Sydney11

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Happy Birthday to Charlie ❤️ Officially a pre-teen…omg !! What a year watching you grow-up, with constant curiosity and joy for life. You embrace everything with so much positivity and commitment to do your best. No matter big you get, you will always be ‘my lil boo thang’ :) Happy 12th Birthday Charlie!!! We LOVE YOU SO MUCH!! ❤️❤️ Mum and Dad xx @robbiewilliams https://www.instagram.com/aydafieldwilliams/

Hermitage Green’s Limerick homecoming Hermitage Green. Photo: Mikey Aldridge The band are gearing up for one of their biggest performances yet, sharing the stage with Robbie Williams. HERMITAGE Green’s journey to Thomond Park began in a Limerick pub, long before playing in front of thousands of people became their reality. Now, 16 years after the band’s first live performance in the Curragower Bar, the five-man ensemble are prepping to return to one of the city’s most iconic venues. They will be playing two concerts in July 2027, opening for international pop star Robbie Williams. For frontman Barry Murphy, this occasion carries a significance that goes way beyond any gig he has done before. This gig will bring together many of his treasured childhood memories of Thomond Park, his childhood hero, and his community at home. Speaking to the Limerick Voice, he said Thomond Park has always been more than just a stadium. “We started playing in the Curragower Bar, which is just down the road from Thomond Park many years ago, not imagining that stuff like this would be possible.” A childhood dream comes full circleMurphy re-tells the story of growing up across the road from the beloved stadium and listening to gigs from his bedroom window. As a young Robbie Williams fan, he recounts receiving the singer’s second studio album, ‘Life Thru a Lens’, in his Christmas stocking and being hooked from there, saying “I was just blown away by how class of an album it was and what an entertainer he is.” Now years later, Murphy can’t contain his excitement for the performance of a lifetime opening for the man who soundtracked his childhood. “I’m looking forward to it, which is an understatement, playing before him and sharing the stage with him and getting to meet him. And with all the people of Limerick in front of us, it’s going to be pretty special.” This performance is about more than just the music for Murphy, whose relationship with the stadium begins long before the band’s formation, as he previously played rugby for the Munster team. Looking back on that memory, he said he never could have imagined he would one day perform there as a musician with his best friends alongside him. “To think I’ll be playing on stage in front of my hometown, ahead of Robbie Williams, in the same Moyross end where I scored a try against the All Blacks is pretty cool, so I think it’s going to topple any stadium that we have played in around the world.” Murphy believes that this performance could become their biggest and best yet, describing the privilege he feels coming back to their home county. “We have been very fortunate to play in some cool venues all over the world, and even King John’s Castle is probably our favourite venue, and it’s in our home city as well. I think it will easily be our biggest performance yet.” Bringing the energy home againThe band’s journey began in 2010 as casual jam sessions between two brothers and their friends. What the group didn’t know was that these sessions would turn into a career that has stretched far beyond the clutch of Limerick City. Their early music releases helped establish a cult following, with their 2012 EP, ‘The Gathering’ reaching number 28 in the Irish charts. Four years after their EP went viral, the band were signed by Sony Music Ireland while releasing their debut album ‘Save Your Soul,’ which reached number three on the Irish charts. They have quickly built a reputation for the energy and spirit at the centre of their live performances, blending rock with folk while crafting powerful harmonies. Their touring has captivated audiences around the world. Local beginnings and international stagesThey took international waters by storm, playing to crowds across Europe, North America and even the Middle East. Despite travelling the world doing what they love, the boys still consider Limerick central to their identities. Much of Murphy’s excitement for their upcoming performance comes from the local people of Limerick, who have shared in the band’s excitement about the concert. “It’s incredible to see the reactions we’ve gotten out of people over the last few weeks since we announced it.” Supporting Williams is undoubtedly a momentous achievement for the group, but they plan on bringing the same ambience to this massive stage as they always have. Although they do plan on playing the classics for their devout fans, Murphy hinted that they may throw some new tunes into the mix. “They can expect energy, entertainment, craic. All the classics. We’re almost ten months out, so anything can happen between then and now. We’re always likely to do something new and fresh.” For a group who have spent many years by each other’s side, they don’t take any moment for granted. Murphy says that building up the right atmosphere is essential for performing live in front of an audience. While they don’t have any superstitions before kicking off a gig, the final minutes before taking to the stage are spent together. They prepare by having a drink and a group huddle, often ending in someone saying something encouraging to build on that pre-performance memento. “We’ll have a huddle. Someone usually says something inspiring; we remind ourselves how lucky we are to be playing music together for so long.” Next summer can’t seem to come any quicker for the band, when they walk out onto that stage, they will feel the exciting significance of returning to the city where their story first began. Hermitage Green’s Limerick homecoming -

