Sydney11

Great find Alex , two of my all time favourite songs ❤️ ❤️❤️

https://www.instagram.com/stories/thelotterywinners/

Head In The Clouds Video https://www.youtube.com/channel/UC8QfkfwQXYkuJ40pLy6gv7g

You feel sorry for fans travelling from afar to the gig but unfortunately weather conditions is outside everyone's control & peoples safety comes first ☹️ Robbie Williams concert in Berlin postponed due to bad weatherStory by DPA International An open-air concert by British singer Robbie Williams at the Waldbühne (Forest Stage) venue in Berlin is being postponed from Monday to Wednesday due to forecasts for heavy rain. Ticket holders will be notified by email, a spokeswoman for the organizer MCT Agency told dpa on Monday. Williams' second Berlin show, scheduled for Tuesday, is expected to go ahead as planned. Robbie Williams concert in Berlin postponed due to bad weather

Robbie Williams triumphs in Trieste! The singer enchants the audience in the only Italian stop of his tourSinger Robbie Williams returned to perform in Italy, giving the audience in Trieste an unforgettable show, to say the least. By Danilo Gargano - July 21, 2025 0☠️ "Allow me to reintroduce myself. My name is Robbie fu**ing Williams, welcome!". With these simple words, Robbie Williams opened in Trieste – amidst the screams of 28,000 spectators who flocked to the Nereo Rocco stadium – the only Italian date of the Britpop Tour, included in the program of events of GO! 2025 & Friends (on the occasion of Nova Gorica-Gorizia European Capital of Culture). Descending upside down a large luminous staircase, the pop star became the protagonist of an entrance that was nothing short of triumphant, the preamble to an evening as fun as it was engaging. Robbie Williams amazes Trieste with a spectacular concert: the details The concert kicks off around 21: 20. Robbie Williams takes the stage in a red tank top and sweatpants and in a long intro introduces himself to the audience proclaiming himself "the King of Entertainment". The first song he performs is Rocket, the single that at the end of May first anticipated the new album Britpop, out on October 10th. The setlist gives space to his most iconic songs, such as Rock DJ, Love My Life, Supreme, Something Beautiful, Millennium, Come Undone and the inevitable She's The One, Feel and Angels. The pop star also sings a piece of Take That's Relight My Fire. During the show, Robbie Williams also lets himself go to other things. First he jokes about the rumors that have surrounded his sexual orientation for many years and then he talks to his teenage self, enthusiastic about having just joined a boyband and mistakenly convinced that in 2025 England has now won at least a couple of World Cups. The funniest curtain comes with She's the One. Looking for a fan to dedicate it to, he comes across a 20-year-old girl. "I'm 51, better if I go to your mom," he jokes, generating laughter from the audience. When he finally manages to find the right fan, the song becomes "Mary's the one" and "It's your mom". In short, Robbie Williams is a real One Man Show! Robbie Williams triumphs in Trieste! The singer enchants the audience in the only Italian stop of his tour

