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Live Forever Rock'n'Roll Star - Wembley 25/07 Video thanks to https://www.youtube.com/@cymnetlive

Cigarettes & Alcohol - Wembley 25/07 Video thanks to https://www.youtube.com/@nanakey

Dedication to the late Ozzy Osbourne Video thanks to https://www.youtube.com/@Rocky_Hawks

Oasis at Wembley review: London finally sees Liam Gallagher at his bestOasis played London for the first time in 16 years and gave the Wembley crowd a show worth waiting for Andy Beill, Digital Editor 1 day ago Review at a glanceLondon hasn't always brought out the best in Liam Gallagher. He sat it out at Royal Festival Hall as the band played on without him for their MTV Unplugged recording in 1996. At the old Wembley Stadium, months before it closed to be rebuilt, a drunken performance in the shadow of the ground’s Twin Towers resulted in Liam vowing not to take to the stage while under the influence again; Noel later described the show — recorded for posterity as a sub-standard live album — as the band's lowest point. And the last time the Gallaghers played live together in London, for 2009’s iTunes Festival at the Roundhouse, Liam rowed with the crowd in an unhappy showing; little more than a month later, the band were finished. However, at the first night of their Wembley 2025 run on Friday, Liam was centre stage for all the right reasons. Whisper it quietly, but has the Oasis frontman, perhaps, learnt the error of his ways? "Every time I open my mouth I seem to get myself in f***ing trouble. I'm just gonna do the singing, or the screaming and the shouting as they put it these days," he told the crowd. Naturally, he didn’t quite stick to that, but certainly it was the performance that did the real talking. Liam and Noel Gallagher return to Wembley Stadium Big Brother Recordings It seems like the Oasis fanbase may have also matured somewhat. After pint glasses had gone up in the air for the opening songs — notably the ferocious, opening bars of Morning Glory getting the fans on the pitch jumping — that seemed to be that. Not like the array of liquid being thrown for the duration of Oasis gigs back in the day. Then again, a pint costs an awful lot more now than it did then to be chucking it away. Liam stepped out of the limelight for Noel to play his own mini-set, starting with Talk Tonight “for the ladies”. Another B-side favourite, Half The World Away, was dedicated to the TV show it soundtracked, The Royle Family. “Not that royal family, the real f***ing Royle Family,” said Noel. Shining mobile phone lights were waved aloft for this heartfelt love-in. That’s another thing that was different in the 90s, in the days of cigarette lighters. Noel Gallagher sings Half the World Away at Wembley From the crowd’s response, Little By Little was a well-judged delve later into the band’s back catalogue than anything else in the set — which remained consistent with the rest of the tour to date. With the London evening light starting to dim, Liam rejoined the band, announcing it was time things got “naughty” with a pair of Be Here Now hits, D’You Know What I Mean? and Stand By Me. Oasis showed they can be naughty but nice, as an image of Ozzy Osbourne was projected towards the end of Live Forever, followed by Liam dedicating Rock ‘n’ Roll Star to the recently deceased Black Sabbath man. Arsenal fans had earlier been ribbed by Liam as he got the crowd to bounce along in the Poznan style adopted by Manchester City fans, and now Noel invited boos by referring to Pep Guardiola as “the greatest manager of all time” when introducing encore opener The Masterplan. These references feel like a throwback to the days when (indie) music and football were much more intertwined. Seasoned Oasis fans will recall more football shirts in the crowd in the 90s. Today at Wembley, everyone appears to be wearing the same team kit: the Oasis-branded Adidas merchandise and bucket hats. A decent sideline on top of the ticket sales . Oasis fans outside Wembley in standard attire Lucy North/PA Wire Noel paid tribute to his “favourite bar”, the Chiltern Firehouse, which burnt down earlier this year. A tragedy bigger than the Great Fire of London and the Blitz combined, he said as he dedicated Don’t Look Back In Anger to their staff. Liam duly obliged in singing, in his words, “wretched song” Wonderwall, before the epic closer Champagne Supernova finished suitably with fireworks over the stadium. The Oasis frontman then essentially echoed the evening’s opener as he bid goodbye. “Nice one for making this happen. It’s good to be f***ing back.” On this form, few here at Wembley would disagree. Oasis at Wembley set list (25/07/2025) Hello Acquiesce Morning Glory Some Might Say Bring It On Down Cigarettes & Alcohol Fade Away Supersonic Roll With It Talk Tonight Half the World Away Little by Little D'You Know What I Mean? Stand By Me Cast No Shadow Slide Away Whatever Live Forever Rock ‘n’ Roll Star The Masterplan Don't Look Back in Anger Wonderwall Champagne Supernova Oasis at Wembley last night live review: London sees Liam Gallagher at his best | The Standard