So cute ❤️ Premiered Oct 21, 2026 #DearRobbie #RobbieWilliams #SamanthaJane Dear Robbie Williams, Your music has been the soundtrack to my life ❤️ I went to your concerts with my dad as a little girl. I listened to you on my discman late at night. I went to the CD store early in the morning on every album release day. You've always been a source of comfort, understanding, and the soundtrack to so many memories. So I wrote you a song to say thank you. Dear Robbie weaves together titles from your songs and albums to tell the story of growing up and living life with your music over the past three decades. With Robbie coming to New Zealand in November, I'd love nothing more than for this song to find its way to him. If you're a Robbie Williams fan, I'd be so grateful if you helped me share it. ❤️ With gratitude, Samantha Jane x 🎵 Listen: On all streaming services 📱 Instagram: www.instagram.com/samanthajanemusicnz 📱 TikTok: https://www.tiktok.com/@samanthajanemusicnz Produced by Nate Selway and Stefan Antoinette, drum s by the legendary Sam Holdom.

Nice ro see this being reviewed. I have always loved the No Regrets video especially when you watch it on a big screen , looks amazing https://www.youtube.com/@WeeklyTop5

I have no idea, I guess we will know more nearer the time as to what it actually covers , that's if it actually hapens !!

Take That named as star performers at William’s Earthshot Prize ceremonyTake That have been named as performers at the Prince of Wales’ Earthshot Prize awards ceremony being held in Mumbai.The band, with a string of hits to their name, will perform for the first time in India when they take to the stage for the event on November 17 alongside a host of Indian stars. The group said: “We’ve been lucky enough to perform in some incredible places around the world over the past 35 years, but India is somewhere we’ve always dreamed of bringing our music. “To be performing here for the very first time, after all these years, and alongside the extraordinary people creating a better future for our planet, is really special. “As we’ve seen the world over, music has an exquisite way of bringing people together, and we can’t wait to share that magic with the Earthshot Prize and the world from Mumbai. We’re ready for a night we’ll never forget.” The celebratory gala in Mumbai, India’s financial capital, will feature Hollywood actor Rami Malek, Indian cricketing legend Sachin Tendulkar, Bollywood stars Alia Bhatt and Sonam Kapoor, and Bridgerton’s Simone Ashley. Indian singer Shreya Ghoshal will perform for the 5,000 guests, and the ceremony will be hosted by filmmaker and presenter of The Traitors India, Karan Johar. Take That’s performance will come a few days ahead of the release of their latest album, Dreamers, three years after Take That soared to the top of the charts with 2023’s This Life. Formed in 1989 in Manchester, Take That were originally made up of Barlow, Howard Donald, Mark Owen, Jason Orange and Robbie Williams. The boyband enjoyed five years of success with tracks such as Pray, Relight My Fire and Back For Good, but they split in 1996 a year after Williams left. The group reformed in 2006 and have continued to perform and release music, now as a trio comprising Barlow, Donald and Owen. Barlow said on Instagram recently that Dreamers had been “two years in the making”, adding: “It’s been a good one. No rush. Lots of quality writing time.” The Prince founded the environmental prize to recognise and scale up ideas to help repair the planet, with five winning finalists each awarded £1 million each year to develop their ideas. He has managed to attract a host of famous names to the cause, from Hollywood actors Leonardo DiCaprio, Matthew McConaughey and Cate Blanchett to broadcaster and naturalist Sir David Attenborough and former prime minister of New Zealand Jacinda Ardern. Renowned Indian composer and music producer Shashwat Sachdev will also bring his distinctive cinematic sound for the award show’s finale. His credits include the Indian blockbuster Dhurandhar and its 2026 sequel, Dhurandhar: The Revenge, and he has collaborated with Hans Zimmer on the theme for the BBC show Virdee. He said: “I’m very grateful to begin this association with the Earthshot Prize. So much of my music comes from the land I belong to and the traditions that have been passed down to me. “For me, caring for that land is also a way of honouring what I’ve been given. To share my music in celebration of people working to protect our planet feels deeply meaningful.” Published: 27/10/2026 by Radio NewsHub Take That named as star performers at William’s Earthshot Prize ceremony | Radio NewsHub

