9 minutes ago, Sydney11 said:

Thanks to JosephStyles

Chart Update ...

Friday Chart Predictions - Page 11 - UK Charts - BuzzJack Music Forum

It's coming home, it's coming home...

4 minutes ago, Better Man said:

It's coming home, it's coming home...

Are pre-orders included in these sales figures as some sites are not shipping until FEB 6th. I find it confusing as to how it works.

2 hours ago, Sydney11 said:

Are pre-orders included in these sales figures as some sites are not shipping until FEB 6th. I find it confusing as to how it works.

Any order that have shipped will be included in that number.

Mine hasn't arrived yet 😐

I was in HMV during the week & not a sign of the album. I get an email last night advertising the album & some of the those on offer are out of stock , The whole launch is a bit messy & those sales numbers to date are terribly low

.

• Britpop: Robbie Williams Goes Full ’90s | Album Review

MusicMusic Review

Britpop: Robbie Williams Goes Full ’90s | Album Review

By Stephen Byrne Last updated Jan 21, 2026

Britpop as Boombox Fantasy

In Cameron Crowe’s 1989 seminal coming-of-age teen comedy romance Say Anything, John Cusack declares his undying love for Iona Skye by serenading her with a boombox playing Peter Gabriel’s ‘In Your Eyes’. With Britpop, Robbie Williams has taken it one step further — as only he can — filling his boombox with songs he’s penned in the vein of Elastica, Supergrass and Suede. nods to Gary Numan, David Bowie and Nirvana and many others including Robbie Williams himself returning to the spirit of his debut Life Thru a Lens.

But at its core Britpop is an audacious fun-filled Frankenstein’s monster of an album which repurposes lyrics and melodies from all of the above, unashamedly designed with winning the attention and approval of his idol Liam Gallagher.

Chasing the Approval of Liam Gallagher

In this sense Britpop finds Robbie Williams standing outside Liam Gallagher’s window declaring loudly and proudly that he wants to be more than just friends, he wants to be best friends. Britpop is an 11-track (stretching to 17 on the deluxe version) valentine, come audition tape for the approval and affection of the Oasis frontman.

Cocky opener ‘Rocket’, featuring Black Sabbath guitarist Tony Iommi, could be construed as a shot across Yungblud’s bow that Williams isn’t prepared to pass his crown to him just yet, while ‘Spies’ sees Williams reminiscing about his wild days as a hard-drugging 90s pin-up.

Homage, Pastiche, or Provocation?

Standout ‘Pretty Face’ sees Williams revisit the type of radio-friendly man-band fare that propelled Take That’s reformation to the top of the charts on merit. Only here it pays homage to Kurt Cobain with a “hello, hello, hello” refrain and more than a hint of facsimile of a facsimile Elastica used to make themselves famous.

Williams knows what he’s doing here. It’s a creative decision repeated throughout Britpop, designed to annoy the type of people who will never take him seriously regardless of what he does, while also highlighting that despite what you may think he actually a music fan who knows his tunes.

Where Britpop Hits

Songs like ‘All My Life’ and ‘Spies’ lean into his aforementioned love of Oasis, but unfortunately for Robbie Williams as much as he can write songs as good as Liam Gallagher can he can’t deliver them with the God given swagger Liam can, but on the basis of what’s on offer here Williams should clearly be giving the songs he writes that don’t suit his voice to other people be it Liam Gallagher, Styles or Capaldi. After all it would be a treat to hear Liam Gallagher deliver lines like “You talk to Jesus, but I talk to God”, Robbie not so much.

Following some ill-advised rapping You’s chorus successfully moves along with the energy of a smooth, mid-paced Supergrass ballad, it’s little wonder then that Gaz appears on the appropriately titled ‘Cocky’.

Where Britpop Overreaches

With the help of Take That’s Gary Barlow, Williams pokes fun at Stephen E. Morrissey with a Pet Shop Boys slice of euro disco on the outrageously fun unexpected gem ‘Morrissey’.

Williams tackles orchestral pop on ‘It’s Okay Until The Drugs Stop Working’, which is an audacious monster mash of numerous songs — the title gives an obvious one away — before finally settles with the final flourish of Blur’s ‘The Universal’. Britpop concludes with ‘Pocket Rocket’, an orchestral reprise of the album’s opener. It’s far superior offering but highlights Williams’ versatility.

The Deluxe Edition’s Winks and Nods

The Deluxe version of the album continues the overwhelming number of nods and winks to other artists. With lyrics such as “Another prick in the wall, a wonder wall”, ‘Selfish Disco’, which namechecks Buzzcocks, Blue, Siouxsie Sioux and S Club 7 (who does he think he is, CMAT?) starts as an ‘All The Young Dudes’-style ballad before repurposing the melody from ‘Rock DJ’ for the chorus, which is given a Scissor Sisters-style makeover.

The other notable track from the deluxe version is rocker ‘No Comment’ which tackles trolls head-on in Williams’ own inimitable fashion. With lyrics like “in your comment section, your comment section, I type what I type, then I get an erection” it’s hard to know whether to laugh or applaud at the sheer no f***s given nature of it all but it perhaps best sums up this project. You’ll either love it or hate it but by God it’s hard not to appreciate the pure audacity of it all.