He said back in January that his Dad's character was written through the eyes of his Mum . Family relationships can be funny , I guess they did it their way whatever that was . He loves his Mum & Dad so seeing what is happening to them must be really tough. Excerpt from Time Out magazine What were the most difficult moments you had to relive for "Better Man"? The worst thing for me was the relationship I had with my ex-fiancée Nicole Appleton (singer of the All Saints, editor's note). Everyone else in the movie had done something to me, but she was a good person and I was the bad guy. She got the worst version of me. I'm still ashamed of that. And then the thing with my grandmother and the thing with my dad weren't easy either. In the movie, you see my mother's version of what happened back then. I'm sure my father has his own version. There are things I never discussed with him. I actually don't want him to see the movie. But I also want people to know that he's very charming and that everyone falls in love with him straight away. Full interview here Who Is Robbie Williams? Singer Talks Better Man and America | TIME

robbiewilliams #AD The perfect reason why it’s great to be a cat! #catlife #catlovers #POVitsgreattobeacat #felixcat

How true is this statement, something I have been saying for years ! Quote 'I suppose, over the years, I haven’t asked to be taken seriously — and people have paid me in kind.’ - Robbie Williams

😄 Poor Tom !! Sweet Child' o Mine, Sunshine Of Your Love, Another Bites..., YMCA, Just Can't Get..., Satisfaction farco 14,364 views Jul 18, 2025 STADIO NEREO ROCCO Band presentation, Robbie Williams at Stadio Nereo Rocco, Trieste, 17th July 2025. All concert recorded in 4K. [00:45] On Day Or Another (Blondie) [01:20] Sweet Child' o Mine (Gun's ) [02:32] Sunshine Of Your Love (Cream) [03:09] Another Bites The Dust (Queen) [03:51] Samba Do Brasil [04:36] I Wanna Dance With Somebody (Whitney Houston) [06:02] Y.M.C.A. (Village People) [07:26] That's Amore [07:51] Just Can't Get Enough (Depeche Mode) [08:37] Satisfaction (Rolling Stones) Video thanks to https://www.youtube.com/@farco777 Video thanks to https://www.youtube.com/@fruaddict167

