De Niro

Mon 30 May Sunderland Stadium of Light - 47,000 Tue 31 May Sunderland Stadium of Light -47,000 Fri 03 June City Of Manchester Stadium - 60,000 Sat 04 June City Of Manchester Stadium - 60,000 Sun 05 June City Of Manchester Stadium -60,000 Tue 07 June City Of Manchester Stadium - 60,000 Wed 08 June City Of Manchester Stadium - 60,000 Fri 10 June City Of Manchester Stadium - 60,000 Sat 11 June City Of Manchester Stadium - 60,000 Tue 14 June Cardiff Millennium Stadium - 70,000 Wed 15 June Cardiff Millennium Stadium - 70,000 Sat 18 June Dublin Croke Park - 80,000 Sun 19 June Dublin Croke Park - 80,000 Wed 22 June Glasgow Hampden Park - 50,000 Thu 23 June Glasgow Hampden Park - 50,000 Fri 24 June Glasgow Hampden Park - 50,000 Mon 27 June Birmingham Villa Park - 40,000 Tue 28 June Birmingham Villa Park - 40,000 Fri 01 July Wembley Stadium - 80,000 Sat 02 July Wembley Stadium - 80,000 Sun 03 July Wembley Stadium - 80,000 Tue 05 July Wembley Stadium - 80,000 Wed 06 July Wembley Stadium - 80,000 Fri 08 July Wembley Stadium - 80,000 Sat 09 July Wembley Stadium - 80,000 Already over 1.5M once all sell out (tickets still available for many dates that are said to be sold out) The Europe not on sale until next week but capacity for the venues are Tue 12 July Milan San Siro - 85,000 Sat 16 July Copenhagen Parken - 50,000 Mon 18 July Amsterdam Arena - 50,000 Fri 22 July Hamburg Imtech Arena - 55,000 Mon 25 July Dusseldorf Esprit Arena - 60,000 Fri 29 July Munich Olympia Stadion - 70,000

Robbie Williams unleashes foul-mouthed rant about Glastonbury http://www.radiocity.co.uk/Article.asp?id=...&spid=20272 Outspoken Robbie Williams has launched a foul-mouthed tirade against the UK's biggest music festival. The 36-year-old, who recently rejoined Take That after a 15-year split, blasted Glastonbury, branding it "a s***hole full of d***heads". The singer unleashed his rude rant during an interview with the reformed band at Liverpool's Radio City 96.7. When asked about the possibility of the group playing Glastonbury in future, Robbie scoffed: "Absolutely not. "There's going to be no Glastonbury, not for me." Robbie, who headlined the event main stage in 1998, added: "They pay you about five pence to be honest." Bandmate Mark Owen jumped to the festival's defence and said: "I would love for us all to go to Glastonbury. "I'm going to get a caravan and convince all the lads to go and have a day out." Fellow Take That member Jason Orange even tried to convince Robbie that Glastobury was a "spiritual place" to which the Stoke-born star retorted: "It's a sh*thole full of d*ckheads." Newly-wed Robbie, who married partner Ayda Field in an intimate ceremony in Beverly Hills in August, kept his language cleaner when talking about the upcoming Take That tour. The five-piece will play 17 dates across the UK and abroad from May to July next year, tickets for which go on sale on Friday. When asked about his legendary dance moves by breakfast show host Simon Ross, Robbie joked: "It's just shifting weight and falling about. "There were times when I used to dance at 23 or 24 and I used to think 'Yeh I'm doing it like a dancer would. "Now I'm 36 and I'm like your dad. Every time I try to move now I look like an idiot!"

