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Robbie williams live in der mercedes-benz arena berlin.

Robbie Williams kommt am 20. und 21. Februar 2023 mit seiner "XXV - 25 Years Of Hits" - Tour für ein Konzert live in die Uber Arena.

Tickets sind ab sofort verfügbar.*

Es gelten die Ticket AGB des Veranstalters MCT Agentur GmbH, welche Sie mit der Buchung akzeptieren. Diese sind hier einsehbar.

25 Jahre ist es her, dass Robbie Williams, der seine Karriere als Mitglied von Take That begann, die Band verließ und zu einem der größten Solo-Popstars aufstieg. Mittlerweile kann der Brite mehr als 85 Millionen verkaufte Alben vorweisen, 13 davon landeten auf Platz 1 der UK-Charts. "Angels", "Feel", "Rock DJ", "She's The One" und "Let Me Entertain You" sind absolute Welthits.

Sein kürzlich erschienenes Album "XXV" enthält viele von Williams' größten Hits, die mit einem Orchester-Sound neu aufgenommen wurden, aber auch kürzlich veröffentlichte Songs wie "Lost".

*Der Verkauf von Tickets an Kinder unter 6 Jahren ist ausgeschlossen. Für sie darf auch nicht als berechtigte Dritte ein Ticket (mit-) erworben werden.

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• Robbie Williams

Robbie Williams hat es vom Ex-Take-That-Mitglied zu einem der erfolgreichsten Solokünstler der Welt geschafft.

Hier findest du alle Informationen zu Robbie Williams. Aktuell scheinen keine Termine im Vorverkauf zu sein. Tipp: Melde dich jetzt für den Robbie Williams Ticketalarm an und du wirst automatisch informiert, sobald es Neuigkeiten gibt.

Biografie - Robbie Williams

Robbie Williams zählt zu den weltweit populärsten Solokünstlern und bestimmt seit den 1990er-Jahren die internationalen Charts mit. Mit mehr als 77 Millionen verkauften Tonträgern und unzähligen anerkannten Musikpreisen darf sich der Entertainer völlig zu Recht in die Riege der „Crème de la Crème“ der Popmusik einreihen.

Das Licht der Welt erblickt Robbie Williams als Robert Peter Williams am 13. Februar 1974 im englischen Stoke-on-Trent. Als der kleine Robbie gerade einmal drei Jahre alt ist, verlässt der Vater die Familie. Die Erziehung des Jungen übernehmen ab da an Robbies Mutter Jeanette und seine große Schwester Sally.

Sein Talent zum Entertainer macht sich bereits im Schulalter bemerkbar – wenn auch nicht immer zur Begeisterung seiner Lehrer. Im Pub seiner Mutter, dem „Red Lion“, erntet er schon ein wenig mehr Anerkennung. Regelmäßig zieht es ihn hier mit Playback-Darbietungen damals bekannter Größen wie Frank Sinatra und Dean Martin auf die Bühne.

Die schulischen Leistungen bleiben dabei jedoch auf der Strecke und so verlässt der Brite die Schule ohne Abschluss. Dementsprechend schwierig gestaltet sich im Anschluss daran die Suche nach einem festen Job. Robbie Williams versucht sich unter anderem als Mitarbeiter bei einem Radiosender und als von Haustür zu Haustür ziehender Fensterrahmen-Vertreter.

Durchbruch mit Take That

Auch wenn früh feststeht, dass Robbie Williams der geborene Unterhaltungskünstler ist, gestaltet sich sein musikalischer Weg zunächst schwierig – bis seine Mutter ihn 1989 zum Casting der neuen Boyband Take That anmeldet. Robbie ist da gerade einmal 15 Jahre alt. Was folgt, ist der kometenhafte Aufstieg zum Superstar mit einer der erfolgreichsten 90er-Jahre-Boybands überhaupt.

Doch der Erfolg bringt auch seine Schattenseiten mit sich. Aufgrund seiner zunehmenden Drogen- und Alkohol-Exzesse besiegeln die Bandmitglieder 1995 den Ausschluss von Robbie. Große Durchbrüche erlangen die restlichen Mitglieder von Take That ohne Robbie allerdings nicht mehr. Take That lösen sich im Februar 1996 zum großen Leidwesen ihrer Fans auf.