New Robbie Williams Display Promotes Endangered Stoke Pottery IndustryByIsabel Dempsey 24 minutes ago 'The pottery industry has given me and my people a sense of identity, a sense of pride' As modern manufacturing heralds the death of craftmanship, this new exhibit featuring designs by Robbie Williams hopes to protect these endangered skills for the future. Robbie Williams’ Designs Seek To Keep Stoke’s Pottery Industry Alive Global pop sensation, former Take That star and Stoke-on-Trent native Robbie Williams has designed four new ceramic artworks as part of a campaign to raise awareness for Stoke’s dying artisanal skills. His designs are currently on exhibit as part of the ‘100 Years, 60 Designers, 1 Future’ exhibition at Stoke’s Potteries Museum & Gallery (PMAG), alongside those of 60 other creatives. In early August, a set of ceramics will go on display at Fortnum & Mason in London, while a collection of signed plates will be auctioned off in September to raise money for the future protection of these endangered crafts. Featured in the Fine Art section of PMAG, the exhibit opened on 12 June to mark 100 years since King George V granted Stoke-on-Trent city status in 1925. Curated in collaboration with Emily Johnson (co-founder and creative director of ceramic design brand 1882. Ltd) and her team, this exhibition showcases the work of the potters whose talent, experience and skills continue to keep Stoke’s pottery industry alive today. Johnson is the fifth generation of Stoke’s famous Johnson Brothers pottery family. The city is renowned for its rich pottery history but – as with many artisanal skills – crafters from the area fear it may be dying out, with many skills recently classified as endangered by the Heritage Crafts Council. Creating this exhibition as a call to action, Johnson hopes it will highlight the role design can play in bringing ceramic techniques into the future. Each creative contributor submitted illustrations (including drawings, creative graphics, paintings and even a handwritten script), which were then translated into ceramics by 1882 Ltd.’s team of artisans. Through careful hand painting, decal application and hand finishing, the designs were then transferred onto classic bone china plates. It process took three months, and the whole of the factory floor – from potters and modelers to casters and painters – to bring Robbie Williams’ 2D ink drawings of Jesus and The Pope into three-dimensional life. Built using hand clay coiling techniques, these pieces, some standing 80cm tall, were then put through weeks of drying, a series of multiple firings and endless experimentations with pigment-intensive painting. Other creators include British fashion designers Dame Zandra Rhodes (soon to speak at the inaugural Chelsea Arts Festival) and Giles Deacon, Oscar-winning set designer Shona Heath, costume designer Sandy Powell, interior designers Sophie Ashby and Natalia Miyar, and artists Bruce McLean, Hayden Kays and Barnaby Barford. Maxim is included as a fellow musician, and architects John Pawson and Amanda Levete are also featured. Works by revolutionary designers such as Neville Brodie, Barber & Osgerby, Max Lamb, Bethan Laura Wood, Tom Dixon, Faye Toogood and Yinka Ilori are on display as well. A signed collection of plates will be auctioned off in September to raise money for the development of an 1882 Ltd. apprenticeship scheme, ensuring the invaluable skills of Stoke’s artisans not only survive but thrive. A limited-edition run of unsigned plates will also be available to purchase, with proceeds going to the scheme. Fifteen percent of funds will also go to The Queen Elizabeth Scholarship Trust (QEST) to fund opportunities for Stoke-on-Trent schoolchildren to experience working and playing with clay. ‘I’m from Stoke and the potteries are ingrained in me – we are of clay,’ says Robbie Williams. ‘Transforming my art into works of clay with 1882 Ltd. has been amazing. The pottery industry has given me and my people a sense of identity, a sense of pride. Clay built our city so there couldn’t be anywhere better than having it on display in the Fine Art Gallery at the Potteries Museum during the Centenary celebrations of our unique city.’ ‘100 Years, 61 Designers & 1 Future’ is currently on show in the Fine Art Gallery at The Potteries Museum & Gallery (stokemuseums.org.uk). The deadline for the silent auction is 21 September, and designs remain anonymous until purchase; make your bid at uk.givergy.com How To See (& Purchase) Robbie Williams' New Ceramic Designs

