century.

Stevens, who also is releasing a blues album on Oct. 27 produced by Rick Rubin and titled “Tell ‘Em I’m Gone,” is using that stage name along with Yusuf, the name he took when he converted. The performer of 1970s-era hits “Wild World,” ’'Morning Has Broken” and “Peace Train” has slowly broken back into secular music during the past decade and has made only a handful of semi-public and television appearances in the U.S.

“I’ve been a bit slow in coming around to the United States, but there were so many people asking me to do that, that I just felt an obligation,” Stevens said in a telephone interview from Dubai, where he lives most of the time now.

The title of the “Peace Train ... Late Again” tour refers to his unhurried music career. Only six dates are scheduled so far — starting Dec. 1 in Toronto and hitting Boston, New York, Chicago, San Francisco and Los Angeles.

Stevens said he frequently gets feedback on Facebook asking him to perform more and that it makes him feel guilty “because I’m not doing as much as they want me to do. Then again, I’m 66 years old, and I do take things in my stride.”

Stevens, who was inducted into the rock hall this spring in Brooklyn, said he had a lot of hesitation about getting back into the music business.

“That’s something I ran away from a long time ago,” he said. “But that’s not to say the music business is the same as making music. When I finally reconciled my questions about the issue — where it should be in my life — by that time, I had something to say. I wouldn’t be writing songs if I didn’t have something to say.”

Despite the political climate, with the U.S. fighting Islamic State militants in the Middle East, Stevens said he didn’t expect his faith to be an issue when he goes on the road in this country.

“I’m afraid that a lot of things that people believe about Islam are totally different from the religion that most of us recognize,” he said. “I was really fortunate that I got to know Islam before it became a headline.”

Gary Bongiovanni, editor of the concert industry trade publication Pollstar, said he didn’t expect problems, although it would be different if Stevens had spoken out in favor of the Islamic State militants, for instance. He said it looked like a modest tour designed to test the waters and that if Stevens makes clear he’ll be playing his old hits — Stevens said he will — he should get some interest.

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The Unlikely Return of Cat Stevens

By Howard Fishman

Early in a Cat Stevens, a.k.a. Yusuf Islam, a.k.a. Yusuf/Cat Stevens, concert in Boston a couple of years ago, there was a hushed pause in the room as the then sixty-six-year-old performer waited for a stagehand to bring him a guitar in between songs. “I’m really happy to be here!” the singer suddenly exclaimed. It did not sound like ersatz show-biz banter; it sounded humble, childlike even, as if he himself were surprised by the emotion. It sounded like capitulation. The crowd, in response, rose to its feet en masse, producing a sound that was more than just a cheer. It was an embrace. It was an acknowledgment by artist and audience alike: Cat Stevens, a figure who, for all intents and purposes, had ceased to exist more than three decades ago, had come back.

For a long time, it has been hard to love the man once known (and now known again) as Cat Stevens. In the years since he formally retired from the popular music world, in 1978, his name has popped up in the media from time to time. He would be quoted, or seen in a video-clip interview, and it was difficult to accept the visage of the person whom he now presented himself as—to reconcile this cold, humorless, unhappy, and severe-looking man with the joyful, understanding, goofy, wise songwriter whose music we’d known and loved. For a long time, the man who’d changed his name to Yusuf Islam had completely disowned his artistic output as Cat Stevens—a confusing, dispiriting slap in the face to those it once meant a great deal to.

The man who was Cat Stevens ran Islamic schools for children, spreading the word of Allah, and acted as a spokesperson for Islam. After a while, he began making some children’s albums, but he wasn’t playing the guitar, and the music was not for his traditional fan base . In interviews, he sounded defensive and removed. Some remarks attributed to him seemed to be in line with some of the more distasteful prejudices of orthodox Islam.

Then, in 2006, came “An Other Cup,” his first album of commercial music in twenty-eight years. He’d dropped his adopted last name of Islam, and was now calling himself, simply, Yusuf. Something had shifted, certainly. How welcome it was to hear that voice with that guitar again, after all these years. Still, the album’s opening track, “Midday (Avoid City After Dark),” set a tone of unease, paranoia, and judgment that never really lifted. Elsewhere on the recording, there was a revisit to a much earlier composition (“I Think I See the Light”) and an interesting (if forced-sounding) reworking of a section of his “Foreigner Suite” (“Heaven/Where True Love Goes”), but the bulk of the album felt earthbound. Nowhere was there the joie de vivre that inhabited his best work. The follow-up, “Roadsinger,” in 2009, sounded fresher, but still unconvincing. Which was it—was he wary of us, or we of him? There seemed to be skepticism and distrust on both sides.

