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Spectator
11-06-2025
- Entertainment
- Spectator
The charm of Robbie Williams
What could it possibly feel like to be a sportsperson who gets the yips? To wake up one morning and be unable to replicate the technical skills that define you. To suddenly find the thing you do well absolutely impossible. Golfers who lose their swing, cricketers whose bowling deserts them, snooker players who can't sink a pot. Stage fright – something both Robbie Williams and Cat Power have suffered from – is much the same. Williams took seven years off touring last decade because of it, which must have been devastating for someone whose need for validation is so intense that he has made it his brand. Chan Marshall, the American singer who performs as Cat Power, toured through hers, resulting in shows performed on stages in near-darkness, or that ended early or were undermined by alcohol and the other things that terror forced on her. Both are now in their fifties, both still performing, both very consciously revisiting the past in their own ways, and you couldn't have got two more different performances. Williams, early in proceedings, announced his intention to be recognised globally as the King of Entertainment – Michael Jackson having already taken the title of King of Pop ('And you don't even have to come for a sleepover at my house!'). And truly, we were entertained. Even the boring bits – and there were boring bits, usually played out on the video screens – were entertaining by the standard of the boring video bits at stadium shows. The only part that was truly misjudged was a singalong medley of covers – he'd just done 'Let Me Entertain You' and been joined on the chorus by 60,000 people, so he didn't need to get the crowd loose. Better Man, the ape-as-Robbie biopic, has plainly resurrected him as an item of public interest after a period in which his appeal was becoming, Spinal Tap-style, a little more selective. 'Robbie fucking Williams. Back in stadiums,' he noted, and one wouldn't have predicted it even a couple of years ago. At heart it was a variety show: rock songs, singalong ballads, a load of jokes, a couple of set pieces and a pair of standards. Performing 'My Way' and '(Theme From) New York, New York' absolutely straight and with complete sincerity, gave away the lineage in which he places himself – and it's not next to Oasis. Obviously, he sees himself as an old-fashioned song-and-dance man, and he's a very, very good one – whether in end-of-the-pier or big-stadium mode. At a press conference in San Francisco in December 1965, Bob Dylan was asked whether he thought of himself as a singer or a poet: 'Oh, I think of myself more as a song-and-dance man, y'know.' That is the sole point of connection between Williams and Cat Power; for while he ran into the spotlight, she stayed in the shadows: her songs at the Barbican had no hint of dance about them. Her set, based on Dylan's 1966 tour with the Band (with an acoustic first half, then an electric second), has had writers asking why? Let's assume she just likes the songs, and if Bob Dylan is going to play them like this, why shouldn't she? But watching her expert band recreate what Dylan called 'that thin, wild, mercury sound' was a reminder that she could never hope to recreate the cultural force of Dylan going electric; that music loses its power shorn of context. The trio of records that unveiled Dylan's sound – Bringing It All Back Home, Highway 61 Revisited, Blonde on Blonde – are one of the rare points in pop history where you can hear a style of music being invented as it is recorded: if it were made now, you'd call it Americana, a thrilling amalgam of country, folk and R&B played by kids who'd grown up on rock'n'roll. It is thrilling because you can still hear history being made. But repeating it 59 years later? This was the rock equivalent of watching a BBC2 documentary where Lucy Worsley stands in front of someone pretending to be Richard III and enquiring about a horse. The songs with Robbie Williams's name attached to them are not as profound as those with Dylan's name attached to them. 'You think that I'm strong/ You're wrong/ You're wrong/ I sing my song/ My song/ My song,' will never win the nobel prize for literature. But the nakedness of Williams's neediness, and his complete awareness of his own limitations, is winning. Where Power has all but removed herself from her own performance, Williams's show is about one thing: him and only him. Not even the music. Just him.