Robbie Williams: a songwriting icon in four different decadesAfter picking up the PRS for Music Icon Award at The Ivors 2025, Robbie and collaborators Rufus Wainwright and Stephen Duffy appraise his creative legacy. By Jordan Bassett 24 Jul 2025 Sometime in the early-to-mid-noughties, Robbie Williams took a very short shower. He was lathering up at his Hollywood Hills mansion where work was underway on Intensive Care, the multi-million selling monster of pop he created in a makeshift bedroom studio with Duran Duran co-founder and cult songwriter-producer Stephen Duffy. ‘We kind of jammed up riffs and he’d be singing all the time,’ Stephen tells M. ‘We were doing something — I can’t remember what it was; Ghosts or something — and we’d got the structure. He said, “I’m just gonna…” and he went off and had a shower. But halfway through the shower, he came back — still with shampoo in his hair — and started singing the lyrics. I have a picture of this great moment: this man with bubbles in his hair, grasping his Shure SM58 [microphone] and emoting.’ It’s a story that speaks to the seemingly instinctive way in which Robbie crafts the melodies and lyrics that have become soundtracks to our lives. During a solo career that’s spanned more than a quarter of a century, from Angels to Feel and – hell – even Rock DJ, Robbie is one of the most successful songwriters of his generation. The numbers speak for themselves: 15 UK number one albums, a record 18 BRIT Awards and over 85m album sales worldwide. Robbie added yet another accolade to his collection at The Ivors 2025: the prestigious PRS for Music Icon Award. His fifth Ivor Novello Award, he follows the likes of The Cure’s Robert Smith and Simon Gallup and indie-pop titans James in receiving the honour, which was awarded ‘in recognition of a songwriting career that has touched millions and defined a generation’. However, despite having co-written his solo material since leaving the creative constraints of Take That to record his 1997 debut Life Thru A Lens, Robbie doesn’t always get the credit he deserves as a songwriter. Reflecting on his win backstage at Ivors, the superstar told M: ‘It might as well be [me winning this award], if I look around me and just do brass tacks on the landscape of what I’ve done and what I’ve achieved. It’s very interesting to be sat in a room and only you know that you do melodies and lyrics; you bare your soul and be sensitive to the masses. But only you know which bit you’re doing! I suppose, over the years, I haven’t asked to be taken seriously — and people have paid me in kind.’ Rufus Wainwright, who’s co-written a handful of tracks with Robbie over the years, agrees that his pal’s penmanship should be held in higher regard: ‘Robbie is one of the great audiophiles of all time. He knows so much about music from A to Z and really tries to imbue his work with a deep sense of musical history. I think he deserves more credit for being so passionate about what he does and for having so much knowledge.’ Stephen agrees. He reckons that Robbie’s super-celebrity status often eclipses his standing as a songwriter: ‘I suppose that’s the thing about such huge fame: it takes over from the music and the quality of the music.’ Robbie reached superstardom thanks to 1997's Angels, his multi-platinum fifth solo single. The song is credited to Robbie and Guy Chambers, the songwriting collaborator with whom the former enjoyed a serious purple patch from the late nineties until a fallout in the early noughties. In a bonus DVD packaged with the CD edition of 2005’s Intensive Care, Stephen recalled first meeting Robbie on Top Of The Pops in 1996 when the latter was performing his cover of George Michael’s Freedom (a pointed choice of debut solo single given his acrimonious split from Take That). Explaining why it had taken them so long to work together, Stephen noted that Robbie had gone on to be in ‘the most successful writing relationship since Lennon-McCartney, so one felt a little reticent…’ Here was another pointed statement, it seems. After all, one of those partnerships is h held in the highest critical esteem, the other… less so. Since the ‘imperial phase’ of those Guy Chambers years and that smash album with Stephen, Robbie has gone on to collaborate with countless songwriters and producers (the old Chambers-Williams magic has even been revived in recent years). The heavy metal banger Rocket, the lead single from his upcoming thirteenth studio album Britpop, was co-written with a quartet of songwriters that includes Robbie and — believe it or not — Black Sabbath guitarist Tony Iommi, who also shreds on the track. Stephen, who left Duran Duran to furrow his idiosyncratic path in the late seventies, reckons the singer could go it entirely alone if he wanted to: ‘My take on it is that the only reason that Robbie collaborates at all is that he likes the company.’ During the Intensive Care sessions, Stephen encouraged Robbie to follow his own muse: ‘He’s so good at hooks that I just thought, “He’ll come up with a hook on whatever instrument he’s placed in front of” — even though he didn’t know how to play any of them! That’s where the songs came from: him playing the keyboards and me jamming along, putting up a drum machine and him playing the bass.’ The songwriting on these sessions was split fairly equally, he adds: ‘Although I probably did more finessing of the music while he did more finessing of the lyrics.’ Perhaps, though, these collaborators have each had a hand in helping Robbie’s songwriting to evolve over the years. The Britpop-style tracks he created with Guy, for instance, gave way to sparkly electropop with eighties synth pioneer Trevor Horn on 2009's Reality Killed The Video Star. Throughout it all, even when his work has explored his challenges with addiction and mental health, there’s been an accessible lightness of touch. ‘What’s great,’ says Rufus, ‘is that on one hand Robbie has a very serious darkness to him, but he counters that with a joyous sense of humour. His unbalanced is very balanced.’ Even when success allowed Robbie to indulge his formative love of big band music, resulting in 2001’s Swing When You’re Winning and 2013’s Swings Both Ways, he wove original material in with the standards. Rufus trades jokey come-ons with Robbie throughout the latter album’s title track, which the pair wrote with Guy Chambers. ‘I think what I love most about that period,’ says Rufus, 'is that I felt totally safe, accepted and admired by a heterosexual man, and that is something that should really happen more often between the boys.’ Speaking to this writer for NME last year, Robbie revealed the concept behind the upcoming Britpop: ‘I wanted to make the album that [I’d make] if I’d left Take That now. Knowing what I know, what is it that I would have made?’ This, combined with the retro title, might suggest a nostalgic nineties-style retread — a notion that the bombastic Rocket blew to smithereens upon its release. Here was another reminder that you never know what to expect from Robbie Williams the songwriter. Whatever his first studio album in six years might sound like, you can bet it’ll be crafted with a lot of love. ‘He called [our] album Intensive Care because of the amount of care we took over it,’ Stephen says warmly. ‘He thought we’d put intense care into it.’ Two decades since Robbie was so inspired to create he jumped out of the shower, it’s the mark of a legitimate icon whose legacy as a songwriter scrubs up very well indeed. This article features in the latest special edition of M Magazine, which you can read in full here. Robbie Williams: a songwriting icon in four different decades | M Magazine