U2 recording album with Danger Mouse Bono claims forthcoming LP produced by the Gnarls Barkley star will be their 'best ever or ... irrelevant' http://static.guim.co.uk/sys-images/Music/Pix/pictures/2010/10/25/1288004041265/U2-frontman-Bono-006.jpg One of U2's forthcoming three albums will be produced by Danger Mouse, Bono has revealed. With a trio of records in production, the band have already recorded 12 songs with one half of Gnarls Barkley, with a new single due in December. "We may be about to do our best-ever album or we may be about to be irrelevant," Bono told the Age. "The biggest challenge now will be getting a song on the radio." Less than two years since U2 released the commercially disappointing No Line On the Horizon, the follow-up is already late – Bono first promised a "companion" album for late 2009. More recently, a planned disc of "meditative psalms" has taken a backseat to two other LP projects: a "club" album, made with Will.I.Am and David Guetta, and a "rock" album, revealed now as a team-up with Danger Mouse. "At the moment [it] looks like ... we will put out [the rock album] next because it's just happening so easily," Bono explained. He said U2 made a deliberate choice to step away from their usual "dysfunctional family" of producers – Eno, Lillywhite and Lanois – and head straight from the stage to the studio. "[When] you enter the studio with the roar of the crowd in your ears, you know what works," he said. "If you take musicians away from the stage too much, they become quite abstract in their heads. They start to use words like 'interesting' ... 'Interesting' is the moment musicians scratch their chin. It ruins great and dramatic music. You listen to the Sex Pistols or Nirvana or the first MGMT album and you don't scratch your chin. You say, 'Wow, that's extraordinary'." Our main takeaway from this: not even Bono likes MGMT's second album. Once the "rock" album is out, the "clubs" record may follow. "We have a pile of songs," Bono said. And the singer even wants to record full-band versions of the songs he and the Edge wrote for the Spider-Man musical, Turn Off the Dark. "We haven't convinced the rest of the band to do that yet," Bono admitted. "[Drummer] Larry [Mullen Jr] definitely has a raised eyebrow." For now, Bono sounds happy to be leading an active lifestyle. Manager Paul McGuinness revealed that before Bono underwent back surgery earlier this summer, the singer was partially paralysed in his right leg. "I was walking around saying I could handle it but it turns out I was in grave danger," Bono admitted. "I was losing the ability to walk." Now – he's running. http://www.guardian.co.uk/music/2010/oct/2...um-danger-mouse

http://www.vvinyl.com/vvlibrary_images/2097_U2.jpg - Mercy (Live from Brussels) -I'll Go Crazy If I Don't Go Crazy Tonight (U2360 Remix Live) -Moment of Surrender (Live from Paris) http://forum.atu2.com/index.php/topic,14052.0.html

'I was in grave danger: Bono http://www.theage.com.au/entertainment/mus...1021-16v5i.html Emergency surgery in which he faced being paralysed has led the world's most famous rock star into a spurt of creativity. Bono, who is bringing his band U2's behemothic stadium show U2360 to Australia in early December, entered surgery in Munich last May, unsure if we would walk again. The 50-year-old had slipped a disc in his back that punctured a ligament and broke into two pieces. Advertisement: Story continues below "I was walking around saying I could handle it but it turns out I was in grave danger," he told The Age this week, in an exclusive interview to be published in EG tomorrow. "Those little bits that had broken off were starting to sever nerves in my spinal canal. I was losing the ability to walk." Remarkably, just ten weeks after the operation, he was back on stage in Europe. More ambitiously, he has revealed his band is working on three new albums. The first, which is likely to be released early next year, is being produced by Danger Mouse, the alias for American production ace Brian Burton (Gnarls Barkley, Gorillaz). "We have about 12 songs with him," Bono said. "At the moment that looks like the album we will put out next because it's just happening so easily." The second album is what he calls a "club" record, that will feature Lady Gaga collaborator RedOne, Black Eyed Peas rapper Will.I.Am and French superstar David Guetta. "U2's remixes in the 1990s were a real treasure," he said. "So we wanted to make a club sounding record. We have a pile of songs." Bono and guitarist The Edge are also attempting to sell their bandmates, bassist Adam Clayton and drummer Larry Mullen jnr, the concept of a U2 album based on the 20 songs the two have written for a Spider-man musical that opens on Broadway next month. "We haven't convinced the rest of the band to do that yet," he said. "Larry definitely has a raised eyebrow."