Some live performances began to appear here and there online. Yusuf was steadfast about not playing any old Cat Stevens material, save for a select few songs that he could justify in the context of his religious path, such as “The Wind” and “Peace Train.” He had collaborated on a musical called “Moonshadow” that featured actors singing some of his old songs and was having a run in Australia. It proved a critical and financial flop.

I paid attention to all of this because, unhip as this may be to admit, the music of Cat Stevens once meant a great deal to me. I did not grow up listening to it, per se (I was too young), but his music became the soundtrack to my adolescence when I watched “ Harold and Maude ” for the first time, and my world changed. I went out and got a guitar. I listened to Cat Stevens obsessively, played and sang his songs with friends, hunted down all of his albums. While it was clear that he’d lost his way artistically on later albums like “Numbers” and “Izitso,” the earlier, classic albums that he’s still known for (“Mona Bone Jakon” through “Foreigner”) were full of treasures that could be mined again and again. Indelible melodies, beautiful production, emotionally committed performances, and, most of all, a gentle wisdom, a repudiation of the status quo, a sense that we were not alone. Here was someone who was trying to make sense of life, too; he may not have had the answers, but he was looking for them, and we were encouraged to join him. Here was a friend.

Of course, I quickly learned that Cat Stevens had already ceased to be. My adolescent soul despaired, knowing that there would be no more Cat Stevens albums, no more Cat Stevens concerts. The man who had become a hero to me had long since retired from the music world.

In time, his music, too, would fade from my consciousness. As I grew and matured, so did my musical tastes and sensibilities. I might reach for a Cat Stevens album on rare occasions, to remind myself of something that I’d once treasured, sometimes surprised that a song or album held up as strongly as it did, but his music was no longer a living thing for me. I was intrigued when he came out of retirement with the two Yusuf albums, and listened to each of them a handful of times with attendant hopes and (it seemed) inevitable disappointment. It was hard to get excited about his music now. The voice was the same, but the spirit was changed, different, unwelcoming.

Nevertheless, when it was announced, in late 2014, that he was going to perform in America for the first time in thirty-eight years, I put my misgivings aside and became a teen-ager again, queueing up for tickets on the phone the morning they went on sale. I did not listen to his latest album, “Tell ‘Em I’m Gone,” nor did I look for any news about the kinds of shows that he’d been playing of late. I simply drove up to Boston to see my old hero, expectations dimmed to almost nothing. I imagined that there I would see Yusuf Islam, delivering a respectful program of his latter-day music, with perhaps one or two old favorites thrown in as crowd appeasement. I wasn’t going for Yusuf Islam. I was going to pay homage to the singer whose music had once so inspired me, for the chance to simply be in the same room with him for the first (and what I assumed would be the last) time.

It has taken some time for me to think clearly about what it was like to be at that show. What happened there was more than just a good concert given by a group of well-rehearsed, talented musicians, backing a pop icon on a comeback tour, though it was partly that. It was more than just a nostalgic trip down memory lane, as a sold-out crowd sang along to songs that many (including myself) never expected to hear played live again, though it was partly that, too. Without resorting to hyperbole, being there, for me, was an unexpected catharsis, something like seeing a ghost.

I didn’t know, until I got there, that the singer was now billing himself with the ungainly but revealing name of Yusuf/Cat Stevens. Was he now acknowledging his former self? This was a surprise, the first of many that the evening would hold.

The once and future Cat Stevens walked onstage to a tremendous ovation (no surprise there) and launched into a solo performance of “The Wind.” O.K., in some way, this was what we’d all come for, and here he’d already given it to us. All the latter-day Yusuf stuff would follow, we’d give him some hearty applause at the encore, and that would be that—or so I thought. What was this, though? He was wearing sunglasses and a leather jacket—not the austere, devotional garb he’d worn in the (admittedly not so recent) appearances that I’d seen online. And the stage set—it was elaborate, whimsical, evocative of the old Cat, whose tastes sometimes crossed the line into outright silliness. Most significantly, though, he himself seemed engaged, connected, and—hardest to believe—lighthearted.