NO REGRETS We'll never get tired of Robbie WilliamsThe new tour is the demonstration that, at this point, the former Take That can afford to do what he wants. The astronaut, the joker and, sometimes, even the serious one. To remind us that there was a time without hearts, to remind himself that he no longer needs to prove anythingof Filippo Ferrari 18 July 2025 11:00 Robbie Williams in Trieste Photo: Giuseppe Craca Write a review of the last tour of Robbie Williams, which last night arrived in Trieste on the billboard of Go! 2025 & Friends (for Nova Gorica – Gorizia, European Capital of Culture 2025), was more complex than expected. More than anything because what we saw last night was different from what we expected to see. Robbie Williams has released 13 records, has an incredible career and, unless you were born yesterday, you know at least twenty of his songs. He is at a stage where he could do residency or easy concerts, lining up the most famous songs and then running away with the loot. And instead it is as if he still tries to challenge change (of discography, the arrival of social media, of records that no longer sell, etc etc). Let's start from a few months ago: Robbie has (re)started by telling us the shadows of his career and his private life in a Netflix documentary (which we recommend you recover): anxiety, depression, substance addiction. Then he did it again in the autobiographical film released at the end of 2024, Better Man, in which in monkey version he traces his entire story from when he was just a child from the English suburbs who "wanted to be someone". But we knew everything about Robbie Williams even when he didn't tell us. Sacrificial lamb of the English tabloids for years, the famous one who went out with the famous, the one who every now and then did some shit and then ran away to America to be a little quiet. A rock star attitude even though he was popping, Robbie always did more or less what he wanted to do. And it is as if now, at 51 years old, he has unlocked the next level. The thing that is most noticeable when you see him on stage is the desire to entertain those in front of him, without thinking too much about whether the new generations consider him cool or not, without trying to slip into that world that he knew well and that now no longer exists, torn to pieces by the web, by little hearts as a parameter of value, from fake records and fake sold outs. Robbie Williams in Trieste. Photo: Giuseppe Craca Robbie Williams could live singing old stuff in front of equally âgé people (I'm talking about me), we said, yet yesterday he showed us that the spark has not yet been extinguished. In a few months he will release a new album, Britpop, announced in the very year in which Oasis reunited. But, above all, he put on a show in which he does exactly the f*** he wants. In the two-hour concert at the Trieste Stadium, Robbie thinks little about the songs people would like to hear and more about those they would like to sing. He makes about twenty, which if you think about it are not even many, interspersed with many spoken interventions in which he tells anecdotes about his life as a pop star, his family, the missteps of his career, his sex life. The nice friend from high school when you do the draft reunion, the joker uncle who shows up at the parties to embarrass you. He says it at the beginning of the concert, "I want to be the king of entertainment", he writes it on billboards that run on stage. An important concept if you want to understand the show he is bringing around in 2025. At the beginning, when the curtain opens, phrases about TikTok and artificial intelligence that "are creating new forms of entertainment" flow over an animated video. A kind of warning not to lose the compass. Then, at a certain point, the same voice sentences: «However, there will always be a need for live performances. There will always be a need for Britpop." A hook with the title of the album and with the real message of the adult Robbie: «The world is a mess, forget about being cool. Let's see each other, let's be together and we're fine." Robbie Williams in Trieste. Photo: Giuseppe Craca Thus begins his one man show. Because, as we said before, this is it. Songs, yes, but also many moments that could be part of his imaginary prime time in the Rai 1 metaverse (Coletta, can you read us?) to remind us that the years go by but Robbie Williams always remains the same face of tolla. And it only takes two sentences about his relationship with Gary Barlow, "I'll always be the fat one from Take That", a story about his "always hard" nipples, or an exchange with a lady in the front row to keep the audience in hand. If we wanted to use the current lexicon, we could say that Robbie Williams has become an adorable conscious boomer. He knows who he is, he knows who his fans are, he knows that at this point he wants to do only what he wants. Like the cover of New York, Sinatra's New York, but also to be hung upside down dressed like Samantha Cristoforetti or hint at YMCA wearing a shocking pink suit. Robbie Williams is still what we see at the beginning of Better Man: a hyperactive boy who dreamed of being loved and who in the end, against all odds, also became a husband and father of four children. Without losing the habit of breaking the hearts of fans, such as that of Mrs. Giovanna, owner of the business "Stira Giovanna per te, the first ironing shop in Trieste" who, as we read in Il Piccolo, "was initially selected to iron the pop star's stage clothes, only to see her dream shattered. Taken by enthusiasm, the owner had published the news on social media, but the choice must not have gone unnoticed by the organizers ". Put your phone away, ma'am. Robbie also said it at the beginning. And, incredibly, during the concert there is also a moment in which Robbie gets serious, when he tells that his parents are sick. "My mother suffers from senile dementia, sometimes she doesn't know who I am or where she is. My father, on the other hand, has Parkinson's. I'm often thinking about when they're gone." Right there, he looks at the audience, and asks: "Will you grow old with me?" Yes, Robbie. We started from mo'. We will never get tired of Robbie Williams: the review of the concert in Trieste | Rolling Stone UK