„Let Me Entertain You“ – Eine beispiellose Solokarriere startet

Nach dem Ende von Take That sind die privaten Probleme von Robbie Williams zwar nicht aus der Welt geschafft, doch beruflich sieht der Künstler einer glänzenden Zukunft entgegen. Sein erster Titel „Freedom“ – ein Cover des gleichnamigen George-Michael-Songs – erobert auf Anhieb Platz 2 der Charts . Ähnliches geschieht mit den meisten folgenden Alben des britischen Künstlers.

Im Laufe der Jahre reißen sich Stars um ein Duett mit dem Briten . So entstehen etwa die Songs „Kids“ mit Kylie Minogue (2000), „Somethin’ Stupid“ mit Nicole Kidman (2001) und viele andere Tophits. Seine Verdienste in der Musik- und Unterhaltungsindustrie werden mit ganzen Heerscharen von Awards gewürdigt.

Nach einer Auszeit vom 2007 bis 2009 veröffentlicht er zahlreiche weitere Nummer-1-Alben. Tickets für Robbie-Williams-Shows sind meist nach kürzester Zeit vergriffen. Auch privat findet der Künstler mit seiner Ehefrau Ayda und seinen vier Kindern sein Glück.

Bis heute kann der Sänger und Entertainer zahlreiche Top-10-Hits für sich verbuchen: Kein Wunder, dass Robbie-Williams-Touren von seinen Fans rund um den gesamten Erdball heiß herbeigesehnt werden, damit sie ihren Star live erleben können. Der Ausnahme-Entertainer füllt regelmäßig Stadien und tritt auf Festivals jedes Kontinents auf. Unvergessen sind seine Touren „The Show Off Must Go On“ in Europa, „Get Your Coat Baby, You’ve Pulled!“ in den Vereinigten Staaten und seine „Close Encounter“-Welttournee.

Die größten Hits von Robbie Williams

Single-Hits in den deutschen Top-10-Charts:

• „Somethin’ Stupid“
• „She’s Madonna“ (featuring Pet Shop Boys)

Robbie Williams Fan-Report: Bewertungen und Rezensionen

244 bewertungen (ø 4,2), super event robbie williams.

Robbie Williams: XXV Tour 2023 - Open Air

Robbie f*** Williams

Der Entertainer hat die Menschen in seinen Bann gezogen. Robbie hat uns mit persönlichen Geschichten an seiner Geschichte teilhaben lassen. Die Stimme und sein Gefühl sind einzigartig. Er hat nichts von seiner Strahlkraft verloren!!!

Tolles Openair

Robbie Williams war klasse! Einfach ein super Entertainer! Hätte mir allerdings mehr Songs gewünscht und die Wahl der Vorbands sollte man auch unbedingt noch mal überdenken!

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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

Recommended

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 / Erasure: Berlin – live review

The German leg of Robbie Williams’ Heavy Entertainment Show rolled into Berlin with Erasure in support earlier this week. Louder Than War’s Sarah Lay was there to see the self-styled heavyweight of light entertainment deliver with crowd-pleasing clout. 

“I was musing over the phrase ‘light entertainment’ – all the huge TV shows from when I was a kid, 30 million people watching them, this huge shared experience of these moments called light entertainment. Sometimes it can be levelled at people in a bad way, but for me that’s heavy entertainment. That’s what I’m hoping to do with this album – to have a shared experience with millions of people through the medium of light entertainment, but on steroids.”

And tonight the European tour of that album, The Heavy Entertainment Show, reached Berlin and a 22,000 crowd in the Waldbühne amphitheatre. It’s one which will see us gently carried through a varied selection of Williams hits, large and small, and see glimpses of the many personas he’s taken on through his 25 years in pop.

The show was opened for him by arguably one of the finest acts of the last thirty years: Erasure. Having delivered some of the most memorable pop songs of the ’80s and early ’90s they are special guests Robbie Williams on his European dates having just released their seventeenth studio album, World Be Gone,  and proving they still have cultural agency in a time where popular music is becoming more background than groundbreaking.