Progress Killed The Video Stars http://www.smh.com.au/entertainment/progre...1021-16vjo.html http://images.smh.com.au/2010/10/22/2001776/u2-bono-420x0.jpg U2 remain the world's biggest rock band but Bono tells Andrew Murfett they just want to be back on the airwaves. U2 WANT to get back on the radio. While the 5 million sales of their 12th album, last year's No Line on the Horizon, is nothing to sniff at, and the album earned the band their best reviews, it failed to generate what their luminous frontman Bono deems the key element of pop — a hit single. In December, his band will bring the ludicrously ambitious U2 360° Tour — the largest rock show of all time — to Australia. The numbers behind the show are mind-boggling. The tour costs about $750,000 a day to run; its stage, which weighs 390 tonnes, requires two 50-tonne cranes, 180 trucks and six chartered cargo-only 747s to transport it. Advertisement: Story continues below Yet the show's aim — to create an intimate relationship between the band and 70,000-90,000 people each night — is regularly achieved. U2 are not men to rest on their laurels. Even as they stand midway through a world tour that will undoubtedly become the highest-grossing to date when it concludes next year, they are looking forward. They have spent much of this year working on an album produced by Danger Mouse, the alias for American production ace Brian Burton (Gnarls Barkley, Gorillaz). Due early next year, it will be preceded by a single in December. "We have about 12 songs with Danger Mouse," Bono says. "It's the album we'll likely put out next because it's just happening so easily." The singer adds that, in a stream of creativity, U2 are working on two other projects. The first is a club-inspired album with Black Eyed Peas rapper will.i.am, French DJ superstar David Guetta and Lady Gaga collaborator RedOne. Also, Bono and guitarist The Edge are attempting to sell their bandmates, bassist Adam Clayton and drummer Larry Mullen jnr, the concept of a U2 album based on the 20 songs the two have written for a Spider-man musical that opens on Broadway next month. "We're experimenting to discover different sides to us," Bono says. "And I think we're at one of those moments. We're fighting for relevance. Being successful is a lot easier than being relevant. "We may be about to do our best-ever album or we may be about to be irrelevant." He pauses to consider that rather weighty statement. "That's how I woke up feeling this morning," he says. Tellingly, for the first time in their career, the group have been channelling this productivity into their live show, regularly incorporating six unreleased tracks into the show's set list. The show itself is a sight to behold. The much-talked-about "claw", the 50-metre-high, four-legged colossus that houses the circular stage, runway, speakers, lights and screen, makes the stadium feel smaller. It succeeds, too, in amplifying the energy of the audience. The claw throws your perspective of the stadium. The sheer scale and proportion mean there is nothing between band and audience; they are surrounded. It deftly crosses a line between rock show and football match. Naturally, the show has its high-minded moments — Desmond Tutu appears — but as the hits One, Where the Streets Have No Name, Vertigo, With or Without You are all rolled out, there is also playfulness. Among the most satisfying moment is watching the entrance of these four best mates, whose friendship has survived more than 30 years playing together. With the house lights on and soundtracked by David Bowie's Space Oddity, the quartet walk unaccompanied through the crowd to reach the stage. It's a knowing nod of gratitude to fans, an unspoken acknowledgement that they have stuck tight for so long. "It's well known that if the four members of U2 walk on stage, most people will get hairs standing on the back of their neck as an involuntary action," Bono says. "Less well known is that [it] happens to us as well. The four members of the band walking on mean the molecules start vibrating at a different rate. It's really bizarre." We're standing in the bowels of Rome's Olympic Stadium. The band arrived at the venue three hours earlier, travelling in a presidential-style motorcade through the city — think blaring sirens and police choppers — after their tour plane landed late at Rome airport. While not exactly lanky, in person the man born as Paul Hewson is not as short as many believe (178 centimetres, to be exact) and although the glasses remain on, his heavily freckled, wrinkle-free visage belies his 50 years. The voice is raspy and although unfailingly polite, he cannot mask the nervous energy of a man minutes away from entertaining 80,000 Italians. With Rome the band's final date until they reach Auckland on November 26 (and Australia on December 1), he is clearly relieved to complete a gruelling European tour. "It's required a great concentration in energy to do these shows," he admits. "There was a feeling going into this tour that I would lose my physicality. But I don't think I did." Yes, Bono does feel mortal, vulnerable. Usually, he quietly discloses, it's if somebody close to him passes away. So this was different. His problems began in New York on May 11, the day after his 50th birthday. In training for 16 North American stadium gigs and a career-defining slot at Glastonbury, he slipped a disc in his back that punctured a ligament and broke into two pieces. "I was walking around saying I could handle it but it turns out I was in grave danger," he says. "Those little bits that had broken off were starting to sever nerves in my spinal canal. I was losing the ability to walk." He had been walking with a cane for several days before an MRI revealed the extent of the injury. He flew to Munich for emergency surgery, where his physician told him there was a chance his gait might be permanently affected. At the same time, the band's equipment was arriving in the US for the tour. It quickly became clear Bono would be incapable of performing. The band's manager for the past three decades, Paul McGuinness, made the call. The American dates, along with their precious Glastonbury slot, were to be cancelled. "We tried to avoid the word 'cancelled'," McGuinness says. "It was postponed. And it was very worrying. There was partial paralysis of his right leg and considerable pain. I was quite nervous." The delayed shows cost the tour about $15 million, half of which was covered by insurance. "The tour had restarted, the trucks were in motion, there were hundreds of people around the world travelling," McGuinness says. "It was very stressful and expensive to halt it, send everybody back and wait to find out how long it would take for him to recover — if, indeed, he would recover. We were concerned for our friend." Remarkably, on August 6, after intensive rehabilitation, Bono was back on stage in Turin, Italy, and thinking about another 22 stadium dates over two months through Europe. Each day on tour, Bono worked with a German physio he refers to as "Hitler's doctor", who would "beat the $h!t out of me for 45 minutes", and a Finnish practitioner, "the Finnish fondler", who would "work me and try and unbuckle my body". On stage in Rome, there is little evidence of his injuries as he shadow-boxes and nimbly spider-dances through the show. It concludes, after two encores, with a seven-minute album track from last year, Moment of Surrender. Despite the track's length and the fact it's a non-hit, few head for the exit. The audience waits patiently as the group depart the same way they entered, together alone, four teammates at the end of a gruelling match. "Promoters say it's bizarre," Bono says. "It doesn't matter if it's Madonna, Bruce Springsteen, Rolling Stones — when the last song goes on, 20,000 leave. And Moment's not a song anyone knows, really. But it shows you something is going on. They want to see the four of us walking off together." A week later, when Bono calls from his home on Killiney Bay, near Dublin, he confesses to some post-gig revelry. "I did allow myself a bottle of champagne," he says. "I even punched some imaginary air." We return to the matter of longevity and I suggest the audience's response to the band walking into the arena together could be as simple as celebrating the fact that staying together, be it personal or working or sporting relationships, is so unusual in 2010 that people want to see it up close. "It's a strange thing to stick with the people you grew up with in your teens," he says. "Not only am I in the band with my three best friends, I married a girl [wife Ali] from the same school who was in class with Edge and who was the only one smarter than him in their year." McGuinness says: "In the early days it was all about survival. Getting a record deal was surprisingly difficult." Bono, for his part, blames the band's slow start to an inconsistent live show. "When we were trying to get a record deal, people were fired for suggesting us, because that'd bring over their boss and we would be so crap," he says. "Then the next day we'd be great. We didn't seem to have much control over the outcome. Now, we're more consistent." This brings its own challenges. "What worries me about U2 now is that because the band are playing so well, we can make an average song sound great," Bono says. Which is part of the reason they have stepped away from their so-called "dysfunctional family" of producers: Brian Eno, Steve Lillywhite and Daniel Lanois. "Each night on this tour, we'd fly out of a show and go straight into the studio," Bono says of the Danger Mouse sessions. "Because you enter the studio with the roar of the crowd in your ears, you know what works. If you take musicians away from the stage too much, they become quite abstract in their heads. They start to use words like 'interesting'. But people don't want to see you do something interesting. They want something passionate or wild. " 'Interesting' is the moment musicians scratch their chin. It ruins great and dramatic music. You listen to the Sex Pistols or Nirvana or the first MGMT album and you don't scratch your chin. You say, 'Wow, that's extraordinary'." Some hard lessons have been learnt from No Line on the Horizon. "It's a strong piece of work," he says. "It's original. But it feels like a bit of a commitment, that album. It's not light on its feet. [Horizon's first single] Get on Your Boots is a big song every night. People go nuts. But it didn't sound like that on the radio. "We didn't have a single on Hori-zon. Having preached a gospel of zero tolerance against progressive rock, I realised it's starting to happen to us. It's a dangerous disease." This tour is about U2 creating intimacy on a grand scale, which seems impossible but happens every night. Next year, the band will likely fulfil their Glastonbury slot and close the 360° tour as the biggest to date. Bono, though, has more immediate concerns. "The biggest challenge now will be getting a song on the radio. That's our drug of choice now. I don't know if we will achieve it. It takes a radio programmer saying, 'I want that feeling on my station'. And they may not. It will be very hard for U2 to dominate the radio now after No Line on the Horizon. But we're going to try." U2 play Etihad Stadium with Jay-Z on December 1 and 3.