Well this is interesting to say the least. Newstalk radio do a movie review every week & back when Better Man was released at Cinemas they skipped over Better Man & briefly said they hated it at the time. I happened to be listening to the radio yesterday evening & as Better Man is now available on Prime they mentioned it in their reviews & guess what !!, 😊 Have a listen in the link below ( It starts at approx 05.38 ) Movies and TV: Washington Blac…–The Hard Shoulder – Apple Podcasts

Something Beautiful 22/07 Berlin ❤️ https://www.youtube.com/@aryamsharma

The Road To Mandalay 22/07 🎺🎸🥁 Video thanks to https://www.youtube.com/@MusicalGeheimtipp

Video thanks to https://www.youtube.com/@rosen289

Robbie remembers Ozzy in Berlin 23/07 ❤️ Video thanks to https://www.youtube.com/@MusicalGeheimtipp

That songs a grower, Nice reaction from the crowd, not easy to introduce a slow tempo song . it went down really well. That venue looks absolutely beautiful ❤️

Added to my playlist .. CMAT - EURO COUNTRY ( OFFICIAL VIDEO ) Shame the BBC decided to drop the first verse when they played it on BBC Radio 1 because the opening verse is in the Irish language. 'Not my decision': BBC edit Irish language out of new CMAT single on radio https://www.youtube.com/channel/UCqOs5M8ExbnFPgVU6dH9lsQ

Nice looking setting in Berlin

Let Me Entertain You 🎙 @LMEYpodcast · 3 hours News | Robbie Williams’ biopic BETTER MAN has reached #2 on its debut week on Prime UK streaming 💥 The film won 9 Australian AACTA awards including Best Direction (Michael Gracey), Best Screenplay, Lead Actor ( @Jonno_Davies ), Original Score & Best Film #BetterMan https://x.com/LMEYpodcast

Medley Live in Berlin 2025 Video thanks to https://www.youtube.com/@martindybala2355

MY WAY - Berlin JULY 22nd Video thanks to https://www.youtube.com/@martindybala2355

SPIES - live from Berlin last night . Video thanks to https://www.youtube.com/@martindybala2355

Rest in Peace Ozzy ❤️ Ozzy Osbourne dead at 76: See photos of heavy metal legend's life