Video thanks to https://www.youtube.com/@jernejl8513

Listen to the latest podcast from Matt & Lucy where they talk to Robbie about his current tour - details & links below Video thanks to https://www.youtube.com/@rewindrobbie Jul 20, 2025 #robbiewilliams #britpoptour #musicpodcast Exclusive! Rob tells us how he’s loving life on the Britpop Tour! From climbing the rocket each night, to how it feels sharing photos of his family, Rob is heartfelt and honest as always. Our Britpop Tour Special episode is out now. Not only do we hear directly from Rob, but EIGHT amazing fans join us to relive their unforgettable tour memories: ☀️Kevin ‘with a tan’ from Edinburgh 🏴󠁧󠁢󠁳󠁣󠁴󠁿 Debbie from Dundee 🇩🇪Pati, Shirley & Levke from Germany 🇪🇸Edgar from Spain 🎤👧 and our youngest ever guest, 5 year old Dora with her mum Leanne! Available on all podcast platforms now. #robbiewilliams #britpoptour #musicpodcast #britpop Robbie Williams Rewind Podcasthttps://podcasts.apple.com/ie/podcast/robbie-williams-rewind/id1585054016 EP48 - Britpop tour fan stories & check-in with Robbie! - Robbie Williams Rewind | Podcast on Spotify

Trieste Italy July 17th Video thanks to https://www.youtube.com/@farco777

I wish him all the best ❤️

I wonder if " The Morrissey" will think so 😊

Jason Orange - Wooden Boat Video thanks to https://www.youtube.com/@halfpinoy1990 Flowerbed - ( Hidden track from Progress ) .Lead vocal Jason Orange Video thanks to https://www.youtube.com/@aleccopile

Source Instagram Rob's update ❤️

Video thanks to https://www.youtube.com/@marcoprosperi5294

hmv @hmvtweets · 9h ROBBIE WILLIAMS - BRITPOP The brand new album is now available for pre-order! On the album, from Robbie himself - "it’s raw, there are more guitars and it’s an album that’s even more upbeat and anthemic than usual." Pre-order now! 👇https://ow.ly/lsh450WrI8c

THIS IS… ‘SPIES’ - THE NEW SINGLE - OUT NOW. BRITPOP - THE BRAND NEW ALBUM - OCT 10TH. #BACKSTAGEBRITPOP Instagram

robbiewilliams TAKE PLAQUE #BRITPOP SPIES - THE NEW SINGLE - OUT NOW // BRITPOP - THE NEW ALBUM - OUT 10/10 PRE-ORDER BRITPOP FROM ROBBIEWILLIAMS.COM STORE TO GET EARLY ACCESS TO FUTURE UK 2025 LIVE DATES 👀 Instagram

Taken from the brand new album BRITPOP - Pre-Order Now - http://britpop.robbiewilliams.com Stream 'Spies' - http://robbiewilliams.lnk.to/spies BRITPOP - pre-order for first access to future 2025 UK dates - http://britpop.robbiewilliams.com https://www.youtube.com/channel/UC3Nho5FPo__hIFbg_UlaCgA

Robbie Williams Previews New Album With Anthemic Single ‘Spies'Story by Emily Zemler • 2h • Robbie Williams Previews New Album With Anthemic Single ‘Spies' Robbie Williams has returned with a rousing new single, "Spies." The track comes ahead of the British musician's forthcoming LP, Britpop, out Oct. 10. "Spies" was written by Williams with his long-time collaborators Karl Brazil and Owen Parker. The song sees Williams reflecting on times past as he sings, "We used to stay up all night/ Thinking we were all spies/ Praying that tomorrow won't come." "I set out to create the album that I wanted to write and release after I left Take That in 1995," Williams said in a statement. "It was the peak of Britpop and a golden age for British music. The new record is raw, there are more guitars and it's even more upbeat and anthemic than usual. I'm immensely proud of this as a body of work and I'm excited for fans to hear this album." Williams announced Britpop in May with single "Rocket," a collaboration with Black Sabbath's Tommy Iommi. Along with "Spies," the musician shared the track list for Britpop, which notably includes a song titled "Morrissey." The album is available for pre-order via Williams' website. Ahead of the release of the album, Williams is on tour in Europe and the U.K. The Britpop Tour continues July 21 in Berlin at Waldbühne. Williams will also perform at Come Together Festival in Newcastle, England, in August and Aftersun Fesitval in Floriana, Malta, in September. Britpop Track List: 1. Rocket 2. Spies 3. Pretty Face 4. Bite Your Tongue 5. Cocky 6. All My Life 7. Human 8. Morrissey 9. You 10. It's OK Until The Drugs Stop Working 11. Pocket Rocket https://www.bing.com/search?q=robbie+williams&gs_lcrp=EgRlZGdlKgcIARBFGMIDMgcIABBFGMIDMgcIARBFGMIDMgcIAhBF