The rumored who is singing what was wrong then. By the sounds of the reviews it is more like this: 1. The Flood - Robbie and Gary 2. SOS - Robbie & Mark 3. Wait - Robbie 4. Kidz - Mark and Robbie 5. Pretty Things - Robbie 6. Happy Now - Jason, Gary and Rob 7. Underground Machine - Robbie 8. What Do You Want From Me? - Mark 9. Affirmation - Howard and Jason 10. Eight Letters - ALL 5 Deary me - a lot of TT fans will not be happy with this at all. :o I have gone from planning to cherry pick the Rob tracks to now looking set to nearly having to download the entire album :lol: I've just read the Q Magazine interview - also the review Q have given 'Progress'. It is a glowing review - 4 stars is given. By the sounds of things it is a big departure from TT's usual, as Q describe "Magic FM-bothering balladry" - and some of the songs sound like they are going to be a bit more electro PSB Rudebox (album) but in a less experimental, more commercial type of way. In fact Q describe it as being "their Achtung Baby" (the classic U2 album for those who don't know and one of my top 5 fave albums in history) - it sounds from the review that Rob has had a big influence of the album as whole and not just with lyrics (speaking of which they mention one of Rob's lyrics from the song 'Pretty Things' - which I like - "I'm just a piece of your pie chart, your in a room with a rock star" ) I enjoyed how the reviewer finished off by saying the following. "The circle is complete and stronger than ever: Take That have got William's rock star charisma, Williams has got his mates back. It's been a journey, for sure."