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Robbie Williams released ‘I've Been Expecting You’ 28 years ago on October 26, 1998 | Listen to the album + revisit our tribute here: https://album.ink/RWilliamsIBEY

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They say this every year. I want a "Sir", nothing less will do Robbie is in line for recognition for his charity work with Unicef and Soccer Aid after he founded the all-stars event in 2006Credit: PA Robbie Williams set for top gong in New Year's Honours after superstar is cleared over links to controversial tax scheme

Cracked Actor: Robbie Williams’ Rudebox at 20 Robbie Williams’ hip hop pivot is widely seen as one of the most obnoxious failures in pop. Claire Biddles & Fergal Kinney deal with an LP which is experimental outlier, outsider art & baffling mess all at once here’s a moment in 2016 captured in Chris Heath’s bestselling journalistic portrait of Robbie Williams where the singer is struggling with his infant child emotionally pushing his father away. “Maybe,” offers his wife Ayda Field-Williams, “she’s finally heard Rudebox.” The September 2006 release of the ‘Rudebox’ single remains the most controversial moment in Robbie Williams career, a turning point that decisively ended his imperial phase as Britain’s biggest pop star that he had sustained since the 1997 release of Life Thru A Lens. Where “Robbie” albums had been built on post-Britpop guitars and ballads, the ‘Rudebox’ single saw Williams rapping over an electronic Sly & Robbie loop, complete with a b-boy, Adidas tracksuit-wearing image overhaul. The Sun newspaper branded it “the worst song EVER.” Public reaction was mixed. Then came October’s Rudebox album. It sold slowly, amassing about one third of the sales of its predecessor. NME, who had praised the album as “the best thing he ever put his name to”, reported a story that unsold copies of Rudebox were being shipped to China, broken up and used in road surfacing (though EMI chairman at the time Tony Wadsworth has publicly refuted this.) Robbie Williams entered rehab in 2007, and did not release another album until 2009. Claire Biddles and Fergal Kinney are two Quietus journalists that have spent much of their lives thinking about Robbie Williams. On a September 2026 evening, they spoke on video call between Glasgow and London, to discuss Rudebox at 20. Fergal Kinney: In the years leading up to Rudebox, Robbie Williams’ hugely successful songwriting partnership with Guy Chambers had broken. Some had expected that to be the end, but 2005’s Intensive Care had shown that he could have enormous success working with other songwriters. A lot of things about Rudebox can be explained as an artist accruing too much power in the aftermath of that. Claire Biddles: The album cover for Intensive Care was designed by Grant Morrison and Frank Quitely. Grant Morrison is one of my favourite writers, and the artwork is this image of Robbie with his finger up, and there’s a sigil on his finger – a spell-like symbol used in chaos magic. Grant designed it to make the album successful; similarly to their seminal 90s comic The Invisibles, which was intended as a super-charged hypersigil. Because Intensive Care was actually this huge success, it’s like: did the sigil work? But I often think about something Grant wrote in their newsletter a few years ago, when asked if they still spoke to Robbie Williams. They wrote that Robbie wanted to know everything about magic and about sigils. This is something that Grant has been doing for decades as a chaos magic practitioner, but Robbie wanted to become an instant expert. Grant had to explain that, and Robbie got annoyed. That seems to me to be quite revealing about who Robbie is, and connects with Rudebox. He decides that he’s going to do something and has to do it all right there and then. He got the idea for Rudebox while he’s touring Intensive Care, writes and records it on that tour, and then performs it on that tour. That’s the mindframe he was going into this with: I can do anything, I am unflappable, I’m too big to fail. FK: In the press materials for Rudebox at the time, he’s quite clear about wanting to channel this lineage which includes Ian Dury, Shaun Ryder and Mike Skinner. Whatever you might think about those individuals, what they achieved as lyricists and vocal performers was built on a huge amount of experience and craft. The single ‘Rudebox’ does just sound like someone trying to become an instant expert in all of that. It’s nowhere near as clever or accomplished as the things he’s trying to channel. CB: Listening to it today, it’s basically a novelty single isn’t it? I think it’s fun, and it was always going to be the song that people associate with the album. Had ‘Lovelight’ been the first single, would people’s impressions and the legacy of the album have been completely different? ‘Rudebox’ is this silly caricature of the various styles that he’s wanting to do on the album, taken to an extreme. There’s these playful, almost childlike rhymes and delivery, which can be cute, but overall they’re quite baffling. I love the weird references that feel very specifically him, like TK Maxx. There’s a bit of a reverse-engineered camp to having this Adidas tracksuit on, but it’s from TK Maxx and it’s maybe a weird colour. It’s important to mention the unfortunate reference to the Special Olympics, which is very