℗ 2025 Robert Williams / Farrell Music Ltd, under exclusive license to Sony Music Entertainment UK Limited Released on: 2025-07-18 Associated Performer, Vocal: Robbie Williams Background Vocal: Emily Parker Lyricist, Percussion, Drums, Composer, Producer: Karl Brazil Recording Engineer, Programmer, Bass, Background Vocal, Guitar, Composer, Lyricist, Producer: Owen Parker Violin, Additional Studio Producer: David Davidson Violin: David Angell Viola: Kristin Wilkinson Cello: Carole Rabinowitz Strings: The Love Sponge Strings Programmer, Producer: Sam Miller Composer, Lyricist: Robert Williams Lyricist, Composer, Mixing Engineer, Producer: Martin Terefe Mixing Engineer: Oskar Winberg Recording Engineer: George Murphy Recording Engineer: Taylor Pollard Mastering Engineer: Matt Colton https://www.youtube.com/channel/UC3Nho5FPo__hIFbg_UlaCgA

This "truly original" biopic that is "totally enthralling" shoots up trending chart on UK streamerStory by Sam Warner • 7h • Biopic Better Man has shot up the trending charts after being added to Prime Video. The movie, which premiered in cinemas last year, tells the story of Robbie Williams and his rise to fame – though takes the unique approach of having the singer portrayed as a chimpanzee. After being recently released on Prime Video, Better Man has proved an immediate hit, becoming the second most-watched movie in the UK and Ireland. The film largely drew acclaim, sitting at a high 89% fresh rating on Rotten Tomatoes, with Newsday calling it "truly original", while Time Out said it was "totally enthralling". In Digital Spy's five-star review at the time of its cinema release, we said it was "one of the best movies of the year". Better Man© Entertainment Film Distributors "During Better Man, you'll come to the realisation that there really was no other way to tell the story of Robbie Williams," we added. "He might appear on screen as a chimpanzee, but the movie is just as irreverent and self-aware, while still being honest and emotional, as the star himself." Despite the acclaim, the movie was less successful at the box office, making only $22.5 million worldwide off a budget of $110 million. Jonno Davies takes on the role of chimp Williams (in motion capture), while the movie also features Gavin & Stacey's Alison Steadman and Inside No 9's Steve Pemberton. Better Man teaser trailer© Entertainment Film Speaking to DS last year, Williams compared Better Man to therapy, revealing: "People walk up to me after the screenings and there are floods of tears and they commend me on my bravery which I don't get at all, but thank you. "I know that this is, separate to all of the commercial reasons, therapy. I also know because I've witnessed it in some sort of way. It does some sort of healing, which is also great." Better Man is available to stream now for Prime Video subscribers. This "truly original" biopic that is "totally enthralling" shoots up trending chart on UK streamer