Take Ten! EXCLUSIVE: BOYS' NEW ALBUM It's Gary, Howard, Robbie, Mark and Jason all right... but as you've never heard them before. Futuristic, electro-heavy, bassthumping Take That have ripped up 20 years of history and shown, once again, that they still have a massive future. I was given an exclusive first listen to the reformed group's 10-track album, Progress, and I can confirm that it's an absolute belter. Determined not to be a bit-part member (as if), Rob's got his dulcet Stoke-on-Trent vocals on over half the tracks. But despite that, it's still a corker. So good, in fact, that the band have pushed first single The Flood forward a week - sending Westlife running and even pushing Simon Cowell's X Factor charity single back a fortnight. Here's the lowdown on all 10 tracks... THE FLOOD An anthemic, rousing tune, and the first single off the new album. Huge. SOS Robbie and Mark combine on this electro-rocky number. Thumping chorus line and very polished. WAIT Rob's synthesized vocals give this an 80s feel. Personal lyrics about regret, and dealing with criticism. KIDZ You'll either love it or hate it. Another marching bassline, with Mark recording main vocals on the slightly Pink Floyd-esque track. PRETTY THINGS Slower in tempo, Robbie sounds great. A real grower. HAPPY NOW My favourite track on the album, an absolute Tune with a capital 'T'. Scissor Sister-lite, Gary and Rob dominate on this massively upbeat and vocoder-heavy number. Please let this be the next single, boys. UNDERGROUND MACHINE Classic Robbie, complete with catchy chorus: "When the girl meets the boy and the boy meets the girl and the boy thinks the girl's all right. All right." WHAT DO YOU WANT FROM ME? Another absolute classic. While Mark is keen to stress this deeply personal song was written before his extramarital affairs came to light, there's no denying the poignancy of the lyrics: "It's been a difficult year/(but) I still want to belong to you/I still want to grow old with you/I still think I'm in love with you/I still think you're the one for me but what do you want from me?" AFFIRMATION Howard gets to have a go on the mic. Love his voice but the track feels like a bit of a filler. EIGHT LETTERS Features the lyric "Look back, don't stare" - the name of TT's forthcoming film. Fantastic song, hints at the lads repairing their relationship with Robbie. Rousing climax and set to be the closing track for next year's tour. http://www.mirror.co.uk/celebs/news/2010/1...15875-22663483/ PR