jarring. FK: Even at the time, that, rightly, had consequences. The British Council of Disabled People accused him of “rank disablism”, and anger over the lyric at Radio One affected its airplay. For me, I began to find the single more endearing once I understood more about the production of it. Someone at that level of success plotting a hip hop pivot would ordinarily bring in people with some success in that field. But he brought in Candy Flip, the production duo from Robbie’s hometown Stoke-on-Trent best known for their acid house era update of ‘Strawberry Fields Forever’, as well as his touring bassist Jerry Meehan. They wrote this track ‘Dickhead’, which was basically just a sketch of Robbie freestyling, and just obsessively carried on working in that mould. But Rudebox is also quite a confusingly dual-natured album, split between these close friends and then big names. CB: He works with Mark Ronson, who is quite up and coming and cool at that point and is just about to release the Version album. Then there’s Lily Allen on backing vocals, who has that year released her debut album Alright, Still. Along with Amy Winehouse, they are in this coterie of cool pop stars who are a lot like Robbie in the 90s: smoking fags, getting drunk, as edgy as you could be in that world. Take out the local Stoke blokes and you’ve got quite a cool coterie of people across the album. There’s William Orbit too, and Pet Shop Boys. I’ve grown to understand Rudebox more as a mixtape, which itself points almost accidentally towards the old school hip hop culture that he’s referencing. What makes it like a mixtape for me is how many covers there are on it. ‘We’re The Pet Shop Boys’ was originally written and recorded in 2002 by Howard Rigberg. The next year, it’s covered by Pet Shop Boys themselves, and then on Rudebox that version is covered by Robbie Williams almost doing karaoke over the top of it. Also, my favourite Robbie song is ‘No Regrets’, which Neil Tennant sang on. FK: They’re quite a weird pairing aren’t they? When Pet Shop Boys collaborate, it tends to be with divas, big female artists. It’s an unusually expedient move for them. There’s an interview with Pet Shop Boys and Robbie from that time and they don’t seem to have an obvious rapport with one another. At the start of the sessions, Robbie played them Kraftwerk as a reference, and then out of that you get ‘She’s Madonna’. That’s not only one of the best Robbie Williams songs, but one of the best Pet Shop Boys records of the 21st century. CB: I get the impression that he’s almost trying to impress them as elder statesmen rather than collaborate with them. But ‘She’s Madonna’ is miraculous. Somehow, it’s a very equal collaboration, neither more a Robbie song nor a Pet Shop Boys song. It really foregrounds the way that both of them use pathos and humour to get a real emotional thwack. It was inspired by Robbie’s ex-girlfriend Tania Strecker, who used to go out with Guy Ritchie but was supposedly dumped for Madonna. It’s a love song from such a weird and specific position, like a superfan. It sounds more like a projection, someone dumping their partner for the idea of this superstar that’s not real. It’s just so strange. He writes a lot about celebrity, and about being a celebrity, but this song is looking into that world from the outside. FK: In fact, there’s all these images of celebrity all over the album, from Michael Jackson (“Jackson looks a mess”) on the ‘Rudebox’ single, and then ‘The Actor’, this quite icy electro track that was written on Oscars night in 2007. Rudebox is largely an LA album – and we can think about it in a Station To Station lineage of British artists going mad in Los Angeles – and no more so than on that track. CB: ‘The Actor’ has all of these deadpan spoken lines that are very obviously phrases and clichés that would have been in acceptance speeches and press runs: I want my work to matter, I’m totally Strasberg, it’s not acting it’s re-acting. There’s the rap, which is like the ‘Vogue’ rap, which connects it back to ‘She’s Madonna’. It’s looking at a kind of fame that is on a level to his own, but is not his world. As far as I can remember, Robbie is one of the few big pop stars that never had an acting phase. FK: It’s one of the most eccentric, and just funny, moments on the album where he raps this list of actors: Monroe, Barrymore, Mansfield, Dame Judie Dench, Madonna, Ritchie, Streep, Close, Hepburn, Burt Reynolds, Niven, Danson, Bundy, Bardot, and then Joaquin Phoenix and Hilary Swank. It’s so odd, but it does speak to this darkening relationship with fame that’s on the album. In the press biography for Rudebox, he’s referring to himself in the third person: “I saw the whole Robbie thing coming to a close.” This album is canonically the end of his imperial phase, but I now wonder how much of that was him already understanding that this was the end and going out on his own terms? I don’t think he believed that this album would take him to the next level, even if he was surprised at quite how much people recoiled from it. CB: Something interesting with Robbie is the tension between his star persona, his vulnerability, and then what he lets the audience see. He came out of Take That saying very clearly that “this is the real me”, and that the audience will grow up with him and he will show them what he’s thinking. But at the same time, he’s very aware and