The Guardian
09-06-2025
- Entertainment
- The Guardian
Masculinity, mental health, cat food – Robbie Williams's comeback has it all
Few facts feel more perfect than this: Robbie Williams's current stadium and arena tour is sponsored by a cat food. Yes, the Britpop tour, promoting Williams's upcoming album of the same title, is brought to us by Felix (he joins the brand's feline mascot in a new campaign). The show has just spent two nights in residence at London's Emirates Stadium, having previously stopped off in Edinburgh. It will also see dates in Manchester, Bath, Newcastle and Dublin, as well as other cities in Europe, many of which are sold out. I mention the cat food thing because it feels pretty intrinsic to Williams's popular persona, and how he's perceived right now. It is, by anyone's standards, entirely camp in that particularly British, 'hun culture' type of way, where glamour goes hand in hand with ordinariness – and that's exactly where Robbie's appeal lies in 2025, as he experiences what appears to be a cultural comeback. Indeed, over the past year or so, and particularly over the past six months, Williams has experienced a resurgence, something he himself acknowledges: 'Robbie Williams,' he laughed on stage on Friday night. 'Back in stadiums, eh?' That's not the only bit of evidence, however. He's rumoured to be playing a secret slot at this year's Glastonbury; he was recently honoured with the PRS for Music Icon award at the Ivors; and while his biopic Better Man was commercially unsuccessful, it went down pretty well with critics, who praised it for its candour about class and addiction. Williams shows up on cosy TV shows such as Michael McIntyre's The Wheel, not to mention the cat food adverts, but he's also found an audience with generation Z, as the subject of social media posts featuring archive photos of 90s and 00s fashion and celebrity culture. His appeal in 2025 has become widespread; his music still endures (play Angels in any pub in Britain and it'll have the same effect as telling everyone there's a free bar). You could, then, call it a bit of a Robnaissance. This is all happening because Williams occupies a unique position. He's a charisma machine who regularly plays in front of thousands, but he'll also happily divulge to his crowds that he's – and I quote – 'knackered' after playing certain songs, and exchanges concerns about erectile dysfunction with a lip-fillered, AI version of his future self in a between-songs bit. If someone from a younger, more self-serious generation – Sam Fender, Harry Styles – were being sponsored by Pedigree Chum it would probably raise a few eyebrows, but for Williams, stuff like the Felix partnership is entirely on brand. The first person, after all, to nudge and wink at Robbie is Robbie. There is a whole section in his show about how he no longer cares for being cool, while dressed in a hot pink suit. On stage, he delightedly acknowledges that his audience is primarily made up of middle-aged mums – 'and I love it!' He speaks candidly about his poor mental health on Instagram. Interestingly and marvellously, it's in this total abandon that his star is rising again. And this could, it should be acknowledged, very easily not have happened. For a while, he wasn't well received by the public – a video of him singing as his wife Ayda Field gave birth to their child went down online like a ton of bricks, as did a gag where he used hand sanitiser after touching hands with a New Year's Eve audience on TV. It was only in 2022 that he was widely criticised for performing in Qatar at the football World Cup, responding to the feedback thus: 'If we're not condoning human rights abuses anywhere, then it would be the shortest tour the world has ever known: I wouldn't even be able to perform in my own kitchen.' Since then, however, the tide has turned. Williams has publicly shown his softer side again. A 2023 Netflix documentary about his life saw him reviewing photos and footage on his laptop, in bed in his underwear. There's also the aforementioned mental health chat online, and, of course, Better Man was further insight into his struggles at the hands of the press and the music industry. Broadly, the vulnerability that he has always embraced in his music ('I don't wanna die, but I ain't keen on living either') has become more and more in vogue for men and male celebrities, in response to the frightening versions of masculinity spawning online. It seems that the mainstream masculinity of the day has caught up with the man who openly sang in 2002: 'If you don't need me, I don't exist.' Williams will probably always have the ability to put his foot in his mouth spectacularly. But the more he reveals of himself, the more he cements his place as a unique and – let's face it – unparalleled British performer. There is nobody who does what he does, nobody with his legacy or catalogue, nobody who straddles cool and uncool in quite the same way that Brits love so much. From where I am standing, then, Williams's popularity in the current moment is deserved and hard won, for a performer who has the type of gift you cannot teach. When he emerged on stage in front of 60,000 people on Friday night, he introduced himself simply: 'I'm Robbie Williams. This is my band, this is my arse.' He also told us: 'I want to be the king of entertainment.' And at this point, you do have to ask: who else could it be? This is his Robnaissance – we're just living in it. Lauren O'Neill is a culture writer