“Here Comes My Baby” and “The First Cut Is the Deepest” followed, two pop hits from the infancy of his career, both secular love songs, both jarring surprises. “Thinking ‘Bout You” followed, a more recent song of love and devotion, but it was buoyed by an energy and commitment that sustained the freshness of what had come before, and served as a bridge to the first real shock of the night, as the singer made his way to a piano at the side of the stage and, unaccompanied, launched into the opening strains of “Sitting,” and the crowd seemed to collectively gasp before erupting into joyous, grateful cheers. Here he was again. Cat Stevens. Questioning, seeking, proudly admitting that he did not have the answers, but that he was on his way to find them. Our companion, our friend, had returned.

It was the first of what would be many goosebump-inducing moments in the generous, two-part concert. He followed it with “Last Love Song,” from 1978’s obscure (and mostly uninspired-sounding) “Back to Earth,” the mere fact that he was exploring and reclaiming rarities from his back catalogue speaking volumes. By the time he reached the end of the first set, closing it with “If You Want to Sing Out, Sing Out,” the message was clear—something had happened. He was giving us back the songs he’d taken away so many years ago. He was, after all this time, validating their worth again, and with it, our love for them. After insisting for so many years, as Yusuf Islam, that there was only one way, only one truth, one law, one path, he’d relented. He was giving us permission, again, to do and think and live how we wanted. And he seemed genuinely happy saying and singing it.

The second set held even more surprises, as song after song from the old œuvre was brought back to life. “Oh Very Young,” “Sad Lisa,” “Miles from Nowhere” (I have my freedom / I can make my own rules / Oh yeah, the ones that I choose). They were presented, for the most part, as set pieces, with hardly any improvisation at all, but that didn’t matter. The faithful Alun Davies was there on lead acoustic guitar, as he has been since 1970. Matt Sweeney was a welcome addition on electric guitar, adding a pinch of verve and danger to the mix, but if old concert footage is any indication, Cat Stevens was never one for taking too many risks onstage musically, choosing instead to eschew spontaneity in deference to the arrangements on his studio recordings.

It was touching to hear the singer-songwriter still tinkering with that beautiful failure “Foreigner Suite,” still trying to get it right. Classics such as “Where Do the Children Play?” and “Trouble” brought with them a great sadness; confronted with the simplicity, the naïveté even, of the sentiments in these gentle lyrics, it was impossible not to think of how the world has changed and darkened since these songs were written and last performed. Even “Moonshadow,” his lullaby of Buddhist acceptance, carried with it the sting of longing for less dire times.

Being at that concert, hearing those songs again, sung with conviction by that man, was like being allowed to spend a night in one’s childhood home, with everything back the way that it was from some preëxistential, innocent moment—with even one’s family members frozen in time the way that they were decades ago. For me, it was eerie, spooky, unsettling, like Emily’s return from the dead in “Our Town.”

At the end of each of these old songs, there was that same sustained applause that followed his aside, early in the show, about how happy he was to be there. It’s a sound I keep coming back to in my mind when I think about the experience of being at that concert, a sound distinct from any that I think I have ever heard. It was an entity, a palpable force, as though the emotion behind every voice and every pair of hands could be heard. There was a sort of desperate celebration to it. It was the sound of reconciliation, of gratitude, of redemption.

Yusuf/Cat Stevens has a new album coming out this week, called “A Laughing Apple,” and more tour dates have been announced. I have not heard the new recording yet, but news of its release has led me to reflect on that night, when it felt as though this shape-shifting performer had brought someone we once loved back from the dead, a phantom from another time, and with that act offered tacit acknowledgment that we’re so much better together than we are apart. It’s a notion as naïvely idealistic as any he ever gave us; an echo from the past, finding its way to us past a wall that is, miraculously, no longer there.

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Published on November 7th, 2023 | by AlexandreG.

Jimi Hendrix and Cat Stevens: The Tour That Captured the Spirit of the ’67 Summer of Love

The year 1967 brought us the ‘Summer of Love,’ a time when music was more than just a backdrop—it was the heartbeat of a cultural revolution. During this pivotal summer, three acts— Jimi Hendrix , Cat Stevens , and The Walker Brothers —took to the road, embarking on a tour that would firmly plant their tunes in the annals of music lore. As they traveled, their collective sound became a mosaic of the era’s ethos, with each performance adding to a larger picture of change and inspiring the melodies that would shape generations to come.

