robbie williams tour europe 2023

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XXV European Tour 2023 : toutes les dates

Cela faisait longtemps que les fans de robbie n'avaient pas connu une telle effervescence : en l'espace de 2 semaines, ils ont appris l'existence d'une nouvelle tournée, et ont du s'arracher les billets mis en vente depuis mercredi. de nouvelles dates ont déjà été annoncées ce vendredi. faisons le point..

C'est donc bien une tournée mondiale qui s'est organisée. Celle-ci commence le 9 Octobre à Londres et se terminera en Décembre 2023 en Australie. Après la mise en vente des places pour le Royaume-Uni et l'Irlande depuis Juin, l'Australie et l'Europe ont pu cette semaine se procurer les tickets pour le XXV Tour !

Nous avon tout de même noté un faux départ en Suisse : alors que le management avait annoncé un concert à Zurich en Janvier prochain, cette date a été annulée dans la nuit de Mardi à Mercredi, quelques heures avant la prévente !

Ce matin, Vendredi, l'ensemble des dates de la tournée européenne ont été mises en vente au public. Et dans le courant de la matinée, des dates additionnelles ont été ajoutéés immédiatement dans certains pays. Certaines dates sont déjà complètes !

Voici la liste des 27 dates de la tournée européenne. Le mois de Février est quasiment exclusivement consacré à l'Allemagne ! A noter : la date à Oslo est isoldé en Juin. Ceci va sûrement alimenter les rumeurs d'un autre leg durant l'été. Mais ceci n'est qu'une hypothèse.

JANVIER  20 Janvier – Unipol Arena, Bologna, Italie -  [tickets]  /  [tickets] 26 Janvier – Sportpaleis, Antwerp, Belgique -  [tickets] 28 Janvier – Ziggo Dome, Amsterdam, Pays-Bas -  [tickets] 29 Janvier  – Ziggo Dome, Amsterdam, Pays-Bas -  [tickets]

30 Janvier – Ziggo Dome, Amsterdam, Pays-Bas -  [tickets]

FEVRIER 1er Février – Barclays Arena, Hamburg, Allemagne -  [tickets] 2 Février – Barclays Arena, Hamburg, Allemagne -  [tickets] 5 Février – Lanxess Arena, Cologne, Allemagne -  [tickets] 6 Février – Lanxess Arena, Cologne, Allemagne -  [tickets] 15 Février – Festhalle, Frankfurt, Allemagne -  [tickets] 16 Février – Festhalle, Frankfurt, Allemagne -  [tickets] 20 Février – Mercedes-Benz Arena, Berlin, Allemagne -  [tickets] 26 Févirer – Jyske Bank Boxen, Herning, Danemark -  [tickets] 27 Février  – Royal Arena, Copenhagen, Danemark -  [tickets]

MARS 1er Mars – Avicii Arena, Stockholm, Suède -  [tickets] 5 Mars – Nokia Arena, Tampere, Finlande -  [tickets] 9 Mars  – Arena Riga, Lettonie -  [tickets] 10 Mars – Zalgirio Arena, Kaunas, Lituanie -  [tickets] 12  Mars – Tauron Arena, Krakow, Pologne -  [tickets] 14 Mars – Papp László Budapest Sportarena, Hongrie -  [tickets] 16 Mars – Stadthalle, Vienna, Autriche -  [tickets] 17 Mars – Stadthalle, Vienna, Autriche -  [tickets] 20 Mars – Accor Arena, Paris, France -  [tickets] 24 Mars – Palau Sant Jordi, Barcelona, Espagne -  [tickets] 25 Mars – Palau Sant Jordi, Barcelona, Espagne -  [tickets] 27 Mars – Altice Arena, Lisbon, Portugal -  [tickets]

JUIN 24 Juin – Telenor Arena, Oslo, Norvège -  [tickets]

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Robbie Williams announces ‘XXV’ European tour

The tour celebrating Williams' 25 years as a solo artist will head to the continent next year

Robbie Williams has announced details of the European leg of his ‘XXV’ tour, which marks 25 years of his solo career.

The star has already confirmed dates for the UK and Ireland stint of the tour , which will kick off in October.

• READ MORE:  Robbie Williams on Damon Albarn, Morrissey and the dark side of Take That: “I have a cannon-full of quotes”

Now, Williams will head to the continent in January, starting the run in Bologna, Italy, on January 20. He will then call at 20 further cities. Although the bulk of dates will take place between January and March, the final show in the European run will take place in Oslo on June 24.

Tickets for the ‘XXV’ European tour will go on sale at 10am CET on Friday (September 30) and will be available via Williams’ official website . Tickets for his UK tour are already on sale and can be purchased here .

Europe 2023 – let's do this x    Presale – Wednesday 28th September 09:00 BST / 10:00 CEST General on-sale – Friday 30th September 09:00 BST / 10:00 CEST pic.twitter.com/PxVqpLw89n — Robbie Williams (@robbiewilliams) September 26, 2022

Robbie Williams’ ‘XXV’ European tour will call at: 

January 2023

20 – Bologna, Italy, Unipol Arena 23 – Zurich, Switzerland, Hallenstadion 26 – Antwerp, Belgium, Sportpaleis 28 – Amsterdam, Netherlands, Ziggo Dome 29 – Amsterdam, Netherlands, Ziggo Dome

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February 2023

1 – Hamburg, Germany, Barclays Arena 5 – Cologne, Germany, Lanxess Arena 15 – Frankfurt, Germany, Festhalle 20 – Berlin, Mercedes Benz Arena 26 – Herning, Denmark, Jyske Bank Boxen 27 – Copenhagen, Denmark, Royal Arena

1 – Stockholm, Sweden, Avicii Arena 5 – Tampere, Finland, Nokia Arena 9 – Riga, Latvia, Arena 10 – Kaunas, Lithuania, Zalgirio Arena 12 – Krakow, Poland, Tauron Arena 14 – Budapest, Hungary, Arena 17 – Vienna, Austria, Stadthalle 20 – Paris, France, AccorHotels Arena 27 – Lisbon, Portugal, Altice Arena

24 – Oslo, Norway, Telenor Arena

Earlier this month (September 16), Williams broke UK chart records with his ‘XXV’ album , which features re-recorded and orchestrated versions of songs from across his career. The record is now his 14th Number One solo album, seeing him overtake Elvis Presley to become the solo artist with the most UK Number One albums ever.

The Beatles are now the only act with more UK Number One albums than Williams, having scored 15 across their career.

Williams also recently shared his ambition to return to Glastonbury to take on the coveted legends slot . “Yeah, that’d be cool. Actually, I’d like to do that,” he said during an appearance on BBC Breakfast . “I’d like another go round on that stage and feel that audience and get the chance to do it.

“[Glastonbury has] never really been on my radar, and obviously [I’ve] not been on their radar, either. But now I’m like, ‘Yeah, I wanna do that’.”