Take That : defy Gravity http://img.thesun.co.uk/multimedia/archive/01152/SNF28BIZT--682_1152642a.jpg WESTLIFE will be crying into their Guinness tonight. TAKE THAT have lobbed a massive spanner into the Irish lads' plans for chart domination with their new album Gravity. GARY BARLOW, MARK OWEN, JASON ORANGE, HOWARD DONALD and their old pal ROBBIE WILLIAMS have moved the release date of their new album Progress forward to the same day, November 15. All the four-leaf clovers in the world won't help in Westlife HQ when word filters through to the lads. Da Loif's loss is a huge gain for JLS. Their second album, Out Of This World, was originally due to go head-to-head with Take That. They will now have the chance to knock the elder statesmen of pop, or Westlife, off the top spot after only a week. I can't see it happening, but it is going to make for a great chart battle. Last night a Take That spokesman said the release date change was because of the huge response to their press conference at London's Savoy hotel on Tuesday announcing their tour dates. I reckon the real reason is to give them an extra week to fill their boots with monster sales in the Christmas market. But there is one threat Take That, Westlife and JLS haven't taken into consideration - beardy folk grandads FOSTER & ALLEN. They are bringing out their 18th album, Magic Moments, on the same day too. The Saga Holiday pensioners could just decide this one. Walking sticks at dawn . . . I got a chance to hear Take That's new album at The Savoy gigs launch. The band played me all ten tracks (plus a secret song) - and it could break the million barrier by the time we're all tucking into our turkey. Robbie takes a huge role and producer STUART PRICE has stamped his influence all over it. Here's a brief review of each song: 1. THE FLOOD: First single. You'll have heard it already. Big pop hit. 2. SOS: Not an ABBA cover. Mark takes lead vocals. Producer Price injects a hint of his efforts on MADONNA's Confessions On A Dance Floor album. 3. WAIT: A PET SHOP BOYS feel to it. Real '80s influence. 4. KIDZ: Mark and Robbie are in the driving seat here. Has a flavour of LA ROUX and SCISSOR SISTERS. 5. PRETTY THINGS: Interesting harmonies between Robbie and Gary. Sounds like a song all about the trappings of fame. 6. HAPPY NOW: If the BEE GEES were knocking out records now, this is how they would sound. 7. UNDERGROUND MACHINE: Robbie on lead vocals. Very modern and up-to-date for Gary and the boys. 8. WHAT DO YOU WANT FROM ME?: Mark opens up about his marriage troubles. Strong stuff and a great track. Could be a KILLERS single. 9. AFFIRMATION: Jason and Howard get their chance to shine. Great guitar action. 10. EIGHT LETTERS (plus hidden track FLOWER BED): Gary's big number about saying "I love you". Take That also has eight letters though, so could be about his love for them. Chorus is a rip-off of ULTRAVOX hit Vienna. The secret track is a cracker. Jason really impresses. Read more: http://www.thesun.co.uk

I wouldn't mind a duet with Buble at all to be honest. I don't own any of his music - but he's a great singer who like Rob has lots of charisma and does not need a big show to entertain a crowd. His own talent does it - I think they would be great on stage together. Perhaps if Rob ever gets around to do a second Swing album a duet fora song or two would happen on that? Although I'd personally like the two of them to do a duet for a James Bond theme - a big orchestral type of anthemic song - a mixture between the music to Bodies and the music for Buble's version of Cry Me A River. :smoke:

Michael Bublé to duet with Robbie? Heart Michael Bublé admits he'd love to do a duet with Robbie Williams in exclusive interview with Heart In an exclusive interview with Heart , Michael Bublé has told presenter Nick Snaith he'd love to do a duet with Robbie Williams. Whilst talking about the meaning of his song "Hollywood " and his few celebrity friends, the Canadian musician said that he'd met Robbie a few times and that "he's one of the best: a humble, warm, wonderful guy". Bublé said that he appreciate the fact that Robbie is not afraid of showing that "he's insecure like the all of us, he's a human being, but when he gets up there (on stage) he becomes Robbie". The "Hollywood" singer added that Robbie is one of the best entertainers alive and that he would love to do a duet with with Williams. "He calls me The Governor" said Buble' , "but the truth is he's the Chairman. Actually if I could do one duet it'd be with Robbie". Listen to Michael Buble talking about Robbie here http://www.heart.co.uk/london/showbiz/news...es-duet-robbie/

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Interview with Rob and the lads from the Irish show Xpose. Amusing watching him try and answer the question about the free Dublin gig he promised. That is something that is never going to go away. Gary and Howard got a good laugh about it too :lol: http://www.tv3.ie/xpose.php

From TT.COM What can you do but laugh? :rofl: :rofl: :rofl:

I just knew this would happen. Louis Walsh is so predictable. :lol: They will still lose though. They should push it back a further week - or better yet a few years. :lol:

So Rob is getting at least 40 minutes according to Smart Gordon. More than I expected tbh - perhaps they are going to do 2.5Hour gigs? Or 3hour plus like Macca and The Boss? :lol: Obviously in Europe Rob's solo set is probably need to be extended to an hour or so leaving room for the likes of Millenium, Bodies, Supreme etc I predict the following :smoke: Rob Solo: LMEY Come Undone Rock DJ No Regrets Shame Feel Angels TT4 Greatest Day Up All Night Shine Said It All Hold Up The Light Patience Rule The World TT5 Could It Be Magic Everything Changes Relight My Fire Pray A Medley of older songs New song New Song new song new song new song The Flood Back For Good Never Forget

TREK THAT The Sun http://img.thesun.co.uk/multimedia/archive/01151/STAR-TREK-CHARACTE_1151840a.jpg ROBBIE WILLIAMS has always been obsessed with UFOs - and his sci-fi influence is rubbing off on TAKE THAT. His old mucker MARK OWEN compared his man-bandmates to characters from Star Trek during their press conference yesterday to announce their first tour as a five-piece since 1995. It was an impressive spectacle at London's uber-posh Savoy hotel - with cameras flashing and hordes of women getting over-excited. Watch the press conference below. Robbie took centre stage, sitting in the middle of GARY BARLOW, MARK OWEN, HOWARD DONALD and JASON ORANGE - and he immediately resumed his role as the "cheeky one" in the band. He identified Gary as "skipper", Mark the "cute one", Howard "the body" and Jason "the dancer". But Mark had a more fitting analogy, which played up to Robbie's fascination with aliens. He said: "Gary is definitely Captain Kirk. I've always fancied myself as Scotty. Howard is Bones, Jason is Mr Spock. That makes Robbie a Klingon - but a nice one." Captain Gary said the lads have yet to decide on an angle for the tour. But when I grabbed him afterwards he said the show would be out of this world. He said: "Put it this way, if we pull off what we are trying to pull off, we will change stadium shows for ever. We brought theatre to stadiums last time but this is going to be on a different scale." The band's The Circus tour cost £100million when it went on the road last year and there are plans to dig deep this time round, too. Gary added: "We always spend a lot. It's the one area we shouldn't be sensible about. "We've got to give the crowd what they want. We haven't decided on a support act yet. I tell you who I like - TINIE TEMPAH. "He is f****** brilliant that kid. I tell you what - look out the world." The 14 UK dates on the Progress Live 2011 tour will be amazing if they match The Circus show. The boys kick off at Sunderland's Stadium Of Light on May 30 and will do an epic four dates at Wembley Stadium. They will also play six separate shows across Europe. But more dates are a certainty once these shows sell out. Gary said: "There will probably be more. There should be. "Luckily it's not a massive touring year next year. The last time round I think there were quite a few out - I think U2, COLDPLAY, OASIS. I'm looking forward to it. "There will be something for everyone in the show." The band's website takethat.com crashed yesterday due to sheer weight of traffic while Ustream, who streamed the press conference, notched record figures. Major ticket retailers are preparing for a surge of Take That fans on Friday when tickets go on sale at 9am. They are bolstering their bandwidth and servers. It's exciting stuff as the boys are really looking forward to touring with each other again. Gary said: "It is actually weird how much of a role we have all slipped back into. It is almost identical to what it was. http://img.thesun.co.uk/multimedia/archive/01151/SNF27BIZYY-682_1151828a.jpg "Robbie's cheek is still there - he just doesn't change. Foolishly I wrote a song once called Everything Changes, but I must have been wrong. "There have been no arguments. Not one cross word, nothing. "We've learned to accept each other as a four and I think Rob has been part of a few band meetings now and I think he was quite taken aback by how truthful we were with each other. "He is loving the security of being in a band and that's what he would always love." The boys will continue to share a dressing room and will get their families involved as much as possible, providing they can get kids out of school. It will be a real celebration of all their work - even Robbie's solo material, which he will be performing. Robbie said: "I'll be doing a bit, the lads will be doing a bit and then we'll be doing a bit." I heard a whisper yesterday he'd be getting at least 40 minutes of the show, a massive slice. Advertisement But he won't be featuring on tracks Take That made as a foursome, such as Greatest Day, Patience and Shine. The boys were on great form - it was a pleasure to see them all so happy. Robbie was in his element, especially when he delivered the dates like JAMES ALEXANDER GORDON, the football scores announcer on BBC Radio 5 Live. He even managed to fend off a cheeky question from a foreign reporter. Robbie was asked whether he would have re-joined the band if he "was still getting No1 singles"? He replied: "The greatest hits album was No1 in 14 countries. My last album sold more than Circus. "At the risk of sounding like a sourpuss, f*** off." The juggernaut is back on the move and it's going to be a brilliant ride again. http://www.thesun.co.uk/sol/homepage/showb...r-official.html