crafting his own persona. I think it’s very interesting to think about him as being more in control than people might think. Also, it’s such a long album for the time. From the perspective of this self-awareness that you’re referring to, you can interpret that as: I’m just going to shove all of this stuff on it because I know that I’m coming to the end of this imperial phase. It’s a time in his personal life when he’s addicted to prescription meds – which is explicitly written about on the track ‘Good Doctor’, or the Mandrax references in Rudebox. He’s faced addiction before, and Rudebox is almost this explosion before a period of rest. Think about your own experiences with burnout, where there’s usually a big period of activity and then nothing. FK: Within months of Rudebox coming out, he checked into rehab on his 33rd birthday in February 2007. This is another part of the album not really succeeding: he isn’t around to promote a lot of it. After Rudebox, there’s a three year gap before he releases his next album, 2009’s Reality Killed The Video Star. This is so openly a Rudebox-detox project that in Chris Heath’s book Reveal, Williams refers to it as having the working title “Politebox.” Heath observes that once Robbie learns that Rudebox is a really good punchline, he starts joining in because he likes nothing more than a close-to-the-bone joke at his own expense, something that Heath finds psychologically interesting because Robbie also acknowledges it as his most personal album. And the really straightforwardly personal tracks on Rudebox are ‘The 80s’ and ‘The 90s’, two heavily autobiographical rap songs that are almost buried as tracks 14 and 15 on the album. If Rudebox is a house on fire, the thing that I would run in to save would be ‘The 80s’. For four or five minutes, an hour into an album that nobody is going to listen to, for a brief period every single thing he wanted to achieve with the Rudebox project comes true. He’s rapping all these fragmented memories from his upbringing in Stoke. In one line you might get the Falklands war, the death of a family member, some early sexual milestone and then him shouting out some chart hit from the time, and somehow it’s all really affecting and works. It explains the Rudebox project, he’s getting back to this prelapsarian period before his loss of innocence. It sounds so much warmer, after all these quite harsh sounds it’s orchestrated with chiming acoustic guitars and so on. CB: Let’s acknowledge now, then, that Robbie Williams has always been a rapper. There’s the rap at the end of ‘Kids’, ‘Rock DJ’, ‘Tripping’. ‘Supreme’ has a very rap cadence to how he sings the verses. It feels quite natural for him, and ‘The 80s’ is the Rudebox song where it feels less like a gimmick. It’s a classic failure album, and it’s a classic failure position to bury the song that shows you know what you’re doing right at the end. Listening again to the album made me think how much Rudebox is like a Baxter Dury album: the girl backing singers, the rapping, this mishmash of English musical forms. You can particularly hear it on ‘Keep On’, which is by far the weirdest song on the album, alternating between sounding like a Berlin era Bowie song and a baggy track. FK: I had not thought about Baxter Dury but, connected, is that Robbie Williams really likes Sleaford Mods. There’s a great video of him on lockdown rapping their track ‘Kebab Spider’. It’s like he was willing this thing into being – rapping done by a white English guy over the age of 30 – but obviously by the time it comes into the culture he can’t participate because he’s Robbie Williams. It’s worth mentioning too that this album happens just as Take That launched their enormous comeback, suddenly selling out stadiums and releasing the kind of sad lad anthems that Robbie has just abandoned. And there’s Robbie, going back to this pre-Take That version of himself. At the time, he spoke about wanting to go back to this early memory of obsessively watching tapes of Prince’s Alphabet St tour, Public Enemy at Brixton Academy and Happy Mondays at G Mex. Though listening to the album, would a listener struggle to recognise that? CB: A lot of outsider art is references to cultural forms transformed through the personal experience of that person, so it becomes this strange, kaleidoscopic thing. Maybe that’s why he felt that he needed to do these long album notes in the first place. Everything about Rudebox is quite maximalist: loads of words, explaining, songs. It’s like he had to explain what had gone into this because people might not be able to hear it. Going back to ‘The 80s’ and ‘The 90s’, the latter song feels like a prediction of where Robbie is now in the culture. Heritage act Robbie is 90s Robbie, not just in his tours – where he acts out the stadium hits show as memoir – but his latest album Britpop, and his biopic Better Man, which is set in this very specific 1990s. The Adidas tracksuit from his Glastonbury 1995 appearance becomes this lodebearing symbol, in this new, spangly version that he wears on stage, which is like what a turn would wear in Blackpool. But it’s the tracksuit of 1995, rather than the tracksuit of Rudebox, which is never mentioned in all this re-enactment of the past. Rudebox is this don’t-mention-it moment of his career, but the shadows of it are still there. Cracked Actor: Robbie Williams' Rudebox at 20 | The Quietus