‘I’d broken out of the cult’: How Oasis, addiction and Gary Barlow pushed Robbie Williams into quitting Take ThatStory by Mark Beaumont • 3h • 8 min read The hair was spiked and crusted with peroxide. The eyes were dark, hooded and glazed by fatigue. The outfit was pure Adidas Lad and he appeared to have a tooth missing. Resembling the delinquent love child of 2D and Murdoc from Gorillaz, the geezer – arguably the pinnacle of the form – looked for all the world like a drug dealer who’d jumped the fence and somehow blagged his way backstage pretending to be Robbie Williams from Take That. Yet this was indeed the formerly clean-cut, cheeky-grinning boyband heartthrob, snapped relentlessly at that fateful Glastonbury of 1995 by the eager papparazzi – beer bottle in hand, cigarette in gob and either throwing an arm around Noel Gallagher or receiving a smacker from Liam. “Because I’m in the sort of band I’m in, people are looking at me like, ‘You’re not supposed to be here’,” he told the news cameras, seemingly unaware of the disapproving storm brewing back in the real world, too. In just a few photos, Williams – by curling his Pilton-encrusted fingernails through the flimsy façade of squeaky-clean boyband perfection – exploded the great pop myth more than any Beatle beard. Within weeks of waggling his backside onstage with Oasis, he was ejected from Take That and the band was set on course for collapse, splitting just seven months after his departure. Yet Robbie’s rebellious departure – 30 years ago today – was more than just a heartbreaker for fans and a huge upheaval for the pop world. It stands today as arguably the ultimate expression of Nineties lad culture and a definitive image of the hedonistic abandon of the age. For Williams himself, his real-me emancipation had been a long time stewing. “I’d broken out of the cult,” he said in last year’s Boybands Forever documentary. “[Oasis] were the antithesis of Take That and that very much appealed to me … There were lots of rules and eventually when there’s that many rules, you’re gonna break rules.” A keen stage performer as a child (his Artful Dodger reportedly stole the show at a school production of Oliver!), Williams was just 16 when a typically endearing wink at the end of an otherwise underwhelming audition for manager Nigel Martin-Smith landed him a place as the youngest member of Take That. The band had been put together largely as a vehicle for the songs of Gary Barlow, and Williams soon found himself relegated to the lower end of the band’s hierarchy. “Gary was Nigel’s cash cow,” Williams said. “I was resentful.” Lacking a dance background, Williams struggled to learn the band’s overly intricate dance routines, and when he dared to add a rap verse to a song, he was warned not to ask for any publishing income from it. “You learn your place,” he said, and his place was shaky from the start. He claimed he was warned by Martin-Smith that he was easily replaceable if he messed up: “It made me feel like my place within the band was never safe and guaranteed,” he said. He was left feeling “not loved, not even liked. And I was 16.” Five uneasy pieces: (from left) Gary Barlow, Howard Donald, Mark Owen, Williams and Jason Orange during Take That’s heyday (PA) Williams likened his experience in Take That to William Golding’s Lord of the Flies, not least due to the animosity that developed between him and Barlow. Tensions were stoked by the fact that it was the younger, 18-year-old singer, not his controlling, self-serious bandmate, who fronted the band’s first top five hit, a hi-NRG cover of Barry Manilow’s “Could It Be Magic”. “I knew that he didn’t like me or felt threatened by me,” Williams said. Barlow explained further in a 2024 podcast: “My friends were Jason [Orange] and Howard [Donald], it was the three of us, we were the older ones, we got on,” he said. “Mark [Owen] and Rob were always a bit removed for us. They were cool, younger … and they were the naughty ones … always off doing something else.” The immense fame that the success of Take That brought only compounded Williams’s insecurities. “The tremendous gift that was bestowed on me and the other boys turned into a nightmare,” he said. “There’s something psychically that happens with having immense notoriety. It’s the opposite of breaking the fourth wall, it’s going back through and inhabiting this strange place that wasn’t what you thought it was … Nobody goes through that level of fame and comes out the other side completely sane or not mentally affected.” Age-old story: by his early twenties, Williams had turned to drink and drugs. Until then, Take That had operated as a relatively strict, hermetic, almost monastic group. “I said to the boys right from the beginning to build a wall around the six of us,” Martin-Smith told news crews early in their career. “When, for example, girlfriends started getting involved in what should be happening with the band, that’s when I’ve seen so many bands start falling apart.” This one fell apart, however, because one member needed to escape. “My particular brand of seeking salvation and safety came in the form of substances and alcohol,” Williams said. “I’d become feral. Lots of coke, lots of darkness, lots of comedowns that were hellish.” Suits you, sir: Take That performing at the Brit Awards ceremony at Alexandra Palace, London, in 1994 (PA) As his substance abuse intensified and Williams entered what he’d later describe to the BBC as “a nervous