Read the full concert report of an impressive return to the Netherlands.
“Eric Clapton, is he still alive?” is a common reaction whenever I bring up his name in conversation. Phrases used by obvious non-experts, of course, but the question isn’t entirely strange either, because Eric Clapton, born in 1945, has already surpassed the life expectancy of the average Brit with his age.
And that with a history of alcohol and drug addictions. Anyway, he is alive! And how! After years of speculating about his own retirement, he apparently wants nothing to do with that in recent years.
He still goes on a fairly extensive tour every year and performs his shows with extraordinary enthusiasm. The Clapton circus is setting out again in 2026, visiting the Netherlands for the first time since 2022.
A remarkably mixed crowd gathers in the Ziggo Dome, young and old united. The merchandise stand is busy, and in a packed venue, it is a scramble to secure a good standing spot.
At 7:30, it is first Jett Rebel’s turn, our Jett Rebel, and that is quite special – Amsterdam is the only concert on the European mainland with a different opening act (Andy Faiweather Low & The Low Riders is the support act in the other cities).
Even Jett himself considers it a “fucking honor,” and he and his bandmates give it their all for a solid half hour. An energetic performance with the highlight being the long, solo-infused Bleed Me an Ocean, a slow blues that leaves the audience warmed up.
Just under thirty minutes later, lights are dimmed, the Ziggo holds its breath expectantly. The backing vocals ascend the stage, followed by a first glimpse of Eric Clapton himself. Loud cheers and applause; this is what everyone has been waiting for.
Slowly but surely, he steps towards the center of the stage, onto the familiar Persian carpet. He smoothly slings his Strat over his own shoulders. Badge begins, first a few instrumental bars, Doyle Bramhall II already a tentative little solo. Then, for the first time, Clapton vocally. Spotless, yet fragile.
Due to its build-up—the constantly shifting intensity, all working towards a final climax full of musical soloing—the Cream classic is the perfect overture.
Blues classics Key to the Highway and I’m Your Hoochie Coochie Man, long-standing staples in the opening part of Clapton’s performances, follow. Songs close to the Brit’s heart, which he always works through with great pleasure.
The vulnerability of the voice is evident; solos by veteran Chris Stainton on piano, Doyle Bramhall II on (second) guitar, and Tim Carmon on organ alternate in rapid succession, often topped off with an all-surpassing solo from the man for whom everyone has gathered tonight.
What is new: for the first time in I don’t know how long, serious attention has been paid to the decor. The entire evening is adorned with delightful visuals that provide the whole thing with a little extra warmth.
Well and truly warmed up, the absolute surprise of the evening follows: If I Don’t Be There by Morning from Backless (1978), written by Bob Dylan. Clapton is back in Tulsa sound style for a moment. “We haven’t played that for fifty years,” said Eric himself afterwards.
And that is certainly audible; the lyrics aren’t quite in his head yet, and musically things don’t flow as smoothly either, but it is actually moving in its imperfection. Clapton himself doesn’t seem bothered by it at all; shrugging his shoulders and with a mischievous smile, he tries to make the best of it.
Then: I Shot the Sheriff, a song that immediately receives a lot of enthusiasm from the audience. And rightly so; Clapton’s live performances are known for their compelling final solos. Palm trees from 461 Ocean Boulevard on the screens. The opening is already great too.
Clapton is in the groove, and it stays that way until the end. “If I am guilty I would pay,” he bellows through the hall halfway through; you can hardly give the man 81 years. The ending is long and strong, very strong, and everyone needs a moment to catch their breath, not least the protagonist himself.
We suddenly find ourselves in the Royal Albert Hall in London, a venue that, ironically enough and entirely contrary to tradition, is missing from the ’26 setlist. Robert Johnson’s *Kind Hearted Woman Blues* is a real treat; Clapton comes close to his falsetto voice, which is met with much appreciation from the audience.
The band returns for the next set; alongside solid renditions of the well-known MTV Unplugged songs *Nobody Knows You When You’re Down and Out*, *Layla*, and *Tears in Heaven* – the emotional *Golden Ring* in the acoustic section—there is also a *Backless* track.
Beautiful song, Chris Stainton’s instrumental part slightly bombastic. In between, Eric wishes the audience a good evening—he had completely forgotten, but he is forgiven.
Katie Kissoon plays the role of Tina Turner with verve—not for the first time—and the left-handed Doyle pulls out all the stops with a solid guitar solo.
Straight on to the highlight of the evening. *Old Love* is one of those songs that every Clapton fan wants to see live because it is often so spectacular. And certainly with Tim Carmon on organ. Spectacular, that is what it becomes.
Eric Clapton sounds just as strong as on that one famous live version at Madison Square Garden in New York in 1999. His own solo, followed by Tim’s, is breathtaking, and a good twelve minutes fly by.
And to conclude, at least the official part, J.J. Cale’s Cocaine, often the closing chord of Clapton’s show. He really lets loose halfway through, slightly funky, and when Stainton finally strikes all his keys from left to right, we know the end is here. “Cocaine!” they shout en masse. “Thank you!” replies Eric Clapton.
Long live the encore. One more song to help us detox a bit. Before You Accuse Me gives Amsterdam all that is good one last time; blues, solos, Clapton, Clapton. Thank you! It was enchanting.