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Robbie Williams taking ‘XXV’ tour across Europe in 2023

Robert Williams | Farrell Music Ltd

Robbie Williams will take his ‘XXV’ 25th anniversary tour across Europe in early 2023. 

The former Take That star is celebrating his latest milestone with a string of UK and Ireland dates across the autumn, and will take the concert across the continent starting January 20 in Bologna, Italy.

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“Europe 2023 – let’s do this,” he said in an announcement of the 22-date run, which wraps June 24 in Oslo, Norway.

Europe 2023 – let's do this x Presale – Wednesday 28th September 09:00 BST / 10:00 CEST General on-sale – Friday 30th September 09:00 BST / 10:00 CEST pic.twitter.com/PxVqpLw89n — Robbie Williams (@robbiewilliams) September 26, 2022

Tickets for the dates go on general sale September 30 at 9 am BST. 

The full list of European tour dates is as follows: 

JANUARY 2023

20 – Unipol Arena, Bologna 23 – Hallenstadion, Zurich 26 – Sportpaleis, Antwerp 28 – Ziggo Dome, Amsterdam 29 – Ziggo Dome, Amsterdam

FEBRUARY 2023

1 – Barclays Arena, Hamburg 5 – Lanxess Arena, Cologne 15 – Festhalle, Frankfurt 20 – Mercedes-Benz Arena, Berlin 26 – Jyske Bank Boxen, Herning 27 – Royal Arena, Copenhagen

1 – Avicii Arena, Stockholm 5 – Nokia Arena, Tampere 9 – Arena Riga 10 – Zalgirio Arena, Kaunas 12 – Tauron Arena, Krakow 14 – Budapest Arena 17 – Stadthalle, Vienna 20 – Accor Arena, Paris 24 – Palau Sant Jordi, Barcelona 27 – Altice Arena, Lisbon

24 – Telenor Arena, Oslo

The shows come ahead of a run of shows Down Under in autumn 2023, which will see Robbie perform a series headline dates across Australia alongside a one-off New Zealand appearance at Hawke’s Bay’s stunning Mission Estate.

“Australasia is one of my favourite places in the world to tour; I feel so at home there and hugely appreciate the warm, loving welcome I always receive,” he says.

Australasia 2023 – I can’t wait to see you all x Pre-sale from Tuesday 27th September, general on sale Friday 30th September pic.twitter.com/xuKx1x71O3 — Robbie Williams (@robbiewilliams) September 21, 2022

“I can’t wait to do these shows in 2023 and spend some time with my fans.”

The full list of Australasian tour dates is as follows:

NOVEMBER 2023

11 – ​Mission Estate, Hawke’s Bay, NZ 16 ​- Allianz Stadium, Sydney, NSW 18 ​- Sirromet Wines, Mount Cotton, QLD – A Day On The Green 23 ​- AAMI Park, Melbourne, VIC 25 ​- Mt Duneed Estate, Geelong, VIC – A Day On The Green

1 ​- Nikola Estate, Swan Valley, WA – A Day On The Green

Robbie celebrated his latest milestone with the release of ‘XXV’, featuring re-recorded orchestral versions of his biggest hits and personal favourite tracks.

The track debuted at No. 1, giving the hitmaker a record 14th solo chart-topper , which saw Robbie surpasses Elvis Presley as the solo artist with the most UK No. 1 albums. 

“Thank you to everyone who’s supported the album: everyone who’s bought it, streamed it, downloaded it and reviewed it,” he said in celebration of the milestone.

“I’m so pleased that it’s gone to No. 1, and whilst it feels strange to be receiving an award during these sombre times, I wanted to thank you all for your support and dedicate this to the fans, who I never take for granted. I really appreciate it, thank you so much.”

In a  review of the album , Retro Pop said ‘XXV’ “marries Robbie’s classic sound with nuances found in his swing repertoire, celebrating the past 25 years and opening the door to the next era in his career.”

‘XXV’ is  available now .

Connor Gotto

Founder and editor of RETROPOP. Self-proclaimed pop aficionado. Like to make my life look super cool and exciting online, but usually found at home, with my dogs, sipping wine and listening to Nicki French!

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The run kicks off January 20 in Bologna, Italy.

Published on

Robbie Williams has announced details of the European leg of his “XXV” tour, which has been organized to celebrates 25 years of his solo career.

Williams already confirmed dates for the UK and Ireland run of dates, which will kick off in October. Williams will head inland in January, starting the tour in Bologna, Italy, on January 20. He will then travel to Switzerland, Belgium, and more, before wrapping things up in March. He hits the road one more time in June for a date in Oslo.

Last year, it was announced that the forthcoming Robbie Williams biopic Better Man , will begin filming in Melbourne, Australia in early 2022 and will be directed by Michael Gracey ( The Greatest Showman ).

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Williams is one of the U.K.’s most prominent entertainers and one of the best-selling artists of all time. He first found fame with the group Take That , from 1989 to 1995, and then began a wildly successful solo career. The film “will offer an introspective look into the experiences that shaped Williams, both on and off stage.”

Williams is expected to appear as himself, with some of his songs “re-interpreted and recontextualized in the film.” Variety reported that Better Man will be distributed in Australia and New Zealand by leading film distributor, Roadshow Films. International sales are handled by U.K.-based Rocket Science, which previously handled Schumacher and The Trial of The Chicago 7 .

Listen to the best of Robbie Williams on Apple Music and Spotify .

Robbie Williams Tour Dates: January 2023 20 – Bologna, Italy, Unipol Arena 23 – Zurich, Switzerland, Hallenstadion 26 – Antwerp, Belgium, Sportpaleis 28 – Amsterdam, Netherlands, Ziggo Dome 29 – Amsterdam, Netherlands, Ziggo Dome

February 2023 1 – Hamburg, Germany, Barclays Arena 5 – Cologne, Germany, Lanxess Arena 15 – Frankfurt, Germany, Festhalle 20 – Berlin, Mercedes Benz Arena 26 – Herning, Denmark, Jyske Bank Boxen 27 – Copenhagen, Denmark, Royal Arena

March 2023 1 – Stockholm, Sweden, Avicii Arena 5 – Tampere, Finland, Nokia Arena 9 – Riga, Latvia, Arena 10 – Kaunas, Lithuania, Zalgirio Arena 12 – Krakow, Poland, Tauron Arena 14 – Budapest, Hungary, Arena 17 – Vienna, Austria, Stadthalle 20 – Paris, France, AccorHotels Arena 27 – Lisbon, Portugal, Altice Arena

June 2023 24 – Oslo, Norway, Telenor Arena

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Robbie Williams announces 25th anniversary European tour

Virgin Radio

26 Sep 2022, 13:08

Credit: Getty

Robbie Williams has revealed details for the European leg of his XXV tour to celebrate his 25th anniversary as a solo artist.

The Angels singer has already announced dates for the UK and Ireland part of the tour, which is set to kick off in October.

