Happy World Photography Day! 📸

And what better day to share a few of my favourite shots from the camera roll!

I’m incredibly proud and honoured to be heading into my second full season at Vale, this time doing so as the club’s Head Photographer. 🖤🤍

For me, photography is about so much more than just taking pictures. It’s about capturing the moments, emotions and memories that tell the story — from the big celebrations to the little moments that might otherwise go unnoticed.

There’s something special about being able to freeze those moments in time and create memories that players, staff and supporters can look back on for years to come.

Here’s to another season behind the lens, capturing everything that makes this club so special. 📸⚽

️

Source https://www.instagram.com/sportthroughalens_/?e=533dd166-e9fe-4b54-85e1-eb863ad2263a&g=5

Hail Keanu,
The reason I asked the question yesterday is because there seems to be a ‘Mandela Effect’ around me and the Rock DJ video…
Some people remember there being no number on the back of my vest.
I couldn’t remember either.
The more I thought about it, though, the more I seemed to remember there was a number.
Turns out there was. 11.
If you’d asked me what number it was, I’d have confidently said 8.
I’d have been confidently wrong.
Anyway, you’ve helped me put that one to bed, so thank you.
Little story...
During the World Cup, my manager got into a taxi.
The driver asked, “Why are you in town?”
My manager said, “I was at the Robbie Williams gig.”
The taxi driver said, “Oh yeah, I heard he cut the gig short so he could watch the football.”
I didn’t.
But I love how these things somehow become facts and then wander off into the world without you.
I love the confidence with which things that never happened become memories.
So, for a bit of shits and giggles...
What do you SWEAR you remember me doing that apparently never happened?
No Googling.
I want your confidently wrong memories….

Namaste FFS x

Source https://www.instagram.com/robbiewilliams/

@thomrylance
16 h

Hollibobs with this one lol

@robbiewilliams

hOtEl iNkLiNgS

Source https://www.instagram.com/robbiewilliams/

Robbie Williams, the man who conquered the world and forgot to tell America

By Penelope H. Fritz

The announcement that Robbie Williams would be rendered as a CGI chimpanzee in his own biographical film was not, despite everything, a joke. Better Man, Michael Gracey’s 2024 film about three decades of Williams’ life, commits to that decision for its entire runtime — and in doing so generated more honest conversation about the machinery of British celebrity than anything Williams had said in thirty years of press interviews. The monkey was not a punchline. It was, by most accounts, the point.

Robert Peter Williams grew up in Stoke-on-Trent, a Staffordshire city whose relationship with celebrity has historically been cautious. He was sixteen when he auditioned for Take That, a boy band being assembled by manager Nigel Martin-Smith. He got in. For five years, the group — Williams alongside Gary Barlow, Mark Owen, Howard Donald, and Jason Orange — maintained an almost industrial production of UK number ones, synchronized choreography, and the particular pressure that comes from several million teenagers deciding your face is the face of the decade. Williams was the one whose grin read as slightly improvised, slightly dangerous. That tension became unsustainable. He was dismissed from Take That in 1995, before the group dissolved entirely the following year.

What he did after that departure is one of British pop’s stranger stories. His first solo single, a cover of George Michael’s Freedom, reached number two in the UK. His debut album, Life Thru a Lens, released in 1997, moved slowly and then everywhere at once — carried almost entirely by Angels, a song that has since accumulated cultural weight entirely disproportionate to its structure. In the decade following its release, it became the most-played record at UK funerals. Every stadium singalong since has been a smaller version of that ritual.

The partnership that built what followed was with Guy Chambers, a songwriter and producer Williams met in January 1997. Together they produced I’ve Been Expecting You, Sing When You’re Winning, and Escapology across four years that look, from this distance, like an unrepeatable run. Millennium and She’s the One both reached number one in the UK. Feel, from Escapology, charted in the top five across more than ten countries. By the time the collaboration entered its first hiatus, Williams had sold approximately forty million records under Chambers’ production and won more BRIT Awards than any artist in the ceremony’s then-forty-year history.

That record — eighteen BRIT Awards at current count, double the nearest competitor — comes with an asterisk that Williams has acknowledged in various configurations across his career. Despite dominating the UK charts, the European festival circuit, and stadium venues from São Paulo to Sydney, he never managed a meaningful breakthrough in the United States. Angels and Millennium, radio fixtures across three continents, registered almost nothing on American airplay. He toured the US, adapted his presentation for American press, and watched the country’s pop infrastructure produce polite indifference at consistent volume. The gap between his global scale and his American anonymity is so precisely documented that it has become its own footnote in the history of transatlantic pop — the biggest name in the world that the world’s biggest market simply declined to recognize.

Williams was candid, in public, about the addiction, the depression, the agoraphobia — the years when performing in front of a hundred thousand people was structurally easier than leaving his house. His 2023 Netflix documentary, four episodes directed by Joe Pearlman with Oscar-winning documentarian Asif Kapadia as executive producer, was constructed around the question of how these two things — the scale of the success and the depth of the private difficulty — could have coexisted as completely as they did. Twenty-five years of intimate archive footage produced a series that the subject described, characteristically, as an attempt to explain himself. It did that, imperfectly and honestly, in roughly equal measure.

The period since 2022 has been, commercially, the most consistent run of Williams’ career since his early-2000s peak. XXV, his twenty-fifth-anniversary album, reached UK number one. The soundtrack to Better Man, released in late 2024, added a fifteenth chart-topper. BRITPOP, the new studio album released in February 2026, brought the total to sixteen UK number-one albums — one more than the Beatles’ previous tally for male solo artists, a comparison Williams appears to have noted with appropriate satisfaction. The Britpop World Tour, running through 2025 and 2026 across Europe, Latin America, and Australia, has drawn the stadium crowds that suggest the audience which followed him out of Take That three decades ago has not found anything else to do on a Saturday night.

He is, at fifty-two, also president of Port Vale Football Club — a role he assumed in January 2024, adding a genuine institutional stake in his hometown to a biography that already included everything else. The original song he co-wrote for Better Man, Forbidden Road, reached the streaming charts alongside the film’s theatrical run.

For a performer whose entire brand was built on narrating his own collapse with theatrical precision, the question of what to do when that collapse resolves into something more stable is not a trivial one. He is still working it out, in stadiums and on record — which, at this point in the story, may be all the answer anyone needs.

Selected Discography

• 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)

• Intensive Care (2005)

• Rudebox (2006)

• Reality Killed the Video Star (2009)

• Take the Crown (2012)

• Swings Both Ways (2013)

• The Christmas Present (2019)

• BRITPOP (2026)

Robbie Williams, the man who conquered the world and forgot to tell America – Martin Cid Magazine

Edited Sunday at 13:473 days by Sydney11

mattgriffin_art

A proudly completed @robbiewilliams mural for @edenparknz 🎤🏟️

Another superstar artist added to the walls of our national stadium 🇳🇿 Huge honour to paint RW and excited to welcome him to our shores later this year!

Painted with @molotowheadquarters

https://www.instagram.com/aydafieldwilliams/