Final Verdict on Britpop

When Robbie Williams stays in his lane there’s absolutely nobody better than him but unfortunately Britpop sees Williams weaving onto the wrong side of the road far too frequently, but boy, do we like to rubberneck when he does. There’s something truly fascinating about it.

An A for effort and a C for execution. Just like The Seahorses. How much more ’90s can you get?

Score: 7/10

HeadStuff

Britpop: Robbie Williams Goes Full ’90s | Album Review -...

Robbie Williams’ Britpop is a bold, divisive love letter to the ’90s — packed with homage, ego, nostalgia, and undeniable audacity.

www.headstuff.org

Robbie Williams – ‘Britpop’ Review: A Jubilant Celebration of the Sound That Made Him

By Philip LoganJanuary 22, 2026

When Robbie Williams declares his musical intentions, he rarely does so half-heartedly – and with ‘Britpop’, his thirteenth studio album, he delivers a full-throttle, defiantly joyous homage to the sonic era that helped define British music in the 1990s. Out now via Columbia Records, this record isn’t merely a nostalgic exercise; it’s a boldly executed collision of swaggering guitars, anthemic hooks, and Robbie’s irrepressible personality.

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Right from the opening surge of ‘Rocket’ – fuelled by explosive guitar work from heavy rock legend Tony Iommi (Black Sabbath) – Williams sets the tone for an album that wears its influences proudly while stamping them with his own pop prowess. The track’s swirling riffs and unrepentant energy signal that ‘Britpop’ is raw, upbeat, and purposefully unpolished in all the best ways.

But this isn’t a one-trick retro act. Tracks like ‘Spies’ and ‘All My Life’ swirl retro indie textures with Robbie’s unmistakable vocal charisma, threading a clever line between affectionate tribute and pure pop invention. Lyrically, Williams navigates themes from fame and mortality to self-reflection, showing a matured songwriter who still knows how to connect with an audience.

Collaborations across the album – from Coldplay’s Chris Martin to a memorable reconnection with Gary Barlow – add rich layers of melodic and emotional depth. Standouts like the reflective ‘Human’, featuring Mexican duo Jesse & Joy, showcase an artist comfortable stretching beyond the expected, balancing bombast with sincerity.

What makes ‘Britpop’ special isn’t just its homage to a glorious British musical tradition, but also its unpredictability and heart. Whether you’re drawn in by the rollicking hooks or the playful swagger, Robbie’s undeniable charm binds it all together, reminding us why he remains one of Britain’s most beloved musical icons.

On reflection, ‘Britpop’ feels less like a standard album and more like a mission statement: Robbie Williams leaning fully into his influences, reshaping them through his own unmistakable theatrical flair, and reminding us that – even decades into his career – he can still surprise, provoke, and genuinely delight.

Robbie Williams - ‘Britpop’ Review: A Jubilant Celebration of the Sound That Made Him - CelebMix

I don't get how they count it. The streaming and the sales of this week now and the pre-orders in February? As I think this must be a far higher quantity.

Album Review: Robbie Williams – Britpop

3 min read

Robbie Williams’ accolades are far too extensive to repeat in one simple introduction, but for people in the UK at least his career is one of legendary proportions. Seven number one singles, twelve number one albums, countless awards and world records, and a movie of his life, all leading to him becoming one of the best-selling music artists of all time. Putting aside his success, he is also a very savvy businessman, and his new album Britpop is another venture born from a talented man with incredible drive and determination. 

Rocket opens the record with an intensity not seen from Robbie since the early 2000’s. Its high octane, rip-roaring rock, brought up massively by Black Sabbath’s Tony Iommi on lead duties. Following that is the other initial single Spies which, while not having the same drive, delivers a punchy chorus and excellent vocal performance all round.

Pretty Face brings back the more typical Britpop melody, in some ways reminiscent of a riff from Suede but simpler in construction.

Cocky’s groove pulls you into swinging along to the sleazy guitar riff and occasional honky-tonk piano passages, while All My Life takes a power-ballad approach and puts you at the centre of a stadium concert. It will certainly become a singalong for Robbie’s future sets.

Human, featuring Mexican pop duo Jesse & Joy, is the softest song in the track list, washing over the listener. It’s a gorgeous tune, showing that even with a rigid theme for the album’s sound there’s still wiggle room. Morrissey follows, co-written by Robbie’s Take That bandmate Gary Barlow and featuring him on backing vocals. It manages to take the sound one step further, with a bubbling synth line and drum machine, Robbie singing very empathetic lyrics about the titular singer.

You brings the guitars back, sounding like a hybrid of Fontaines DC and Fat Dog, while It’s Okay Until the Drugs Stop Working goes backwards, taking inspiration from the likes of Roy Orbison musically.

Pocket Rocket acts as a lovely full-circle conclusion to the main album, a calmer version of the opener.