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Family time ❤️ Golden Days with @robbiewilliams and our little brood ❤️❤️❤️❤️ #happyday #family #whereiwanttobe AWxx https://www.instagram.com/aydafieldwilliams/

I don’t really remember how this song came to be in existence. He wrote and played it all I think in one night and there it was. I actually think this song is up there with She’s the One; it’s like it’s sad older brother, or the other side of falling out of love. Its lyric still chokes me up today, maybe more so post divorce. When I first heard it I was maybe 24 and pretty clueless about relationships. I’d seen my parents get divorced in quite a bitter angry way and was obviously scared by this but at the same time I thought I was pretty thick skinned. The production is very simple. Everything is in the right place, even Karl’s drumming makes sense on this song. I like the fact the piano is from the Mirage sampler, there’s no Grand piano making it sound posh; it’s stripped back and raw. No pretty harmonies, or real strings, just his incredible vocal which is totally believable. The question why hasn’t anyone covered this song? I would’ve loved to hear Elvis or Frank sing it, and I guess with AI this could now happen. To me Bacharach/David could have written this, it’s that good! World Party Part 7 - Guy Chambers Instagramhttps://www.instagram.com/guyachambers/

Another date added for 2027 .. Stories • Instagram

robbiewilliams 2d @inklingsandthinklings on view at Frieze London today 🚽 https://www.instagram.com/robbiewilliams/?hl=en&e=dc5db79c-00f9-452e-bff8-7b4db13130c4&g=5

To mark National Album Day 2026, Robbie’s third studio album, Sing When You’re Winning, will be re-released as a limited-edition 2LP red and blue vinyl set and a store-exclusive clear vinyl edition with an alternative cover. A limited SWYW capsule merch collection is also available to pre-order now. https://newsletter.robbiewilliams.com/lt.php?x=4lZy~GE6VnjK6pR_-wDMhRZx3HRRuNb0wxhkkXLFJXaa5XR50Uy7xOlu2Xyo-RVfjDZo2XLJJGGb5XSKyOxGWONu https://newsletter.robbiewilliams.com/lt.php?x=4lZy~GE6VnjK6pR_-wDMhRZx3HRRuNb0wxhkkXLFJXaa5XR50Uy7xOlu2Xyo-RVfjDZo2XLJJGGb5XSKyOxGWONu

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owenparker74 São Paulo, Brazil. End of an extraordinary tour. ❤️ https://www.instagram.com/owenparker74/

I agree 100% , I wonder where they got the figure as You Know Me in the top 10 makes no sense. . I would have thought No Regrets & Eternity would have been in there . It does not say played where !!

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