Now, he has confirmed he will be continuing on to Europe in January next year, starting in Bologna, Italy on 20th January. Williams will then stop at 20 more cities, with the majority of dates taking place between January and March, before finishing up in Oslo on 24th June.

Tickets for the European leg of the XXV tour go on sale at 10am CET on Friday 30th September, via William’s official website.

You can see a full list of the dates below:

January 2023

20 – Bologna, Italy, Unipol Arena

23 – Zurich, Switzerland, Hallenstadion

26 – Antwerp, Belgium, Sportpaleis

28 – Amsterdam, Netherlands, Ziggo Dome

29 – Amsterdam, Netherlands, Ziggo Dome

February 2023

1 – Hamburg, Germany, Barclays Arena

5 – Cologne, Germany, Lanxess Arena

15 – Frankfurt, Germany, Festhalle

20 – Berlin, Mercedes Benz Arena

26 – Herning, Denmark, Jyske Bank Boxen

27 – Copenhagen, Denmark, Royal Arena

1 – Stockholm, Sweden, Avicii Arena

5 – Tampere, Finland, Nokia Arena

9 – Riga, Latvia, Arena

10 – Kaunas, Lithuania, Zalgirio Arena

12 – Krakow, Poland, Tauron Arena

14 – Budapest, Hungary, Arena

17 – Vienna, Austria, Stadthalle

20 – Paris, France, AccorHotels Arena

27 – Lisbon, Portugal, Altice Arena

24 – Oslo, Norway, Telenor Arena

The album features re-recorded and orchestrated versions of songs from across his career and becomes the singer’s 14th solo album to reach the number one spot on the UK chart.

This means the former Take That star has now overtaken Elvis Presley’s record of 13 number one albums.

Speaking about the success of the album at the time, Williams said: "Thank you to everyone who’s supported the album: everyone who’s bought it, streamed it, downloaded it and reviewed it.

"I’m so pleased that it’s gone to number one, and whilst it feels strange to be receiving an award during these sombre times, I wanted to thank you all for your support and dedicate this to the fans, who I never take for granted. I really appreciate it, thank you so much."

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Robbie Williams has announced European dates for his XXV Tour .

The former Take That member will kick off the arena trek in Bologna, Italy on January 20, and will visit cities such as Paris, Amsterdam, Berlin and Barcelona in the spring. Tickets go on general sale at 10am EST on September 30.

The shows will see the 48-year-old celebrating 25 years as a solo star, as well as his new album, 'XXV', which dropped earlier in September.

The UK and Ireland leg of the XXV Tour will get underway in October with two huge concerts at The O2 in London. Tickets are on sale.

Robbie Williams Upcoming Tour Dates are as follows

Sun October 09 2022 - LONDON O2 Arena Mon October 10 2022 - LONDON O2 Arena Sat October 15 2022 - BIRMINGHAM Resorts World Arena Sun October 16 2022 - BIRMINGHAM Resorts World Arena Wed October 19 2022 - MANCHESTER AO Arena Fri October 21 2022 - MANCHESTER AO Arena Sat October 22 2022 - MANCHESTER AO Arena Mon October 24 2022 - GLASGOW OVO Hydro Tue October 25 2022 - GLASGOW OVO Hydro Wed October 26 2022 - GLASGOW OVO Hydro Sat October 29 2022 - DUBLIN 3Arena Sun October 30 2022 - DUBLIN 3Arena Tue November 01 2022 - DUBLIN 3Arena Fri January 20 2023 - BOLOGNA Unipol Arena (Italy) Mon January 23 2023 - ZURICH Hallenstadion (Switzerland) Thu January 26 2023 - ANTWERP Sportpaleis (Belgium) Sat January 28 2023 - AMSTERDAM Ziggo Dome (Netherlands) Sun January 29 2023 - AMSTERDAM Ziggo Dome (Netherlands) Wed February 01 2023 - HAMBURG Barclays Arena (Germany) Sun February 05 2023 - COLOGNE Lanxess Arena (Germany) Wed February 15 2023 - FRANKFURT Festhalle (Germany) Mon February 20 2023 - BERLIN Mercedes Benz Arena (Germany) Sun February 26 2023 - HERNING Jyske Bank Boxen (Denmark) Mon February 27 2023 - COPENHAGEN Royal Arena (Denmark) Wed March 01 2023 - STOCKHOLM Avicii Arena (Sweden) Sun March 05 2023 - TAMPERE Nokia Arena (Finland) Thu March 09 2023 - RIGA Arena Riga (Latvia) Fri March 10 2023 - KAUNAS Zalgirio Arena (Lithuania) Sun March 12 2023 - KRAKOW Tauron Arena (Poland) Tue March 14 2023 - BUDAPEST Budapest Arena (Hungary) Fri March 17 2023 - VIENNA Stadthalle (Austria) Mon March 20 2023 - PARIS Accor Arena (France) Fri March 24 2023 - BARCELONA Palau Sant Jordi (Spain) Mon March 27 2023 - LISBON Altice Arena (Portugal) Sat June 24 2023 - OSLO Telenor Arena (Norway)

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Robbie Williams live in March 2023, at Paris Accor Arena

Calling all Robbie Williams fans! The British artist will be back on stage in 2023, for his “ XXV Tour ”. In Paris , the singer will celebrate 25 years of career as a solo artist with one show, on Monday March 20, 2023 , at the Accor Arena . A piece of advice: do not miss the general ticketing service opening on September 30, 2022, at 10 a.m. (CEST). Or, enjoy the Accor Arena presale on September 28, at 10 a.m. (CEST).

25 ans de carrière, plus de 70 millions d'albums vendus, membre du groupe anglais Take that...vous l'avez reconnu ? 👀 @robbiewilliams sera présent à l'Arena le 20 mars 2023 ! #XXV Préventes le 28.09, inscrivez-vous : https://t.co/GcgDxQV3O1 pic.twitter.com/xJ9ort1fIH — Accor Arena (@Accor_Arena) September 26, 2022

Tweet reads: “25 years of career, over 70 million albums sold, member of English band Take That… Got it? Robbie Williams will be at the Arena on March 20, 2023! Presales on 09/28, sign up at https://t.co/GcgDxQV3O1   pic.twitter.com/xJ9ort1fIH ”

For the rest of his European tour, Robbie Williams plans to stop by Bologna, Amsterdam, Cologne, Berlin, Riga, Vienna, Budapest, Barcelona and Lisbon.

The British artist will make the most of it to present his latest album “ XXV ” live, featuring all his greatest songs in a re-orchestrated version. Out since September 9, 2022, the “XXV” album features lots of Robbie Williams ’ hits that ranked #1, as well as fans’ favorite songs… Tracks coming in a new orchestrated version and re-recorded with the famous Metropole Orkest in The Netherlands. It features songs “ Angels ”, “ Feel ”, or even “ She’s the One ”.

