Elvis Singing “Auld Lang Syne” On His Last New Year’s Eve 1976

Elvis Presley Has Recorded Some Of The Most Beloved Holiday Songs In History

During December, people enjoy listening to Elvis Presley‘s renditions of some of their favorite Christmas classics.

However, many are unaware that Elvis once sang a song in celebration of a different December holiday, New Year’s Eve. Elvis was on tour on New Year’s Eve in 1976, so he decided to share the celebration with his fans.

That night, he delivered a performance at the Civic Center Arena in Pittsburgh, Pennsylvania. The performance was recorded and later turned into an album called Elvis New Year’s Eve.

The cover art for the Elvis New Year's Eve album

When the clock struck midnight, Elvis led the crowd in singing the classic New Year’s song “Auld Lang Syne.”

Elvis Sang “Auld Lang Syne” During New Year’s Eve Concert Just Months Before His Death

Written in 1778 by Scottish poet and lyricist Robert Burns, the tune was originally a poem that was later set to the tune of a popular folk song. In the English-speaking world, the song is often sung as a way of saying farewell to the old year and welcoming the new.

Thankfully, some footage was taken of Elvis singing the song during his New Year’s Eve concert in 1976. The audience sings along with Elvis, erupting into loud cheers at the conclusion of the song.

Above all the noise, Elvis can be heard saying “Happy New Year everybody.”

Not only is the recording rare, but it holds extra meaning, since Elvis didn’t live to see another New Year’s Eve. He passed away on August 16, 1977.

You can watch the rare recording of Elvis singing “Auld Lang Syne” below.

Although Elvis never had the chance to celebrate another New Year, we’re glad he spent his final one surrounded by his beloved fans.

On January 8, 1935, in a modest two room house on Old Saltillo Road in East Tupelo, Mississippi, a baby named Elvis Aaron Presley entered the world. No one standing in that small home could have imagined that the child sleeping in his mother’s arms would one day become one of the most influential entertainers in history. At that moment, he was simply the son of Vernon and Gladys Presley, born into a family that had little except faith, perseverance, and love.

On August 16, 1977, at Graceland in Memphis, Tennessee, one of the most extraordinary stories in music came to an end. Newspapers around the world announced the death of Elvis Presley at just forty two years old. Within hours, millions mourned the loss of the King of Rock and Roll. Yet behind the headlines was a far more personal story, not of an untouchable legend, but of a man whose final years had been shaped by physical illness, relentless pressure, and an unwavering determination to keep giving everything he had to his audience.

There is a version of Elvis Presley the world could never buy a ticket to see. It wasn’t the man in the white jumpsuit standing beneath thousands of lights. It wasn’t the superstar surrounded by screaming crowds. It was the father who would stop everything the moment he heard a little voice call, “Daddy.”

IT ISN’T ABOUT FILLING A VACUUM LEFT BY A LEGEND; IT’S ABOUT PICKING UP THE TRADITION OF SHOWING UP WHERE IT MATTERS MOST. Toby Keith’s legacy wasn’t built on the charts alone—it was forged in the heat of deployments, the quiet of military bases, and the conviction that country music should be the soundtrack for those who sacrifice their own “normal” for the rest of us. He understood that a performance for service members isn’t just a concert; it’s a vital connection to home. When Chris Young steps onto that stage at Schofield Barracks this July 4th, he isn’t trying to be the “next” Toby Keith. He is bringing his own baritone and his own sense of duty to a place where the air is heavy with the weight of service. Standing under a Hawaiian sky surrounded by military families, skydivers, and the pulse of Army bands, he is continuing the most important part of country music’s mission: the “thank you.” There is something inherently sacred about a concert that happens on a base rather than a stadium. The scale is different, the stakes are higher, and the audience has earned their seat in a way that no VIP ticket can replicate. By choosing to be there on America’s 250th birthday, Chris Young is affirming that this genre—at its best—isn’t just for entertainment. It is for community, for honor, and for the people who keep the country running from the outside in. Toby Keith proved that country music is at its strongest when it’s traveling toward the people who need it most, and it’s a powerful thing to see that road being traveled once again.