The arena is packed throughout their set, groups rising from the seating to whoop and dance as the synth pop reverberates through the cooling evening air. These are unequivocal anthems, immediately identifiable, a part of the psyche of anyone with even a passing acquaintance with pop: Love To Hate You, A Little Respect, Blue Savannah, Stop!, Drama. They’re joined by tracks from the new album – subtler but no less catchy as additions to their canon.

Subtlety is not something that Robbie Williams troubles himself with often and tonight the show is opened by inviting everyone to be upstanding for his own amended version of God Save The Queen, retitled God Save Our Robbie. His lyrics are at once self-deprecating and arrogant; at 42 and with a quarter century at the top of the pop game he’s still so often the addled with self-doubt and in search of validation, looking for acceptance.

The staging too, taking on the album’s imagery of prizefighting, evoke again that Williams still feel there is a title to defend or to take. Despite that he’s at pains that we’re in this together, we’re part of the team who’ve got his back, that he’s enjoyed ‘growing up with us’ – if he’s still kicking against something it’s not the crowd he’s pulled in.

The variety performer tells are dropped in through the night; a raconteur he jokes and shares anecdotes. At times these are again aimed at poking fun at himself – the theatrical application of hand sanitiser and mouthwash having pulled a woman from the crowd to take on Nicole Kidman’s side of the Something Stupid duet, with a comedic rather than trite flourish. At others they are more honest, touched with the wide-eyed innocence of Williams as music fan. He talks with reverence about George Michael as an idol, about seeing him perform in Berlin in 1994 while they were both on the bill of the MTV Europe Music Awards. An iconic image of Michaels provides the backdrop to Williams version of Freedom, the song with which he first came out as a solo artist on leaving Take That.

He proves himself more than worthy as a pop champion with the rolling out of his big hits throughout tonight – Let Me Entertain You, Come Undone, Kids, Feel and Rock DJ. There’s the now standard  bringing on of his dad, touching rather than indulgent, for a duet on Neil Diamond’s Sweet Caroline, and a tongue-in-cheek medley of chart ephemera from Livin’ On A Prayer to Here Comes The Hotstepper.

The eclectic setlist takes an unexpected turn with the addition of Rudebox. The 2016 flirtation with rap was slammed with critical derision on release while simultaneously selling more that 24,000 copies to rise to a high of number 4 in the UK charts. And in Germany, as well as Italy and Switzerland, it held the hit parade top spot (not to mention being nominated for an Ivor Novello and winning International Song of the Year at the Mexican Grammys).

Whether it was the sample of Sly and Robbie’s Boops (Here To Go), the rhyme-laden rap or the abundance of references to brand names that made it appeal is hard to say, but tonight it’s met with a rapturous reception.  The beat is massive as it resounds through the amphitheatre and the clanging lyrics – a sort of freefall through popular culture with little logical connection but plenty of borderline offensiveness – startle anew. The track has a sense of a child pushing boundaries to see where the limit lies, a marked change in direction for Williams it appears now as just another ricochet between pop-personas, an experiment that captured the dancefloors of Europe. If this song is a low point of Williams career it sets the commercial success bar pretty high for other contenders, if not the creative one.

This lyrical style has been revisited, albeit it in a slightly subtler form, on recent single Party Like A Russian. Another sample gives the track instant familiarity – although more probably associate the bombast of Prokofiev with the credits of The Apprentice than the composer himself – and during which Williams’ chants unravel as the song progresses. The staging is kept relatively simple throughout tonight but dancers perform a ballet around the singer, costumes with a nod toward the styling of the Pet Shop Boys mean we stare entranced even as the idea of ‘having it like an Oligarch’ jars.