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World-famous songs fans will (re)discover live on March 20, 2023 , at Paris Accor Arena , for Robbie Williams ’ only show in the city. For the record, the British singer sold over 80 million albums worldwide and ranked 14 singles in the top singles UK!

Refer your establishment, click here Promote your event, click here Join our community of readers, click here

Dates and Opening Time On March 20th, 2023 Starts at 08:00 p.m.

Location Accor Arena 8 Boulevard de Bercy 75012 Paris 12

Access Metro line 6 or 14 "Bercy" station

Official website robbiewilliams.com

Booking www.accorarena.com

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26/09/2022: ROBBIE WILLIAMS XXV TOUR - EUROPE 2023

Robbie Williams announces new European dates for his ‘XXV’ tour – celebrating an incredible 25 years as a solo artist. Bringing his high-octane shows to cities across Europe, the new 2023 tour dates kick off with a show in Bologna, Italy on 20 January before taking in cities across the continent including Paris, Amsterdam, Berlin and Barcelona. ** Pre-Sale Wednesday 28th Sept @ 9am BST - 10am CET - Official Fan Packages ***

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First finding fame as a member of 90s boy band Take That, Robbie Williams (born February 13th, 1974) has since become a global star, selling millions of records and becoming one of the UK's most treasured celebrities.

As part of the highly successful group Take That, Williams stood out from the crowd, with an edgy, tougher look than his pretty-boy bandmates. Following in-fighting and William's dislike for the demands made by their management, he left the band in 1995, pursuing a solo career that would lead to brighter success than what had come before.

After leaving the band, Williams befriended Oasis, joining in with the drug-fueled parties that came along with their success, This lifestyle took its toll, with Williams becoming increasingly overweight and the subject of much discussion in tabloid gossip columns, distracting Williams from focusing on his own music. In 1996, he released his first single, a cover of George Michael's "Freedom '90," which was largely a disaster. However, his second single, "Old Before I Die" in 1997 showed more promise, displaying a prominent Oasis influence. His debut album arrived the same year, "Life Thru a Lens," finding huge success in the UK. This was followed by the multi-Platinum release, "I've Been Expecting You," in 1998, establishing Williams' solo career.

His third album, 2000's "Sing When You're Winning" found even greater popularity, bolstered by the hit single "Rock DJ," with Williams also recording a big-band album of standards, "Swing When You're Winning" shortly after. Robbie Williams had by now established himself as one of the leading pop stars in Europe, through an endless string of hits, as well as his larger-than-life persona, selling more copies than he had previously with Take That.

Williams continued this high-flying success with 2002's "Escapology," although despite being one of the biggest stars in the UK and Europe, he failed to break into the American pop market. Despite this, his 2005 record, "Intensive Care" topped the charts in many European countries and his 2006 world tour sold over 1.5 million tickets in just one day. "Rudebox" followed, going double-Platinum in the UK, although it was his lowest selling album in his solo career.

In 2010, news of Take That's reunion brought forth much speculation as to Robbie Williams' involvement, recording a number of new songs with Gary Barlow although he did not become as involved as the other members of Take That. Williams' ninth album, "Take the Crown" arrived in 2012, featuring the production of Jacknife Lee, who has worked with Snow Patrol, R.E.M and Bloc Party, returning to the sound of his earlier work. He again found a number one single with "Candy," reaching the top spot in a number of European countries. In 2013, he again looked towards standards for inspiration, recording "Swing Both Ways," which also featured some originals. The album also featured appearances from star guests including Lily Allen, Olly Murs, Rufus Wainwright, Kelly Clarkson and Michael Bublé.

Live reviews

In full transparency, this is a copy of a review on the Radio Creme Brulee blog.

It is not too far in the distant past that Las Vegas concert residencies were associated with fading pop stars that were way past their commercial prime. More often than not, the artists that gravitated to Las Vegas concert residencies had enjoyed their fair share of the limelight in America’s musical mainstream. Many attribute the dramatic shift in perception for these shows to Celine Dion (with specific regard to her “A New Day” tour). The tour featured theatrical performances and imbibed the spirit of glitz and excess that Las Vegas is often characterized by. Since then, artists such as Elton John, Britney Spears, and Jennifer Lopez have carried on this tradition with immense success. The newest twist to the history of Las Vegas residencies is one that British pop superstar Robbie Williams just might be the catalyst for.

Robbie Williams is one of the more noteworthy symptoms of the US musical mainstream’s stubborn insularity from the global pop music landscape. Despite being the recipient of the second largest recording contract (valued at 80 million pounds) of all time, Robbie Williams (like many artists from the UK) has been overlooked by US terrestrial radio’s gatekeepers. These gatekeepers enjoy immense power to shape public opinion even today despite the rapid proliferation of alternate venues for music discovery besides terrestrial radio in the last two decades. As a result, Robbie Williams’ chart success in the US has been rather lackluster. None of his singles have entered the Billboard Top 40 singles chart. This is in stark contrast to his larger-than-life popularity overseas (literally everywhere besides the US). Furthermore, it has been almost two decades since he last performed live in the US.

Given this reality, it is rather interesting that Robbie Williams chose a Las Vegas concert residency route as opposed to a mini-tour covering the US’ key media hubs. The second element of surprise stems from the conscious choice of venue. Williams’ team has opted for the intimacy of the Encore Theater at Wynn Resorts. This is quite a shift for someone that in Europe is considered a stadium act. The final element of surprise is the overwhelming demand for tickets for these shows. The six shows scheduled for March 2019 have sold out. It would be interesting to see data highlighting the split between domestic and international demand for these tickets. Six more dates have been added between the months of June and July in Las Vegas.

On the evening of March 9, as concert attendees began to fill in the Encore theatre and indulge in friendly banter with each other, it became clear that one common theme linked many of the Americans in the audience. Most of these people either had foreign ties (by virtue of having lived or studied in Europe at some point in their lives) or had discovered Robbie Williams in the couple of years in the late 90s during which his promotion team tried to actively promote him on American television (to compensate for the lack of acceptance from American terrestrial radio gatekeepers).

My expectations of the concert were moderate – not because I expected to be underwhelmed but because I assumed (incorrectly of course!) that the intimacy of the Encore Theatre automatically meant that the show would be a mellow affair with Robbie Williams sitting on a stool performing mostly swing covers. While covers comprised a significant portion of the setlist, the concert was as far from a mellow affair as it could be. The concert opened with a call to the audience to sing the cheeky and irreverent “National Anthem of Robbie” with the lyrics being projected on to the curtains. The audience obliged with an overabundance of enthusiasm as they sang along hilarious lyrics such as

“Yes he went to rehab

Drugs and drinks took him low

God bless our Robbie

He can swing both ways

He is totally global

Except in the US of A”

This was followed by a video of Robbie Williams being broadcast on the curtains with the crowd cheering on deliriously. The curtains opened to a jaw-dropping stage setup. This was the first indication that Robbie Williams had decided to emulate elements of a stadium concert setup within the smaller confines of a theatre. In fact, the stage set design is one of the smartest uses of spaces I have seen in a very long time. The stage featured three ramps two of which were joined like a horseshoe and a center ramp. There were circular spaces between the ramps which is where the band performed. Robbie Williams made a rather dramatic entry via a suspended platform from the ceiling of the theatre.