Before the Tour

In the bustling music scene of Britain, Jimi Hendrix , the American maestro of the guitar, made a grand entrance that still echoes today. Picture this: a young Jimi Hendrix, blending the heart of blues with the energy of rock and the depth of soul, all wrapped up in a performance that felt like it was from another dimension. His first album, “Are You Experienced,” began as a quiet murmur but soon turned into a roar among young music fans, hinting at the legendary shows that were just around the corner.

Disc Magazine’s Penny Valentine sat down with Jimi Hendrix, capturing his thoughts on the eclectic lineup. Valentine, known for her keen insights into the fabric of the music scene, probed Jimi Hendrix about the upcoming tour with The Walker Brothers and Cat Stevens. Jimi , with his characteristic blend of contemplative cool and avant-garde anticipation, shared:

Then we had Cat Stevens , the gentle voice in the crowd, capturing the thoughtful and reflective spirit of the ’60s. His very first album, “Matthew and Son,” climbed the charts with grace, as if on wings of the words he so carefully crafted. Stevens didn’t just sing; he spoke directly to the heart of a generation eager to find themselves and question everything that had come before.

Rounding out this trio of musical pioneers were The Walker Brothers , the American group that found a second home in the UK’s affection. Known for their rich, well-orchestrated ballads, they provided a soul-stirring contrast to the electric buzz of the age. Their songs were like an anchor, offering a moment of reflection amid the wild dreams of those heady days.

The Tour that Preceded the Monterey Pop Festival

The tour opened on March 31, 1967, kicking off in London. It was a carnival of contrasts, with Stevens’s contemplative lyrics opening the evenings, followed by The Walker Brothers’ baritone-led ballads, and culminating in The Jimi Hendrix Experience explosive performances.

Cities like Manchester, Glasgow, and Liverpool buzzed with anticipation as they hosted these diverse acts. The setlists were a study in the spectrum of sound. Cat Stevens would often lead with “I Love My Dog” and “Matthew and Son,” crafting an intimate atmosphere. The Walker Brothers would follow with hits like “The Sun Ain’t Gonna Shine Anymore” and “Make It Easy on Yourself,” their voices enveloping the arenas in warmth.

Then, Hendrix would take the stage, transforming it into a pulsating canvas of psychedelia. Songs like ‘Hey Joe,’ ‘Purple Haze,’ and ‘The Wind Cries Mary’ drew the audience into a collective trance. Venues like the Finsbury Park Astoria bore witness to Jimi Hendrix’s growing penchant for theatricality — his guitar licking flames as he kneeled before it, coaxing the instrument into a frenzied pyre during “Wild Thing,” marking his first guitar-burning incident . This act of destruction-as-creation became a myth-making moment, cementing his image as a rock god.

The Guitar Burning Incident

The scene of Jimi Hendrix’s first guitar burning at the Finsbury Park Astoria would become one of the most iconic moments in rock history. The press response was a mix of shock and fascination. For those on the tour, the burning guitar was more than a stunt; it was a symbol of transformation. The Walker Brothers watched with a mix of shock and admiration, recognizing that a barrier had been broken in how artists could communicate with their audience.

The Tour’s Challenges

As the tour progressed, it was not without its tensions and backstage dramas. Jimi Hendrix’s live performances were electrifying, often culminating in the ritualistic destruction of his guitar—a finale that became a signature move and a spectacle that thrilled fans. However, this act of showmanship was not without controversy. In a conversation with Disc Magazine, Jimi Hendrix addressed the discord with the tour management directly, especially with tour manager Don Finlayson:

The tumultuous relationship between Jimi and the tour officials was not confined to offstage interactions. In an interview with Melody Maker, Jimi Hendrix shared more of the unsettling details:

These incidents painted a picture of a musician at odds with the establishment, a recurring theme in Jimi Hendrix’s career. The challenges he faced on tour, from equipment sabotage to the threat of being expelled, underscored his resolve to maintain artistic integrity and freedom of expression.

Despite these adversities, or perhaps because of them, Hendrix’s commitment to his performance remained undeterred. He continued to pour his soul into every show, ensuring that every strum, every note, and every burned guitar string told a story of rebellion and authenticity. The friction behind the scenes only fueled the fire of his public persona, solidifying his reputation as an artist who would not compromise.

The Enduring Impact

The 1967 tour featuring Jimi Hendrix , Cat Stevens , and The Walker Brothers culminated as a vital thread of the ‘Summer of Love.’ It was a testament to the era’s themes of peace, love, and music, but also to its undercurrent of rebellion and change.