He may have been the darling of the boy band and become the problem child of pop, but as he grows Robbie Williams has become a one-man variety show. Tonight this is the twinkle-eyed darling, the suave Swing singer, it’s his bad-boy-come-good sentimental adult pop, and the ridiculous rap phase revisited. It’s his anthems, his covers and a few of those ones you know are best forgotten but sing anyway. If you’re familiar with only one facet of Robbie then this could be a disjointed set that hurtles through too many of his personas, but for others it will be the mild thrill of a rollercoaster around his boundaries in mainstream pop. With a verdant back catalogue to pick from Williams tactfully puts in enough of the big hits to keep casual fans happy, references his past with a new-found neutrality, and even nudges what could be the cliche of encoring with Angels – tonight dedicated to Linkin Park’s Chester Bennington – toward a communal experience of a pop classic.

A seasoned performer, easy-listening and now easy-going, he completes the evening with a rendition of My Way further pushing the idea of a variety show, of something for everyone. A blast of a pop show Robbie Williams adequately achieves what he sets out to with this tour – a shared experience in light entertainment – and successfully defends the title of Heavy Entertainment Champion of the World.

Robbie Williams’ Heavy Entertainment Show European tour continues:

• 29 July – Stockholm, Sweden
• 4 August –  Bergen, Norway
• 7 August – Copenhagen, Denmark
• 10 August – Finland
• 16 August – Vilnius, Lithuania
• 19 August – Prague, Czech Republic
• 23 August – Budapest, Hungary
• 26 August – Vienna, Austria
• 29 August – Klagenfurt, Austria
• 2 September – Zurich, Switzerland
• 7 September – St Petersburg, Russia
• 10 September – Moscow, Russia.

All words by Sarah Lay. You can read more from Sarah in her LTW author archive , find her on Twitter , and find her full music portfolio here . 

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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 European tour 2023

Robbie Williams celebrates 25 years on stage as a solo artist. Now he’s ready for a European tour in 2023.

Here are the dates: 20.01 – Unipol Arena, Bologna 23.01 – Hallenstadion, Zurich 26.01 – Sportpaleis, Antwerp 28.01 – Ziggo Dome, Amsterdam 29.01 – Ziggo Dome, Amsterdam 1.02 – Barclays Arena, Hamburg 5.02 – Lanxess Arena, Cologne 15.02 – Festhalle, Frankfurt 20.02 – Mercedes-Benz Arena, Berlin 26.02 – Jyske Bank Boxen, Herning 27.02 – Royal Arena, Copenhagen 1.03 – Avicii Arena, Stockholm 5.03 – Nokia Arena, Tampere 9.03 – Arena Riga 10.03 – Zalgirio Arena, Kaunas 12.03 – TAURON Arena Kraków 14.03 – Budapest Arena 17.03 – Stadthalle, Vienna 20.03 – Accor Arena, Paris 24.03 – Palau Sant Jordi, Barcelona 27.03 – Altice Arena, Lisbon 24.06 – Telenor Arena, Oslo

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Robbie Williams in Berlin

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The next Robbie Williams concert in Berlin will take place on 21 February 2023 at Mercedes-Benz Arena.

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Robbie Williams live at Mercedes-Benz Arena Berlin

Robbie Williams is set to perform on February 20 and 21, 2023 at Uber Arena.  His "XXV - 25 Years Of Hits" - tour will bring him to Berlin for a live concert.

Tickets are available now.

The following terms and conditions by the promoter MCT Agentur GmBH apply for a ticket purchase which you accept with your purchase.

It's been 25 years since Robbie Williams, who began his career as a member of Take That, left the band and rose to become one of the biggest solo pop stars. Meanwhile, the Briton can boast more than 85 million albums sold, 13 of which landed at No. 1 on the UK charts. "Angels", "Feel", "Rock DJ", "She's The One" and "Let Me Entertain You" are absolute world hits.

His recently released album, "XXV," features many of Williams' biggest hits re-recorded with an orchestral sound, as well as recently released songs like "Lost."

*The sale of tickets to children under the age of 6 years is hereby ruled out. No ticket may be purchased for them (also not along with other tickets) as third-party beneficiaries.