The concert was an invigorating cocktail of Robbie’s unapologetic and ego-driven lack of political correctness, quirky humor with not even a hint of inhibition, his penchant for excesses, and the glitz and theatrics laced with a touch of class that have come to characterize Las Vegas as a music concert destination. For an artist that has not been in the American limelight for over 15 years, Robbie Williams embodied the spirit of Vegas with relative ease. In addition to the magnificent stage, Robbie’s entourage featured a troupe of drop dead gorgeous female dancers that performed eye-popping dance routines on songs such as “Rock DJ”, “Let Me Entertain You”, and “Swings both ways”. The euphoria factor of this concert surged ten-fold whenever they were on stage.

There were some defining elements of the concert worth highlighting. The first was a reverence for Las Vegas as demonstrated by the high-adrenaline performances. The second was an ode to Robbie Williams’ beginnings as the dreamy-eyed boy from Stoke-on-Trent (UK) as showcased on performances of songs such as “Mr Bojangles” and “Sweet Caroline” (a Neil Diamond cover performed with his father Pete Conway). In fact, “Sweet Caroline” was one of two songs that featured Robbie’s father – a rather unusual and heartwarming twist to a typical concert format. The final element was Robbie Williams’ commitment to audience engagement. For his performance of “Something Stupid”, he invited an Australian fan from the audience and serenaded her on a couch on a stage. It is fair to say that she took full advantage of the situation and probably got the most bang for her buck as she squeezed his buttocks before leaving the stage. He was aware that people had traveled from different parts of the world for this concert. He asked people to yell out and identify themselves as he did a roll call for Europeans, Australians, Kiwis, and finally Americans. To the Americans, he yelled “why don’t you tell your f**kin friends about me???? I don’t want to be infamous for NOT being famous in America”.

Musically, the highlights of the night were “Feel”, “Rock DJ”, “Swings both ways”, “Let me entertain you” and the penultimate track of the evening – “Angels” (which he introduced by saying “OK fine, I’ll perform that one hit”). The night ended with a cover of “My Way” (made popular by Frank Sinatra). The performance was a subtle nod to the artist that had come to define the early history of Las Vegas concert residencies. It was minimalist at best with only Robbie Williams and his primary songwriting partner Guy Chambers on the piano. At the end of the song, Robbie Williams exited by sinking in to the stage while Guy Chambers continued to play the piano as the curtains descended slowly. There was something symbolic about that moment as it focused the spotlight on the songwriting partnership that sowed the seeds for Robbie Williams’ monumental rise to stardom. Prior to this musical alliance, the success of Robbie Williams was far from a foregone conclusion.

One cannot doubt the larger than life ambition of Robbie Williams in his creative vision for this show. He undoubtedly tried to incorporate a lot but in doing so, he may have inadvertently eschewed the primary aspect of his career – his own hits. With a musical legacy spanning over 11 albums as a solo artist (and fifteen albums including the ones with Take That), he was never going to be in a position to do justice to all of it. That being said, he may have gone too far the other way with a covers-heavy setlist. In my humble opinion, that might have been a miscalculation in the context of an artist trying to reacquaint himself with American audiences. His legacy has been largely built off his own hits as opposed to those of others. This might be my only criticism (albeit a rather significant one) of the concert.

The concert is a reminder that America’s insulation from the European musical mainstream since the mid-90s is America’s loss. It is also a reminder that pop music can be fun, classy, and entertaining without being sonically hollow. It is my sincere hope that Robbie Williams’ return to the American stage forces a re-evaluation of gatekeepers in the American musical mainstream that have largely failed in their endeavor to uphold one of the fundamental tenets of responsible media – diversity.

On the other hand, Robbie Williams may have found the city that embodies his spirit and both him and his concert audience are better off for it. I hope that this performance not only ushers in a new era for Robbie Williams’ relationship with America but also for the many talented popstars from across the Atlantic that have been relegated to relative obscurity in America.

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When you’re at a Robbie Williams concert, one thing that you’ll notice straight away is how varied the crowd is. The first time I saw Robbie Williams live was when I was nine years old, at Milton Keynes Bowl. To enter the stage, he descended from the sky on a wire. Suffice to say, I was already mesmerised. His opening song, - the classic - "Let Me Entertain You," couldn’t have been more fitting. His performance was full of life as he paraded the stage exuding more and more confidence with every breath. Never before has a Mexican wave filled me with such joy as when conducted by Robbie himself. With the crowd in the palm of his hands, he ran through classics like "Kids" and "Angel," then recently released songs like "Let Love Be Your Energy" and "Better Man," and even did a couple of covers – he did a cover of Wings’ "Live and Let Die" boldly early on his set, and the crowd love it, especially my mum! Eleven years on, seeing Robbie Williams at the O2 Arena London, I was no less disappointed. He didn’t appear miraculously from the sky, but he was still greeted by thousands like a God. Performer to the masses, for the masses, his rendition of "Be a Boy" spoke wonders – there, my idol of nine years old sang, wearing a huge gold crown, as powerful ever.

A showman to the very end, Take That favourite turned solo artist Robbie Williams really knows how to put on a show. An artist with an impossible amount of hits, the real genius is moulding a live show that both satisfies his artistry as well as his loyal fan base.

Confidently striding onto stage, Robbie does a whole circuit of his runway and stage to really lap up the excited cheers before launching into a swing inspired set. Covers by the likes of Harry Richman and Dean Martin allow him to indulge in his favourite genre whilst still showcasing his abilities as a frontman. A brilliant live band supports the singer throughout and a selection of video interludes splits the show. The hit single 'Swing Supreme' divides a jazz heavy first half.

When he returns for act II following more video footage of the tour preparation, the hits are all lined up to be knocked out in quick succession. These included new track 'Go Gentle' and 'She's The One' which receive deafening screams from his devoted crowd. A mash up of 'Rock DJ', 'Come Undone' and 'Candy' is expertly done before the finale of 'Angels'. This track is performed with the huge band before it leads off to a last acapella verse shared with just Robbie and his thousand strong choir.

Mr Williams is sexier than Elvis! Robbie appears to entertain without any effort at all. His charismatic charm and boyish grin makes me blush whenever he looks you in the eye!

He works the room and woes the crowd. Robbie's voice is now lower but better because of his technique! He is a consummate professional, this was obvious when a speaker feedback sent him into a rage mid song!! LMEY - that's what he does from start to the long awaited final song Angels! My favorite is 'Me and my monkey' a story song about sin city Las Vegas. His band are the best I've seen and his backup singers brilliant!

Best part was RW was hot and sweaty so he disappeared then came back on stage wearing a sexy black kilt! Yes he mooned us too (but with jocks)! The old Robbie has gone but the new version is a Better Man!