Cat Stevens’s career took a turn towards the spiritual, his music increasingly reflecting the quest for deeper meaning that he had begun to explore more earnestly during the tour. His experiences during those days would echo in his later works, full of reflections on life and the human condition.

The Walker Brothers would eventually dissolve their partnership, each venturing into solo careers. Scott Walker, in particular, would become renowned for his avant-garde explorations, pushing the boundaries of pop and rock in profound ways.

Yusuf/Cat Stevens Reflects on Jimi Hendrix Friendship and Tour

Years after the whirlwind of the 1967 tour, Cat Stevens , now known as Yusuf Islam , reminisced about the times he shared with Jimi Hendrix and the surprising friendship that blossomed between them. Yusuf recalled, hinting at the depth of their connection that extended beyond their music. Despite Hendrix’s enigmatic stage persona, Yusuf revealed a different side of the legendary guitarist.

Yusuf’s words paint a picture of Hendrix as a man of contrasts, whose introspective nature belied the explosive creativity and exuberance of his performances. Engelbert Humperdinck’s influence on the young Cat Stevens also left an indelible mark. The camaraderie shared by these artists from vastly different musical realms underscored the tour’s unique atmosphere — one of mutual admiration and shared experiences that defied the expected norms of the day.

When did Cat Stevens tour with Jimi Hendrix? Cat Stevens toured with Jimi during the spring of 1967. The tour kicked off on March 31, 1967, in London, and included a series of concerts across the UK.

Who did Jimi Hendrix tour with in 1967? In 1967, Jimi Hendrix toured with his own band, The Jimi Hendrix Experience, as part of a package tour that included acts like The Walker Brothers, Cat Stevens, Engelbert Humperdinck, Pink Floyd, and The Move.

What concert made Jimi Hendrix famous? Hendrix’s performance at the Monterey Pop Festival in June 1967 is often cited as his breakthrough moment. His dynamic and incendiary performance, which famously culminated in him setting his guitar on fire, dramatically increased his popularity and cemented his status as a guitar legend.

Contents hide 1. Before the Tour 2. The Tour that Preceded the Monterey Pop Festival 3. The Guitar Burning Incident 4. The Tour’s Challenges 5. The Enduring Impact 6. Yusuf/Cat Stevens Reflects on Jimi Hendrix Friendship and Tour 7. FAQs

Tags: Cat Stevens , Jimi Hendrix , The Jimi Hendrix Experience

About the Author

AlexandreG. Is just a guy who got tired of bothering his friends talking about music, and decided to create a blog to write about what he loves the most.

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Cat Stevens announces 5-city US concert tour

New Rock and Roll Hall of Fame member Cat Stevens is taking the "Peace Train" back on the road.

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New Rock and Roll Hall of Fame member Cat Stevens is taking the “Peace Train” back on the road.

He announced Monday that he will make a six-city concert tour in North America this December, his first series of shows in the U.S. since 1976. His conversion to Islam followed, putting his music career on hold for a quarter century.

Stevens, who also is releasing a blues album on Oct. 27 produced by Rick Rubin and titled “Tell ‘Em I’m Gone,” is using that stage name along with Yusuf, the name he took when he converted. The performer of 1970s-era hits “Wild World,” ”Morning Has Broken” and “Peace Train” has slowly broken back into secular music during the past decade and has made only a handful of semi-public and television appearances in the U.S.

“I’ve been a bit slow in coming around to the United States, but there were so many people asking me to do that, that I just felt an obligation,” Stevens said in a telephone interview from Dubai, where he lives most of the time now.

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The title of the “Peace Train … Late Again” tour refers to his unhurried music career. Only six dates are scheduled so far — starting Dec. 1 in Toronto and hitting Boston, New York, Chicago, San Francisco and Los Angeles.

Stevens said he frequently gets feedback on Facebook asking him to perform more and that it makes him feel guilty “because I’m not doing as much as they want me to do. Then again, I’m 66 years old, and I do take things in my stride.”

Stevens, who was inducted into the rock hall this spring in Brooklyn, said he had a lot of hesitation about getting back into the music business.

“That’s something I ran away from a long time ago,” he said. “But that’s not to say the music business is the same as making music. When I finally reconciled my questions about the issue — where it should be in my life — by that time, I had something to say. I wouldn’t be writing songs if I didn’t have something to say.”

Despite the political climate, with the U.S. fighting Islamic State militants in the Middle East, Stevens said he didn’t expect his faith to be an issue when he goes on the road in this country.