Britpop on the surface is a departure for Robbie, but upon listening you quickly realise that all of his signature elements are present and correct. Witty lyrics, perfectly formed songs, performed with gusto. There’s rockier instrumentation overall, sure, but this just makes the tracks feel timeless. Robbie, as always, is on fine form.

Album Review: Robbie Williams – Britpop

Source Rob's Insta

Well done Robbie ❤️❤️❤️

Robbie Williams surpasses The Beatles to make chart history with 16 No.1 albums

by Andre Paine

January 23rd 2026 at 5:10PM

Robbie Williams has made chart history in the UK with his latest No.1 album, Britpop (Columbia Records).

Scoring his 16th No.1 as a solo artist, Williams surpassed The Beatles to become the act with the most UK No.1 albums ever.

Williams tied with The Beatles last year when the Better Man OST debuted at No.1. He has now set the new record with 13th studio album Britpop, the release of which was brought forward last Friday (January 16).

Britpop debuted at No.1 with consumption of 34,157 units (16,536 CDs, 2,510 vinyl albums, 13,791 cassettes, 672 digital downloads and 648 sales-equivalent streams), according to the Official Charts Company.

Robbie Williams’ only studio album not to reach the summit is 2009’s Reality Killed The Video Star, which peaked at No.2.

On top of his solo success, Robbie Williams has also topped the chart as a member of Take That, being a full member of the band when Everything Changes (1993) and Nobody Else (1995) were No.1, and rejoining them for 2010 chart-topper Progress. He also contributed to most tracks on their 1996 No.1 compilation Greatest Hits and some on subsequent (2018) hits package, Odyssey. So Williams could claim up to 19, 20 or even 21 No.1 albums. The higher total is beaten only by Paul McCartney (23, including 15 with The Beatles). 

As revealed in Alan Jones’ Music Week charts analysis, Williams’ career album consumption as a soloist totals 21,108,856 units, with his top titles being Greatest Hits (2,684,529 units), I’ve Been Expecting You (2,630,892 units) and Swing When You’re Winning (2,466,945 units).  

Of those units, 17,281,259 have accrued in the 21st century, making him the No.1 artist of the era, with Coldplay (15,809,980 sales) as runners-up. Among solo artists, Williams’ nearest 21st century rivals are Ed Sheeran (14,988,419 sales) and Adele (13,467,216 sales). 

Robbie Williams’ solo No.1 albums:

·         Life Thru A Lens (1997)

·         I’ve Been Expecting You (1998)

·         Sing When You’re Winning (2000)

·         Swing When You’re Winning (2001)

·         Escapology (2002)

·         Greatest Hits (2004)

·         Intensive Care (2005)

·         Rudebox (2006)

·         In and Out of Consciousness: Greatest Hits 1990-2010 (2010)

·         Take The Crown (2012)

·         Swings Both Ways (2013)

·         The Heavy Entertainment Show (2016)

·         The Christmas Present (2019)

·         XXV (2022)

·         Better Man (2025)

"Britpop is the record I’ve always wanted to make, and seeing it become my 16th No.1 album means everything to me,” Robbie Williams told Official Charts. “Thank you to all the fans who have been with me every step of the way. You’ve made my dreams come true."

Martin Talbot, chief executive officer, Official Charts, said: “There are chart records and there are chart records – and Robbie Williams’ achievement today in securing his record 16th UK No. 1 album is simply extraordinary,” said Martin Talbot, CEO, Official Charts Company. “Not even the confident young 16-year-old from Stoke-on-Trent would have believed this were possible when he joined Take That back in 1990, but here he is, on top of the world, the UK’s No.1 album artist – of all time!”

PHOTO CREDIT: Robbie Williams

Robbie Williams surpasses The Beatles to make chart history with 16 No.1 albums | Talent | Music Week

Source Robbie Williams surpasses The Beatles with the most Official UK Number 1 albums ever | Official Charts

Ha! Well done Rob and even more importantly it's a brilliant album . He must be absolutely thrilled and humbled at the same time.❤️

25 minutes ago, Laura130262 said:

Ha! Well done Rob and even more importantly it's a brilliant album . He must be absolutely thrilled and humbled at the same time.❤️

Yes-yes!!

With that Album this record is even bigger!!

Happy for Rob and congratulations to you all as well!! Great achievement!!

Btw, in 3 weeks will show you something ;)

Intriguing Alex! Is it Robbie's Management sales strategy? 😅 Do you think there will be more sales to come next week or are they all dispatched this week?

01 34,157 Robbie Williams - BRITPOP [16,536 CDs, 2,510 vinyl, 13,791 cassettes, 672 downloads, 648 streaming]

46 minutes ago, Laura130262 said:

Intriguing Alex! Is it Robbie's Management sales strategy? 😅 Do you think there will be more sales to come next week or are they all dispatched this week?

Well, it's going be a some kind message for Rob :)

Well, I think 10k + 7k during next weeks.

I don't think there will be a drop like with OST Better Man. Let's see. You know, that promo is not a good side of this era.

But the album itself is F Amazing!

It's some record to have so many number 1s.

Really surprised it missed the top 10 here in Ireland debuting at number 15 this week.

I wouldn't be surprised if Taylor Swift nabbed the record in the future.