Last nights Robbie Williams show was amazing. Good to see stringent security checks/searches at turnstiles. Although we had been offered a change of pitch standing to seating tickets, when tickets arrived they were for standing, and now really glad. We managed to get quite close to stage,Robbie's performance from beginning to end was amazing. He commands the audience and his audience participation was brilliant, touching at times when he got us to sing along to "strong" as he has clearly changed the words to "We're strong " for victims of Manchester tragedy. He was absolutely outstanding and I enjoyed every second. Tender moments when his dad joined him on stage and they duetted. Brilliant, fabulous show. Security staff also excellent all evening, very helpful.

I went to the Take That re-union concert in Düsseldorf some years. One of the best concerts I have ever been. The pre-group were the pet shop boys. They were so good. We all thought they will be hard to beat. How wrong we were! Take That started for approx an hour without RW and were absolutely fantastic. Then a very strange thing was brought on stage, with RW on top. What an entrance... then everything changed. He started straight away with one his best. I think it was Rock DJ. In a Nutshell, Take That was brilliant but unbeatable with RW together. If ever you have the chance to see him, do go. You will of regret it.

Talk about making an entrance, 17 showgirls parading his Brit awards, straight into "the heavy entertainment show" and "let me entertain you" then "Rock DJ" what an opening. Then when we thought it couldn't be more exciting, the opening bars of "the flood" and the other Take That boys arrived. (Shame Jason wasn't there) and we were also treated to everything changes. Robbie returned to centre stage to delight us with a good mix of songs from all of his albums.

Then later in the set, take that returned to present him with his Brit Icon award. Fantastic show, already have my tickets for next June.

Robbie is always spectacular and an amazing entertainer. He had the crowd in the palm of his hands. I went to Rochford, and the two at Rod Laver. It was hilarious when he got Justin on stage to sing Something stupid to, as Robbie thought he was gay.

He is such a showman, love him to bits and can't wait for his next concert.

He did all of his old well known songs.....I can't wait until he comes back down under again. He sang Men at Work's "Land Down Under" which was simply awesome.

He is just so, so AWESOME....ROBBIE WILLIAMS FOR KING

I have to say that I have mixed feelings about this concert. He came on late at 9pm finished 10:15pm. He only did a few classic songs. He should have come on at 7 or 8:30pm and we had no open act. He made it up by performing Angels, Strong, No Regrets but he should have performed Rock DJ and Millennium. Why he did Feel and Let me entertain you. he did perform love my life.

could have been better if he came on time. 3/5

Robbie Williams is the ultimate entertainer. His concert at the Brisbane Entertainment Centre was simply outstanding. It was my first concert and I'm glad it was Robbie.

The Brisbane Entertainment Centre on the other hand was very different. I have never had seats more uncomfortable. Sardines! I did request a move and was given the best seats in the house. On that note I will give them an A+

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Robbie Williams

2023/ március/ 14, 20:00.

ROBBIE WILLIAMS ANNOUNCES NEW EUROPEAN TOUR DATES

‘THE XXV TOUR’, CELEBRATING HIS 25 YEARS AS A SOLO ARTIST, WILL SEE ROBBIE PERFORM SHOW IN HUNGARY,

ON MARCH 14, 2023 AT BUDAPEST ARENA

TICKETS GO ON SALE THIS FRIDAY

Robbie Williams has today announced new European dates for his ‘XXV’ tour – celebrating an incredible 25 years as a solo artist.

Bringing his high-octane shows to cities across Europe, the new 2023 tour dates kick off with a show in Bologna, Italy on 20 January before taking in cities across the continent including Paris, Amsterdam, Berlin, Barcelona – and Budapest! The arena tour will be a joyous celebration of Robbie’s 25 years as a solo artist following the release earlier this month of his album, ‘XXV’, which features many of his greatest hits and fan favourites from across his solo career.

Tickets are available first Wednesday 28 September at 9am BST/10am CET via a pre-sale on the official Robbie Williams store . Official Fan Packages including priority early entry and reserved seated tickets for all dates available from eventtravel.com .

General sale tickets are available at 10am CET on Friday 30 September, for the Budapest show it’s via www.livenation.hu and www.funcode.hu .

The full list of tour dates is - 20 January – Unipol Arena, Bologna

23 January – Hallenstadion, Zurich

26 January – Sportpaleis, Antwerp

28 January – Ziggo Dome, Amsterdam

29 January – Ziggo Dome, Amsterdam

1 February – Barclays Arena, Hamburg

5 February – Lanxess Arena, Cologne

15 February – Festhalle, Frankfurt

20 February – Mercedes-Benz Arena, Berlin

26 February – Jyske Bank Boxen, Herning

27 February – Royal Arena, Copenhagen

1 March – Avicii Arena, Stockholm

5 March – Nokia Arena, Tampere

9 March – Arena Riga

10 March – Zalgirio Arena, Kaunas  

12 March – Tauron Arena, Krakow

14 March – Budapest Arena

17 March – Stadthalle, Vienna

20 March – Accor Arena, Paris

24 March – Palau Sant Jordi, Barcelona

27 March – Altice Arena, Lisbon

24 June – Telenor Arena, Oslo

Earlier this month, Robbie secured his 14 th UK Number 1 album with ‘XXV’, which topped the chart in its first week of release. With this amazing achievement, the music icon has broken the record for the solo artist with the most UK Number 1 albums. He equaled Elvis Presley’s chart record when he secured his 13 th Number 1 album with 2019’s ‘The Christmas Present’. Only The Beatles now have more UK Number 1 albums than Robbie with 15. His total chart-topping UK albums across his solo work and records released with Take That now stands at 19. It places him in the top two acts of all time with the most Number 1s across their catalogue with only Paul McCartney with more.

Further info:

robbiewilliams.com

www.livenation.hu

www.funcode.hu

Magna Cum Laude 25 2024/ április/ 20/ szombat Jegyvásárlás WELLHELLO 2024/ április/ 27/ szombat Jegyvásárlás The Show – Tribute to Abba 2024/ április/ 28/ vasárnap Jegyvásárlás Dimash 2024/ május/ 04/ szombat Jegyvásárlás KORDA 85 2024/ május/ 11/ szombat Jegyvásárlás Divas 2024/ május/ 16/ csütörtök Jegyvásárlás 40. Ritmikus Gimnasztika Európa-bajnokság 2024/ május/ 22/ szerda Jegyvásárlás Szoboszlai Live - interaktív talkshow 2024/ május/ 30/ csütörtök Jegyvásárlás Sting 2024/ május/ 31/ péntek Jegyvásárlás X SMART SPORT EXPO&FITNESS FESTIVAL 2024 2024/ június/ 02/ vasárnap Jegyvásárlás

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‘I spend less time self-sabotaging’: Robbie Williams and Joe Lycett on making art

The pop star and comedian discuss their artwork, social media and how Williams came of age in a classic Birmingham club

J oe Lycett and Robbie Williams were brought together by Instagram. Last August, Williams posted a painting of a small, saintly looking child (not him), and captioned it with an account of how he had once made the mistake of reading the comments below a Mail Online piece. “It was hellish,” he wrote. “The person (me) they were describing was the most horrendous person that ever walked the planet. I was crestfallen.” At this point, Williams thought the best plan would be to read some comments about people who “are good, salt-of-the-earth folk”. So he looked up a piece about Ant and Dec. “Surely to God no one can hate Ant and Dec,” he thought to himself. But no. “The second comment said: ‘I hate these two almost as much as I hate that fat c*** Robbie Williams.’”