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Robbie Williams: “Acid house was a big phenomenon, I was part of that culture”

We caught up with newly formed electronic trio Lufthaus in the midst of their European tour to talk Berlin, Partying at Pikes and the 'melody of being a human being'

• Words: Megan Townsend | Photos: Courtesy of Armada Music
• 24 February 2023

Having made a number of anonymous appearances in Ibiza last summer , it wasn't until October 2022 that newly-formed electronic outfit Lufthaus revealed the three masterminds behind the project: Australian songwriting/production team Tim Metcalfe and Flynn Francis and their regular collaborator, 18-time BRIT Award winner Robbie Williams , on vocals.

Despite nearly a decade working together, starting with Metcalfe and Francis' work on Williams' 2012 album ' Take the Crown ', Lufthaus as a trio only came about during lockdown. Inspired by a shared love of Berlin electronica , with its melodic, somber synths and frenetic basslines, the "Lufthaus sound" is a spiritual, atmospheric take on the trio's multitude of influences. It's music “for those who know there’s more worth knowing,” according to Williams, who teased the Lufthaus project in 2020 — declaring intentions to "start a band and be a DJ and want to rent a space in Berlin, a gallery with my art, and in the evening it will be a club — a bit like Berghain .”

The three have so far unveiled four releases on paradigmatic NYC/London electronic label Armada Music, ' Sway ', ' To The Light ' and ' Soul Seekers ' in 2022, and most recently ' Unloveable ' — with the latter released alongside a music video consisting of footage from the Robbie XXV tour , on which Lufthaus are acting as support.

Read this next: "Robbie Williams: Everyone wants to do tropical house, I don't get it!"

We sat down with Lufthaus amidst their 26-stop European tour to talk old skool rave inspirations, studio magic and nights out at Pikes .

How does it feel to be on a world tour?

Tim: It’s been great so far. We love food, so we’ve enjoyed being able to scope out the best places in each city to eat. Italy has been a big highlight so far.

Flynn: I feel privileged to be doing this in arenas this size. We got to play to over 100,000 people in Munich . Did three shows in Ibiza. It's amazing to be able to go onstage and play to 15,000 people a night supporting Rob. Excited to go to a few places I've never been like Lithuania and Latvia, and obviously looking forward to the two nights in Berlin. Including the UK and the EU, it's 50-odd arena dates. I feel like we are living the dream right now.

Can you tell us a bit about making music together? What is your process in the studio?

Robbie: The boys send me a track and then I usually listen to the music and see where it takes me melodically and lyrically. I want these lyrics to be different from what I usually do, I guess they’re more spiritual and from the heart.

Tim: Lufthaus was essentially born during the first COVID lockdowns, so we did a lot of writing via zoom calls and facetimes. We’ve been working with Robbie for over 10 years now, so we have our system down pretty well. By the time we met up face-to-face (after the restrictions ended) most of the heavy lifting had already been done.

Flynn: We will make a piece of music, sometimes come up with top line ideas and send them over to rob. Rob has come up with some amazing melodies and lyrics over these songs. People really like this side of Rob’s writing, and his voice sounds incredible across all the tracks.

How would you describe the Lufthaus sound? What do you want listeners to take away from your music?

Tim: We like electronic music, but we also like songs. So we’ve tried to create something that allows a bit of both. Try to land somewhere in the middle. Atmospheric, melodic electronica with a fun side. A lot of our unreleased music will reveal the other sides of lufthaus in the coming months.

What about you Robbie, what have been your inspirations in the sound from Lufthaus? Any dance music/electronic artists that you're really into?

Robbie: ' 90s dance music is a big influence for me, I always go back to when I first fell in love with 808 State , A Guy Called Gerald , Lil Louis —acts like that. But I also loved electro hip hop from the early '80s too.

You've got decades of experience in music, but this project is a deviation for you into electronic. Have you gravitated towards it for a while? Is it something you've always loved?

Robbie: It’s always been part of my life in one way or another. In 1990 acid house was a big phenomenon and I was part of that culture with my friends. We pretty much left school and partied our arses off.

You recently appeared at Pikes in Ibiza, can you tell us about that?

Robbie: It was an interesting few nights, I always thought with this project that it would be me and my friends around a DJ booth and a few people dancing like it used to be. But if you throw me into the mix, everybody thinks I’m going to do something. I just want to be part of the crowd, yet on stage. I may have to re-assess that at some point, I don’t want to have to entertain when DJ-ing with Lufthaus, I want a night out!