“I’m afraid that a lot of things that people believe about Islam are totally different from the religion that most of us recognize,” he said. “I was really fortunate that I got to know Islam before it became a headline.”

Gary Bongiovanni, editor of the concert industry trade publication Pollstar, said he didn’t expect problems, although it would be different if Stevens had spoken out in favor of the Islamic State militants, for instance. He said it looked like a modest tour designed to test the waters and that if Stevens makes clear he’ll be playing his old hits — Stevens said he will — he should get some interest.

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Yusuf / Cat Stevens Revives Beloved Classics in Moving New York Return

By Hank Shteamer

Hank Shteamer

The singer-songwriter now known simply as Yusuf didn’t mention his religion by name during his Monday show at New York’s Beacon Theatre. But at one point – late in the second of two deeply moving sets filled with classic songs – he did reference the backlash he encountered during the years when he left behind both his old stage moniker, Cat Stevens , and his career as a secular musician to pursue a life of Islamic faith. When he spoke to the crowd about inciting an “awful lot of anger,” everyone in attendance knew what he meant.

“We’re sorry!” a man in the crowd yelled in response to the remark. “I’m all forgiven!” said Yusuf, miming a sigh of relief. Though his public image may never fully recover from the hateful remarks he made against Salman Rushdie in 1989 amid the heated controversy over the author’s The Satanic Verses , the legendary artist’s current stage show, billed as an evening in “A Cat’s Attic,” nevertheless felt like a heartfelt olive branch extended to fans who might be inclined to give him another shot.

The show’s title wasn’t just an abstract idea; it was a blueprint for how the concert looked and felt. For his first full New York performance in 40 years, Yusuf entered the stage strumming the opening chords of “Where Do the Children Play?” while standing in front of a backdrop showing an urban skyline at night, illuminated by a gleaming full moon. The curtain soon fell away, revealing a cutaway of an attic, which, as Yusuf explained, was a re-creation of his childhood sanctuary above the London restaurant his parents owned. Memorabilia filled the set: a Van Gogh painting (signifying the singer’s early love of visual art); posters for 2001 , West Side Story and Stevens’ own 1976 Majikat tour; a blue jersey with the number 33 that he often sported in the Seventies. The message was clear: Yusuf was inviting the audience into his home. Recalling his earliest influences, the singer actually retreated into the room to play the Beatles’ “Twist and Shout” on a phonograph, referring to John Lennon’s shrieking vocal turn as “the primal scream that brought us into existence.”

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The first set offered a chronological survey of Stevens’ Sixties hits. Backed by Eric Appapoulay on guitar and vocals and Kwame Yeboah on bass and percussion – a tasteful duo who sounded busker intimate or rock-band intense as the moment demanded – he performed songs ranging from the wrenching (“The First Cut Is the Deepest”) to the frivolous (“I Love My Dog,” Stevens’ debut single, released 50 years ago this month) in quick succession, offering anecdotes and asides in the style of a one-man theatrical show. He recalled mock-ruefully how the Monkees prevented him from getting to Number One, credited onetime tourmate Jimi Hendrix for scrambling his brain with psychedelics and digressed during “Matthew and Son” to chide Tears for Fears for borrowing the song’s bridge melody for their “Mad World” chorus. 

Dressed like a cool uncle in a green shirt and brown leather jacket, Yusuf played much of the set seated in a chair, his feet dangling just above the floor. If his demeanor was casual, his vocals were sublime. His trademark upper-register snarl has softened somewhat, and he seemed to struggle with the daring melodic leaps on songs such as “On the Road to Find Out,” but the Yusuf of today is very much the same dazzlingly supple vocalist Cat Stevens was then.

During the second set, Yusuf seemed to kick into overdrive, condensing his anecdotes and playing some of his best-loved songs with otherworldly focus and intensity. After a charming intro during which he drank tea as Tea for the Tillerman ‘s closing title track played over the PA, he sat at the piano for the first time, delivering a crisp, poignant felt version of that album’s “Sad Lisa.” He moved back to guitar for an endearing “Don’t Be Shy” (with a coyly smiling reference to “that movie,” Harold and Maude ) and worked his way up to the set’s emotional peak, a staggering “Father and Son” that brought the crowd to its feet. The audience remained rapt during deeper cuts from 1972’s Catch Bull at Four – an ecstatic “Sitting” and a hushed “Boy With the Moon and Star on His Head,” a song he’d renounced after his conversion and that he implored the New York audience “not to believe” due to its depiction of a verboten premarital fling.