Joe Lycett guest edits the Observer New Review – editor's letter

When I was asked to be the guest editor for this edition of the New Review magazine I was astonished and sickened. “What is that?” I said to my PR manager while pouring Black Tower Pinot Noir into empty Châteauneuf-du-Pape bottles.

“It’s a prestigious publication inserted into the Observer with features and pictures,” he replied.

I couldn’t believe the cheek of the man. He well knows that I don’t believe in editing. Like all rightwing commentators, I believe that any form of editing is an assault on freedom of speech. I prefer things to be “unfiltered”, “unleashed”, and “uncensored” (and, if you’re interested, “uncut”). Deleting an erroneous semicolon is just how Stalin began his decades of terror.;

After much back and forth, the leftists at the New Review said that my insistence on not editing this issue made the task of me editing this issue “impossible” and “frankly, ridiculous”. Exactly what you’d expect from those lazy liberal comrade snowbastards.

“How about, Joe, you write a thoughtless stream of consciousness piece and send it to go behind a paywall at Mail+,” they said, “and in addition we will dedicate this issue of the New Review to your home city of Birmingham?” My high-intensity prescription antihistamines had kicked in by that point, and I agreed.

So, against my better judgment, this issue is all about Birmingham. Inside you’ll find a piece about allotments by Rebecca Nicholson, writing about the state of the city from Brummies Nathalie Olah and Kirsty Bosley, a conversation I had with Robbie Williams about art, and other contributions from Kofi Stone, Claire Douglass, Munya Chawawa, Katherine Ryan, Janice Connolly, Matt Arnold, Matt Nation, and an exclusive cover painted by me. If that’s not your thing then I’ve written the Mail+ piece and they assure me they’ll run it on one of the weeks Boris forgets to submit his copy (ie next week).

Among those who replied to his post were Alan Carr, Piers Morgan, and Lycett, who said it made him laugh out loud – and so began their (possibly somewhat unlikely) friendship. The comedian also paints and makes ceramics (you can see his “after Hockney” portrait of Harry Styles, a rude vase he may – or may not – have designed for H&M, and several other works on his website ); in 2018, his sculpture Chris was accepted by the Royal Academy for inclusion in its Summer Exhibition. By September, Lycett had visited Williams at home in west London, at which point they discovered how well they got on, and how similar their art is. Williams’s Inklings illustrations, like Lycett’s huge acrylics, have a pop art sensibility that pokes fun at celebrity culture and the so-called wellness industry.

For this interview, Lycett and Williams talked over Zoom. Lycett, who is 35, was at home in Birmingham, in a pink room with a big cupboard in which he houses some of his beloved outlandish stage outfits; Williams, 50, was in London, where he lives with his wife, Ayda Field, and four children (one of whom appeared fleetingly on screen). Their conversation touched on dating, artificial intelligence and the nature of fame, as well as some scabrous celebrity gossip that it would probably be extremely unwise to repeat here.

Joe Lycett:

You started posting art on Instagram last May. Is that right?

Robbie Williams:

Yes. I’ve been doing stuff [making art] since 2006, but I hadn’t put anything out there.

But then I had this joke about the Olympics/the Ozempics [the weight-loss drug], and for some reason I was worried. I thought: “I must put this out there now, or someone else will either steal it or think I’ve stolen it.” I wasn’t planning on following it up but I got such nice comments – and that fed my ego. I thought: “I’m going to do some more of these. People are pleased with me.” As of today, that joke has had 15,746 likes. I don’t do photographs of me on tour any more, really. It’s all the art. Before this, I didn’t really do social media. I’ve always been puzzled by it. I exist in a very 90s personality, one who doesn’t get it at all.

JL: Hang on. Aren’t you on Twitter?

RW: No, I’m not on Twitter [now known as X]. It would ruin my career. The last time I was on it, I did a tweet that said: “I quite fancy getting into shoplifting. Has anyone got any good suggestions for shoplifting?” The person who runs Gail’s, the bakery, said: this is awful. This is a pop star who lives in a bubble. How dare he? I saw the backlash, and I was, like: “I don’t think Twitter is for me.” I got my fingers burned.

JL: But that’s increasingly what it’s like out there. It’s weird for me because when I was starting out as a comedian, before I had any recognition, I had maybe a few hundred followers, and I would use it to try out jokes. It was a kind of writers’ room, all these half-baked ideas. But looked at retrospectively, with a few more followers, it’s a writers’ room full of danger. But the shoplifting stuff, that’s interesting. Are you familiar with the artist Foka Wolf [the Birmingham billboard prankster ]? He has a whole strand of work about shoplifting; he says it should become more normalised. You’re in a similar space.

RW: I’ve just had a look at his Insta page, and I already like it. But I’m Robbie Williams , so I’m in a certain box. I’m in a pop star box, and if the pop star starts acting differently from the way a pop star should, then it causes confusion, which I like, but it might also get me cancelled.

JL: One thing I’ve noticed about your art is that nearly all of it is funny. Is that something you feel you can’t do through your music? I mean, there are elements of humour in your lyrics, but they’re more amusing observations than punchlines.

RW: OK, so when I was 10, and at primary school, we camped in north Wales for seven days. At the end of the holiday, we were allowed to go into town and some people had some pocket money and some people didn’t; I didn’t. Anyway, we were in the shop, and I saw this poster on the wall. It was of a train that had crashed because a bridge had collapsed. It was the 1890s or something, and there was this man with a big top hat on, and he was looking at the scene, and it just said [what he was thinking, which was]: oh shit, oh shit. I thought it was the funniest thing I’d ever seen, and I stared at it for ages and ages. There was also this book, again when I was about 10, of funny things people had written on walls. I guess both those inspired me to do what I’m doing now. I don’t know if there’s something about not being able to be funny in my music; it’s not like I’m burning to do more funny lyrics. But in this medium, I’m still that 10-year-old.

JL: Even in my world, if you’re a musical comedian, people roll their eyes a bit. Music isn’t the place for funny.

RW: It’s kind of like a prop gag, isn’t it? Where I peaked with this (funny lyrics) was my song Rudebox [from 2006]. It was meant to be whimsical and silly, but it was just deemed silly and was vilified.

JL: It’s sort of what you were talking about before: about being in your box. Doing something different isn’t allowed.