Metro
07-06-2025
- Entertainment
- Metro
I thought Robbie Williams was overhyped but can still kick it
To view this video please enable JavaScript, and consider upgrading to a web browser that supports HTML5 video I don't think I truly understood the hype around Robbie Williams until I saw him live in concert. In one night, I've gone from a non-believer to a full-blown fan after decades of thinking he was just that guy who had a few hits in the 90s. My conversion began with Better Man, which is one of the best biopics made in recent years, but until his London gig, I still saw him as an artist of the past. As if he could tell what I was thinking, Robbie instantly proved me wrong by opening his two-hour set with his brand new song, Rocket. Very few artists could release a track and have the entirety of Arsenal's Emirates Stadium singing along two weeks later — let alone make it their opening number. But that's the power of Robbie. From Rock DJ to Angels, he is (as he so delicately puts it) 's**tting hits'. And they were all packed into his Britpop Tour show. Rocket turned out to be the perfect opener, with the 51-year-old star performing some aerial acrobatics to let us all know he planned to put on a show. This quickly gave way to Let Me Entertain You, a song that set the tone for not only this gig, but his entire career — this is what he was born to do. I had anticipated a good set list — of course, there's going to be hits, it's Robbie Williams after all. However, there was so much more to the show than big songs. Ever the perfect showman, Robbie effortlessly toes the line between his ego and self-deprecating jokes, oozing charisma and charm that make it hard not to like him. Jokes about his age, his wild past, and even some stray barbs at Oasis filled the moments between the songs without dropping the palpable energy in the room. One particularly joyous moment was when he brought opening act Lottery Winners' singer Thom Rylance back on stage for a surprise song set. Here, fans were tested by the comedic duo, singing along to fragments of tracks like Candy before the legendary Lulu joined them for a rendition of Take That's Relight My Fire. Take That wasn't the only 90s band's fire which Robbie relit either, as midway through singing Keep On Movin' he brought out the whole of Five. For the first time in 25 years, Sean Conlon, Ritchie Neville, Scott Robinson, Abz Love, and Jason Brown were all on stage together, basking in the screams of the shocked audience. These moments prove Robbie knows exactly who his audience is and exactly what they want: personality and nostalgia. This made it all the more jarring when things didn't quite land, such as when the gig became bogged down in clunky AI-generated filler where the Come Undone hitmaker 'spoke' to his younger and older self. I'm not a fan of generative AI at the best of times, but there's something deeply awkward about watching someone — no matter how charming — 'talk' to a pre-made computer-generated approximation of themselves. While the moments produced a handful of cheap laughs, the inclusion of these cringey videos felt incredibly disjointed from the very personable, real-life Robbie on stage. The AI was thankfully a small misstep, which was quickly moved past in the sheer onslaught of undeniable bangers. She's The One, Kids, Strong, and Feel all sparked dancing and cheering from the audience, most of whom seemed to know every single word. Finally, after an impressive two hours of dancing and singing, the boyband legend finished on Angels — because what else could it be. More Trending It is simply the perfect closing song. Even among his many (many) hits, Angels remains untouchable. Ultimately, you're never going to get a bad show with Robbie. He's a born performer, despite what they thought of his solo potential in the 90s. After 35 years in the spotlight and 22 since his iconic Knebworth shows, the living legend that is Robbie Williams very much proved he can still kick it. Got a story? If you've got a celebrity story, video or pictures get in touch with the entertainment team by emailing us celebtips@ calling 020 3615 2145 or by visiting our Submit Stuff page – we'd love to hear from you. MORE: 'Devastated' Rod Stewart, 80, cancels more concerts weeks before Glastonbury due to sickness MORE: What I Own: At 22 and 23, we bought a run down London four-bed for £910,000 MORE: Major US fast food chain to open in London Heathrow airport – a European first
Time Out
05-06-2025
- Entertainment
- Time Out
Robbie Williams at London's Emirates Stadium: start time, tickets, potential setlist and what you need to know
It's nearly time for you to let Robbie Williams entertain you, in front of a crowd of 60,000 like-minded fans. After a couple of years away from the stage, you can expect big things from this ex-Take That star turned, well, chimpanzee? Following the warm reception of his uniquely anthropomorphic biopic ' Better Man ', Robbie is finally back to doing what he does best: acting up in front of thousands of people. The Britpop tour, named after his upcoming album of the same name, is set to be a romp through his greatest hits, with a bit of Sinatra thrown in for good measure. Here's everything you need to know about Robbie Williams two nights at the Emirates Stadium to ensure you leave thinking 'I Love My Life'. When is Robbie Williams playing Emirates Stadium? Robbie is doing two nights at the Arsenal ground. He'll be playing tomorrow, June 6, and