Yusuf Islam Plots Intimate North American Tour

A gorgeous Impressions cover, “People Get Ready,” signified Yusuf’s religious awakening, and two well-chosen tracks from his 2000s comeback albums chronicled the path back to music: An Other Cup ‘s wonder-filled “Maybe There’s a World” – mashed up here with the Beatles’ “All You Need Is Love” – and the title track to 2009’s Roadsinger , an account of his years of alienation from his fans. (“I realized I still had a job to do,” he said of his return to the public eye.) The concert’s second set often had the feeling of a campfire singalong, yet one led by the man who is arguably the patron saint of the form, a writer and singer of disarmingly plainspoken songs about spiritual seeking that somehow never succumb to corniness or insincerity.

In keeping with that spirit, he paused near the end of the show to shout out recent Disney film Zootopia , praising its message of tolerance. He quoted the film’s hero, a rabbit named Judy Hopps, who stands up against “friction and conflict” among once-harmonious animal species: “No matter what type of animal you are, change starts with you.” Yusuf didn’t need to mention Donald Trump’s fearmongering or the latest wave of Islamophobia directly in order to invoke a parallel with 2016 America. A joyous “Peace Train,” which found the majority of the crowd on its feet, clapping and singing along, drove home his message.

The lovefest continued during a brief encore that featured beautiful, unadorned renditions of signature songs “Wild World” and “Morning Has Broken.” Yusuf apologized for not being able to stick around, citing the venue’s union curfew, and left the stage flashing peace signs with both hands.

Overall, the show felt like one artist’s humble attempt to repair his fractured relationship with his listening public. For more than two hours, Yusuf laid out all his charms – his easy storytelling gifts, his universally beloved songs – in the face of a world that, as depicted in “Roadsinger,” once branded him as unwelcome. Whether or not Yusuf is truly off the hook is for each listener to decide, but on a purely musical level, the concert was a gracious and touching reanimation of one of the great songbooks in modern pop. Those who step into Yusuf’s attic will leave transformed.

“Where Do the Children Play?” “If You Want to Sing Out, Sing Out” “Somewhere” (P.J. Proby cover) “Love Me Do” (Beatles cover) “Here Comes My Baby” “The First Cut Is the Deepest” “I Love My Dog” “Matthew and Son” “A Bad Night” “Trouble” “Fill My Eyes” “Katmandu” “I Wish, I Wish” “Miles From Nowhere” “On the Road to Find Out”

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“Sad Lisa” “Don’t Be Shy” “Into White” “Father and Son” “Moonshadow” “How Can I Tell You” “Sitting” “Boy With a Moon and Star on His Head” “Ruins” “Oh Very Young” “Novim’s Nightmare” “People Get Ready” (Impressions cover) “Be What You Must” “Roadsinger” “Maybe There’s a World” / “All You Need Is Love” (Beatles cover) “Peace Train”

“Wild World” “Morning Has Broken”

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Cat Stevens Performs First Concerts in 5 Years

Yusuf / Cat Stevens performing in Istanbul, Oct. 19, 2022 (Photo via his Facebook page)

Cat Stevens has performed his first full-length concerts in five years. The legendary singer-songwriter of such classic songs as “Peace Train,” “Morning Has Broken,” “Moonshadow,” and “Wild World” played the first of two dates in Turkey (now often referred to as Türkiye) on October 19, 2022, at the AKM Turk Telecom Opera Hall in Istanbul, and a second concert on Oct. 23 at the CSO Ada in Ankara. Watch several performance clips from both shows below.

His Sept. 16 announcement of the concerts noted “it will lead the way to more international touring in 2023.” (On March 3, 2023, he revealed his first date – a biggie – of the year.)

The musician, who is also known as Yusuf Islam, or Yusuf/Cat Stevens, hasn’t toured since his 50th Anniversary tour of 2016-2017. He’s performed at public benefit concerts just twice since: once in Christchurch, New Zealand in 2019 and again in 2020 in London. In 2017, he did a series of 18 concerts in South Africa, Australia and New Zealand. He began that tour in 2016 with concerts in Canada, the U.S. and U.K.

When he announced the concerts, Stevens wrote, “My relationship with Türkiye goes back to the early Eighties when I first visited after embracing Islam. The welcome I received was so affectionate and strong, I felt at home immediately. Turkish music also had a lot to do with my return to singing in 2006. The ilâhiler (Divine songs) I was introduced to, were so inspiring and familiar, because of my Greek-Cypriot background.”