RW: I’m a big fan of surreal, of whimsy, and I don’t think the music world takes to silly very well. It’s either Barbie Girl, which we all get is silly, or it’s not understood or appreciated.

JL: Comedies never win Oscars.

RW: Neither do action films. But I enjoyed the last Mission Impossible way more than I enjoyed Oppenheimer . It was incredible escapism. But it won’t get anywhere near the Oscars, because action is deemed a lesser art form – which is why I went on my Instagram with one of my signs on a stick outside the Beverly Hills Hotel that said “Give Tom Cruise an Oscar already.” Just give him the frigging Oscar, you pretentious clowns.

JL: Do you think he was appreciative of that?

RW: Well, I haven’t heard from him. But I really meant it, and I will forgive Tom Cruise anything because he’s amazing. So it’s all good.

JL: At what stage did you decide to get in touch with me? What was the trigger?

RW: The trigger was seeing you on television and liking what you do, and then it was to do with my art, and me thinking: “Oh, Joe’s doing this too.” So I reached out. People do reach out on social media, don’t they? It’s the artistic equivalent of sliding into someone’s – what’s it called? – DMs. I missed the whole sliding-into-DMs-phase, because I’ve been in a relationship with my wife for 18 years. Thankfully, I’ve never had to deal with that.

JL: It is dangerous. I’m also, as you know, in a long-term relationship now, so I don’t need to worry about it. But when I was [single], I didn’t slide into people’s DMs. It was using Hinge and Grindr and those apps, and people would screenshot and then post the chat you were having with them. I’m not a good flirt, so people seeing my blurts was…

RW: Yeah, that’s abusive and unkind.

JL: So, the art…

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RW: Yes. I’ve got these Inklings that I do. I’ve got 2,500 of them, but not all of them are Instagram grid-worthy. I post every day, and now I’ve got slight anxiety that I’m going to run out of good ones to put up, but I am enjoying the process. I’ve got to draw some more, or come up with other things to put on the grid, and since I am an addict [Williams has struggled with drugs, alcohol, food and prescription drugs], I guess I’m addicted to social media right now. There’s your headline.

JL: [Laughing] Well, I concur. Because I think Instagram has made me more prolific as an artist. You get that dopamine hit from the response, and you want more of that, so you make more art. There was a piece – the one I spent the longest time on. It was a painting of Jenny Beavan [the Oscar-winning costume designer], who I live with when I’m in London. I spent ages on the folds in her jeans and it got much less engagement than stuff that had taken me 10 minutes. I found it frustrating. It was annoying. But still, without Instagram I would probably make a lot less art than I do.

RW: I also spend a lot of time on my captions, which have become diary-like, and what I noticed was that nobody was talking about my Inklings . They were responding to what I’d written. I was feeling like my Inklings were being ignored! I put a PS on one of my captions: can someone say something about my Inklings please?

JL: Yes, I’ve been writing silly blocks of text – flights of fancy essentially – about where the paintings come from, and you’re right, they become bigger than the post itself. But when you’re making art, is there a mental health benefit too?

RW: I was with Vic Reeves in, probably, 1995, and he told me that he creates something every day, and I remember thinking: “If only I was talented, I’d do that.” And now I find myself creating something every day, and escaping into creation in my mind, and the more time I spent doing that, the less time I spend self-sabotaging, or thinking about all the anxieties of life, the foibles of being me and inside my brain.

JL: I read somewhere that one art experience per month can add up to 10 years to your life – and it doesn’t have to be good work; there is no correlation between the quality of the work and the benefits.

RW: Wow. In that case, I’m going to live until I’m about 130. But it’s so gratifying and I’m so lucky to have the time to do it. It gives me dramatic purpose and I feel very, very fulfilled. I don’t know how I existed without doing this. When I was trying to put an album together, you have a couple of days writing songs, and then you might do nothing for a couple of months, and I don’t know what I did with myself in between. I got on the plane back from Hong Kong recently, and it was a 14-hour flight, and I spent 12 hours of it creating this jacket [a patchwork garment he’s designing]. I didn’t switch on the TV.

JL: The art changed for me when I had a chat with Mr Bingo [the illustrator and artist]. He gave me the idea of selling prints of my work in lockdown, and now it has become another revenue stream for me. It’s a bit of a machine, rather than the mental health thing it was.

RW: I’m addicted to the win – and how is the win measured? Eventually I will make my Inklings available to buy. It’s not just the money going into my bank account; it’s more to do with people liking them. I don’t suppose you’re allowed to say that as an artist. But if I’m not going to be lauded as a credible artist, I’ll choose to be a commercial one instead.

JL: I haven’t asked you about your exhibition in Amsterdam . How’s it going?

RW: Really well. It felt really good. Instead of having an existential crisis, which is what usually happens, I just thought: I don’t know what this means, but it’s nice.

JL: I did an exhibition last year with my mum [Helen, a retired graphic designer], and what was strange about it was you have all the build-up, like you have for a gig, the same kind of nervousness, the build-up of adrenaline. But there’s no performance. The showing-off has been done already.

RW: I didn’t have any nervousness. The exhibition isn’t going to facilitate the future of my children and our lifestyle. I did read some comments from the museum, and they were all very nice, apart from one that said, ‘People spend years studying fine art and they can’t get anywhere and Robbie Williams does some doodles and he’s in a museum.’

JL: We’ve got to finish this in a minute, and we should talk about Birmingham before we do. You grew up in Stoke, I know, but I am wondering if you have any links to Birmingham, especially to do with art in the city.

RW: Well, the only thing that comes to mind is Miss Moneypenny’s, the club. It was pivotal for me. I went from being this good boy in a Catholic school in Stoke to being this person who had just bombed a gram of speed and had three E’s in my pockets, dancing in my Vivienne Westwood bondage trousers and shirt with a high collar and tie that had the same gingham pattern. I went with a bunch of people from Warrington who would rent a van, and they would pick me up at a service station, and off we would go.

JL: Wow! I’ve literally never heard of it. I can’t believe I don’t know it… it’s got its own Wikipedia page .

RW: I remember spending a lot of time in gay clubs. For the first 18 months of Take That’s existence, we did gay clubs. I had the best time, because you weren’t in fear of your life. The love and acceptance that I found there, I will always be grateful for it.

JL: I feel the same. Any city I go to, they’re a safe space for me: a haven.

RW: Anyway, I’m away for two weeks, and then I’m back in London. I’d love to see you then, Joe. I do really enjoy your company – and hopefully neither of us will be cancelled after this appears.

JL: Yes. Fingers crossed!

Robbie Williams’s first solo show, Pride and Self-Prejudice , is on at the Moco Museum in Amsterdam until 8 July

Late Night Lycett airs Fridays at 10pm on Channel 4. The book Joe Lycett’s Art Hole is published later this year and is available to preorder now

• Joe Lycett edits Observer New Review
• Robbie Williams
• Exhibitions

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