breakdown, my first of many”, he began missing rehearsals, or turning up in no fit state to perform. “I was ingesting everything I could get my hands on,” he told a 2023 Netflix documentary about his life. “I [was] literally drinking a bottle of vodka a night before going into rehearsals.” His bandmates would pull him up for letting the side down. “I was told this is not how you behave in a boyband,” Williams said. “The sense that I wasn't ready or capable to fulfil the role that was being asked of me was palpable.” “We’d all had our different journeys,” Barlow said, “but it had just [got] too much for him. The day in, day out, the work, the stress of it all, me leading everybody and telling them what to do, it… I was unbearable. They put up with a lot [from] me. I was right all the time and I was the leader all the time. That original role I’d been given, I didn’t give any of it up as the years went on. The band needed to end.” A fateful meeting in the summer of 1995, addressing Williams’s behaviour, proved the breaking point. “It felt like I was in some sort of burning building and I needed to get out,” Williams recalled. “I was like, ‘OK, I’ll do this tour and then I'll leave.’ And they actually went, ‘Actually, if you're going to leave, can you go now?’.” Smiling assassins: ‘Actually, if you’re going to leave, can you go now?’ (PA) His Take That bandmate Donald points to a fundamental lack of understanding and empathy behind the decision. “To have someone close to you that you can speak to about your feelings, that's one of the things we never ever did in the Nineties, hence why Robbie left,” he told the Daily Express. “We never discussed what he was feeling before he left that room. We look back at that moment and [wish] we could have talked more. I wonder if it could have saved him [from] leaving.” “ROBBIE: I QUIT TAKE THAT!” The Sun splashed. The outpouring of grief among fans at the news of Williams’s departure was unprecedented for the age. “One of my friends was off school for days,” one fan recently posted; “I cried for a week,” admitted another. “It was a big shock to us all,” Donald told the ITN cameras as the band regrouped as a four-piece, while Barlow assured viewers: “We’re gonna be here as long as the fans want us here.” Mark Sutherland, music critic “It was pretty seismic,” says music writer and columnist Mark Sutherland, who was working for Smash Hits at Take That’s peak. While it wouldn’t be until the final split of the band the following year that helplines would be set up to counsel distraught fans, Sutherland argues that Robbie leaving was the bigger moment. “The chemistry had been unbalanced by Robbie leaving. And what he actually did by leaving on his own terms – and in such a dramatic way – was to set himself up for a much better future than the rest of the band. When Take That eventually fizzled out, they were left a bit flat-footed. Robbie was already off and running.” Indeed, Williams’s solo career would become a late-Nineties phenomenon. Launching out alone with a cover of George Michael’s “Freedom” just as his old band were disintegrating, he’d soon have huge hits with singles such as “Let Me Entertain You”, “Millennium” and “Angels” and go on to sell 75 million records worldwide as one of the best-selling artists of all time. Within years, he’d become the blueprint for successfully escaping the pop band shackles. In the pink: Williams became the blueprint for escaping the pop band shackles (AFL Photos) “Robbie paved the way for members of other Nineties groups to leave, like Geri Halliwell, Louise, and Brian McFadden,” says Simon Jones, who has worked as a publicist for some of the country’s biggest pop acts, including the Spice Girls and One Direction. “I can remember being in record company meetings years later where the question would always be: would their solo career end up ‘doing a Robbie’?” Jones recalls Williams offering help and advice to other singers who felt like the odd one out in their own bands: “Louise [solo artist and former member of the R&B group Eternal] has spoken openly about how Robbie was a kindred spirit for her.” Perhaps the greatest impact of the manner of Williams’s fall from pop-god grace, though, was in exposing forever the myth of the squeaky-clean boyband image. In that black-toothed Glastonbury grin lay all the human strains, pains and failings so often glossed over by the pop machine. It was only after his Glastonbury breakout, for instance, that the Spice Girls could put on such a genuine and forthright front, and George Michael could own his 1998 arrest for cottaging in LA in the self-mocking lyric and video for subsequent single “Outside”. The butter-wouldn’t-melt image of the Nineties boyband was always an illusion, Sutherland says. “If you worked for Smash Hits you kind of knew that the gap between the public image of these people and what they were really like was quite wide. But there were a lot of music industry resources devoted to making sure the public never became aware of that gap.” By shattering the facade, though, Williams forged a new level of trust and connection with his fanbase. They unequivocally knew that in his cheeky, charming yet knowingly flawed performance, they were getting the real Robbie – untamed, unfiltered, and defiantly off the chain. ‘I’d broken out of the cult’: How Oasis, addiction and Gary Barlow pushed Robbie Williams into quitting Take That

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