Profits from the pair of 2022 shows will go towards supporting his Peace Train charity .

Watch Stevens perform “Moonshadow” on Oct. 19 in Istanbul

Stevens’ band included Kwame Yeboah (drums and keys), Eric Appapoulay (guitar), Luke Smith (keys), and Stefan Fuhr (bass).

Related: Our 2016 review of Cat Stevens in New York City

Watch him perform “See What Love Did To Me”

In recent years, Stevens’ catalog has been getting significantly expanded editions via UMe. A 50th anniversary of his 1972 album, Catch Bull At Four , will be released on Dec. 2.

While introducing “Oh Very Young,” he said, “In my songs, I give a message to the young people who will take over the responsibilities of this planet.”

Watch him perform “Oh Very Young” on Oct. 19

Thanks to Peace Train @ Istanbul for the clips.

Watch “Where Did the Children Play” on Oct. 19

Cat Stevens, Istanbul, Turkey, October 19, 2022, Concert Setlist Moonshadow Oh Very Young See What Love Did To Me The Wind Wind East & West O’Caritas On The Road To Find Out A is For Allah Maybe There’s a World / All You Need Is Love Wild World Where Do the Children Play? Tala’al Badru Alayna All Kinds of Roses Angel of War Olive Hill Morning Has Broken God Is the Light The Beloved Father and Son Peace Train If You Want to Sing Out, Sing Out

Watch him perform “Morning Has Broken” on Oct. 19 in Istanbul

Watch him perform “Maybe There’s a World” and “All You Need Is Love”

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2 Comments so far

Before your time. The lyrics so wise. Xx Polly

Yusuf/Cat Steven’s continues to get better with age. A man with songs that have such beautiful meanings. They give a look at life a positive perspective. WE surely need that these days. Thank you Cat. Will always love you.

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Cat Stevens Concert Setlists & Tour Dates

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Cat Stevens at Alexandreon Athleticon, Thessaloniki, Greece

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Cat Stevens at Hala Tivoli, Ljubljana, Slovenia

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NEWS... BUT NOT AS YOU KNOW IT

Seventies rocker Gerry Conway dies aged 76 with Cat Stevens leading tributes

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Gerry Conway, drummer for British rock band Fairport Convention, has died aged 76 after a battle with motor neurone disease.

His bandmates confirmed he died on March 29, 2024, calling him ‘unique’ and ‘impressive’ during his music career.

Throughout Conway’s life he played with icons like Cat Stevens and progressive rock band Jethro Tull, as well as being Fairport’s drummer from 1998 to 2022.

‘He brought to the band an impeccable understanding of “feel” and comradeship, a unique sense of subtlety and a complete understanding of what was required,’ wrote the band on their website.

Conway had hung up his drumsticks two years ago after being diagnosed with MND, which impacts the control of muscles and weakens them.

Cat Stevens, 75, lead the tributes having worked with Conway for over three decades both on tour and in the studio.

‘Sadly my great old drummer, Gerry Conway just passed away,’ he shared.

‘What a lad, and what ingenuity and style. May God grant him the beautiful reward of peace everlasting.’ 

Conway has taught himself drums at an early age, staring in school bands and catching the eye of London band Chico Arnéz Orchestra at just 16.

His parents forbade him from joining but the determined rocker landed a job at EMI record label and honed his skills alongside other musicians.

In the tribute on the website, Fairport continued: ‘Gerry’s impressive musical CV began long before he joined Fairport. He came to prominence as drummer and percussionist with Cat Stevens, both in the studio and in live performance. 

‘As well as his tenure with Pentangle from 1986 to 1993 (then with Jacqui McShee’s Pentangle until 2022) he was also admired for his work with Fotheringay and Jethro Tull.

‘His name spread far and wide and was the envy of his peers. Fairport Convention’s thoughts and condolences are with Gerry’s partner Jacqui and the family.’ 

Along with this, bandmate Simon Nicolls added: ‘Wonderfully patient and wise, infuriatingly tardy but always ready and eager to play, and blessed with his own inner calm and solidity.

‘I’m going to miss him more than I can say.’ 

Former Fairport member Iain Matthews said: ‘Gerry is gone and I don’t know how I feel, except intensely sad. I knew him less than many [in the Fairport circle] but we went wayyy back.

‘He played incredibly on my first solo album, If You Saw Thro’ My Eyes… pure Gerry Energy and spirit.’

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