Saturday, June 7. After that, he's heading up north to Manchester before finishing off the UK leg in Bath. What time do doors open? Doors for Robbie Williams' gig tonight will open at 5pm, with the first support act expected to take to the stage at 6pm. What time will Robbie Williams come on stage? It's not been officially stated when you can expect Robbie to make his grand entrance, but based on timings at Murrayfield the other night, the main show will likely begin at around 8:30pm. It's worth being seated, or standing, well before that though, in case timings change or you want to grab a drink. What's the seating plan? If you're wondering where you'll be sitting, you can see the stadium layout below. If you're wondering what your view will be like, you can use the Emirates stadium's 'virtual venue' here to get a sneak peak. Who's supporting Robbie Williams? For his shows in the capital, Robbie will be supported by Manchester band The Lottery Winners, and chart-topping baritone Rag 'n' Bone Man. It's not certain exactly when the support acts will take the stage, but based on the Edinburgh show, it's likely that the Lottery Winners will start sometime around 6pm, and then Rag 'n' Bone Man just after 7pm. Robbie Williams setlist Robbie has only played one night of the Britpop tour so far, so we have a general idea of the songs he's likely to play, but nothing is certain. There is always a chance he'll change things up every night, but don't worry; we're confident he'll always do angels. Here's what the setlist was for the Edinburgh show, including a slightly random medley. If there's one thing Robbie Williams is going to do, it's keep us on our toes. Rocket Let Me Entertain You All My Life / Song 2 / Seven Nation Army / Rim Tim Tagi Dim / I'm Gonna Be (500 Miles) / Minnie the Moocher (The Ho De Ho Song) / Livin' On A Prayer (Singalong Medley) Monsoon Old Before I Die Rock DJ Love My Life Strong The Road to Mandalay Supreme Let Love Be Your Energy / Sexed Up / Candy (with The Lottery Winners) Relight My Fire Something Beautiful Play Video Main Stage Millennium Come Undone Kids She's the One My Way Encore Feel Angels Can you still get tickets? There are still a few tickets left to see Robbie Williams tomorrow and Saturday, starting from £66. The majority of the tickets left, however, are standing, which are a little pricier. General admission starts from £104, while front standing will set you back £220. If you think Robbie's worth it, you can bag your tickets from Ticketmaster here. What's Emirates Stadium's bag policy? Like most stadiums, Emirates only allows bags that are smaller than an A4 sheet of paper. Anything else will either be confiscated, or you will be turned away. In general, the venue advises against bringing a bag if at all possible, and there is no cloakroom to store them in. Banned items 'Do not bring your explosives to the Robbie Williams concert' is a sentence which probably goes without saying, but it's always good to be clear on these things. As well as the obvious (knives, weapons, fireworks and flares, and gas canisters will not be permitted), you are not allowed to bring in any of your own food or drink, except in a soft, 500ml plastic bottle. This includes flasks of hot liquid. Additionally, glass bottles of any kind, including small perfume bottles and similar, are banned. If you're unsure about an item, it's best to leave it at home. If you're unsure but really want to bring it, check here for the full list of prohibited items. Weather forecast The weather for this weekend is looking quite changeable, but showers are set to dry up by 7pm on Friday. On Saturday however, it's looking a bit wetter, so you might want to invest in a poncho. Temperatures will peak at 16 C during the gig on both days, so at least you won't be that cold.
New York Times
05-06-2025
- Entertainment
- New York Times
‘Sunlight' Review: A Man Wakes Up in a Camper, Monkey at the Wheel
When it comes to monkey costumes, you can keep your 'Better Man' biopic C.G.I. Nina Conti's 'Sunlight' brings its own bizarro, handmade appeal: A gnarly love story that starts with a guy waking up in an RV driven by a simian-suited stranger. It's a movie within the indie subgenre of comic encounters between lost outsiders, but powered by its own fringe logic of attraction and rebellion. The stranger in the toylike disguise turns out to be a woman (Conti) fleeing her manipulative stepfather, who took over her mother's motel. That's where she found Roy (Shenoah Allen) after a failed suicide attempt in his room. Her name, we eventually learn, is Jane. The RV actually belongs to Roy, a mild-mannered radio host burdened by a hectoring mom and tough memories of his deceased father. Not exactly a meet-cute, but their cracked road trip never loses its warmth under the New Mexico sun. The big question looms: Just who is Jane, and why the blank-eyed monkey suit? But we also wonder how Roy got to his wit's end. 'Sunlight' essentially follows two people helping each other extract and preserve what's left of their sanity and will to live. Conti bases Jane's furry alter-ego on her monkey ventriloquist act, part of her career in British TV and theater. A little of 'Sunlight,' which she directs and co-wrote with Allen, goes a long way. But there's still something to seeing a performer go for broke, purging a character's shame and despair through a screwy, confessional sense of humor. SunlightNot rated. Running time: 1 hour 36 minutes. In theaters.