Oh please god NO :puke2: :puke2: :puke2: Heroes is one of my all time fave songs ever - the thought of it being butchered by Cowell - it will be turned into a cheesy, overproduced load of crap with choirs and key changes. :angry: Why on earth did Bowie allow this? I thought he hated the XF and was outraged when Queen allowed Jedward to sing his co-write 'Under Pressure' last year? It's more hypocritical then Macca performing on the show live year. I know it's for charity but really - couldnt he have given permission to one of his other songs - something already cheesy like 'Magic Dance' from the Labyrinth. :lol:

The XF finalists will win is that case - what song are they covering this time? :unsure: An odd choice for TT to bring the album and single forward. Hopefully JLS do the same as Sony will want to maximize their sales, even if they fail to get to #1 going up against TT would mean more sales. I bet Westlife will now change their date now too to avoid going up against TT. Louis Walsh is probably fuming. :D

The lads have moved the single AND album forward by a week. Excuse given was due to high demand. Very annoying there is no longer a battle with JLS which would have been great for sales overall. Oh well, maybe JLS will also move their dates forward? Going up against TT will maximize their sales even if it means missing #1.

Morning Sun 20 Bodies 34 Blasphemy 9 Last Days Of Disco 33+ Difficult For Weirdos 27 Superblind 6

Robbie hoping to make amends with Croker gig Irish Independent http://www.independent.ie/multimedia/archive/00722/Take-That_I_722299t.jpg HE last time Robbie Williams played Croke Park he had a "shocker". Now, newly reunited with his pals in Take That, he will have a chance to make amends when the quintet return next June as part of their first tour with Robbie back in harness. The group confirmed the 20-date tour, Progress Live 2011, at a press conference in London yesterday. The last time the five-piece performed together was in 1995. Robbie revealed his own memory of an "under par" show he played for 78,000 fans at GAA HQ in 2006. Scary "There was something wrong with me. I could remember walking up to the stage and saying to my mate Johnny I never felt like that before. It was really f***ing scary. Croke Park was waiting for me. I couldn't understand what was happening to me or my body. "Then I was on stage and I felt absolutely shocking. I thought I felt so shocking, surely this was coming out to the audience and I was sure I was doing a bad job," Robbie admitted. "It sorted itself out but it was terrifying at the time." The 37-year-old singer claimed that the monster show was a catalyst for him giving up live performances until he rejoined Take That last July. "The fact is I haven't done any concerts since then," said Williams. The 2006 show also saw Williams promising the 78,000 fans that he would return to Ireland and play a free concert. "I will get around to doing that at some stage," he added. A happier memory for Williams was a 2003 show he performed in the Phoenix Park. "That was absolutely mental. I could see it still in my head now. The audience was so big it seemed to turn around in a bend. It was raining but I thought the whole of Ireland was behind me," Robbie said. "There are no rumours this morning, just the fact that Take That are going back on tour," said Gary Barlow. Progress Live is billed as a "feast for the imagination, charting the evolution and progress of Take That and Robbie Williams". The summer stadium tour includes four nights at Wembley Stadium in London after it kicks off next May. It will also see Williams perform songs from his solo career. The newly restored group makes its comeback with a single 'The Flood' and album 'Progress', both due next month. Tickets for the June 18 show go on sale this Friday at 8am. - Ken Sweeney in London Irish Independent

:lol: :lol: :lol: Why not make it the weekend of the TT gig in Amsterdam then? Stadium looks as good, if not better than the City Of Manchester. B) http://www.onlineticketexpress.com/images/event_images/Ajax%20Stadium.jpg I suspect some more international dates will be announced if/when the six sell out.

Bloody hell - 11CD's and 6DVD's :o Only some of the info is available so far - but it appears to be just a boxset with all the DVDs already available all put together :rolleyes: What the 11CDs are though is anyone's guess. Surely not just all 11 albums? :rolleyes: Quite what the point of this is I don't know. A massive pissed opportunity here. They could have released all the amazing gigs that have not been before such as Slane in full, Cologne, Manchester, Abbey Road, Leeds, Rio, Argentina, Mexico etc etc etc - then they could have put all the studio albums only along with all the B-sides. Loads of people would have bought it. Now why would people buy what they already have? <_<