Have you got any great club anecdotes from over the years you'd like to share with the Mixmag readers?

Robbie: Nothing that wouldn't make a front page headline for a red top tabloid, so I best give this question a miss.

Can you tell us some of your biggest influences? How did you all come to music?

Tim: There are so many good producers out there doing great things. I’m loving Partiboi69 at the moment. GHEIST and Pan-Pot are two other favorites of mine. I also love The 1975 but I’m not really sure how that ties into this.

Flynn: Massive Attack , Jamie XX , Chemical Brothers , Ben Klock , Norman Nodge , Amelie lens . Fred again.. is also doing some genre-bending stuff that I love right now.

What is it about the "Berlin sound" that you have affinity with?

Tim: Berlin is the home of techno. I always find it so inspiring to go out to the clubs and hear all the new music being played. I spend a lot of time at Riverside Studios in Berlin whenever I’m there which is a great place to make music and be surrounded by great people. Flynn lives in Berlin too, so it has become a bit of a Lufthaus base of late.

Flynn: Having lived there for a number of years it's impossible not to be influenced by the city. Electronica is so interwoven to the fabric of Berlin, it's a way of life. It has so many iconic venues and clubs, so many prominent DJ’s call it home. Every type of music you can imagine, Berlin has a home for it. Out of all the cities I've been to, it truly is the city that never sleeps.

What can listeners expect from upcoming Lufthaus releases.

Tim: We’re going to keep evolving the sound and see where we end up. Lots of different sounds, lots of fun. Some potentially exciting collaborations.

How would you say the Lufthaus differs from the "Robbie Williams sound?"

Robbie: It’s without the nod and the wink that you might have heard in a Robbie Williams track. It’s more spiritual, about the melody of being a human being

Read this next: Robbie Williams plans to open a club "a bit like Berghain" in Berlin

What else is coming up for you?

Tim: Hopefully bigger and better shows and our debut album.

Flynn: More singles, clubs shows across Europe for summer. An album at the end of the year.

Lufthaus are currently supporting Robbie's XXV World Tour, check out a full list of dates here .

Megan Townsend is Mixmag's Deputy Editor, follow her on Twitter

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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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• July 26, 2017 Setlist

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Robbie Williams review – a survivor and national treasure is triumphant

O2 Arena, London He might be on the in-roads to 50 and a family man but a glitter-draped Robbie Williams is discovering that he can have it all

B y the way Robbie Williams opens his show at London’s O2 Arena, you would think he has something to prove. A national treasure and one of the best-selling artists of all time, Williams has been reflecting British culture back at itself in a hurricane of hair gel and bravado since joining Take That in 1990. Equally, he’s had a life of stark ups and downs – adoration and derision, addiction and recovery – that has made him something of an underdog. Tonight, you hear him before you see him. That familiar, eternally boyish voice checking the mic – “two, one two” – giving the occasion a fly-by-the-seat of one’s pants vibe. Next, you see his silhouette. He emerges behind the band frozen in an Elvis pose; crouched over, mic in hand, flared trousers and all. They start Let Me Entertain You and Robbie struts to centre stage, revealing a gold glitter waistcoat, a greying French crop mullet and box-fresh white trainers. “Now SCREAM!” he demands. And they do.

Williams is a performer who, much like Liam Gallagher or Alex Turner , is able to tap into a kind of British masculinity that is loud of mouth and soft of eye: ballads for lads who are constantly one gulp of Carling away from bursting into tears over an afternoon with their grandad 24 years ago. As he bowls around the stage singing lyrics like “my bed’s full of takeaways, of fantasies of easy lays” and “I don’t wanna die, but I ain’t keen on living either” to an all-ages audience, you get the sense of these songs being timeless because they were written from a precipice. Whether he’s proclaiming “I’m a star but I’ll fade” or lamenting that “youth is wasted on the young”, the threat of loss hangs over every high.

The tour is in support of Williams’s latest album, XXV, which sees 25 years of hits and fan favourites re-recorded and orchestrated with the Metropole Orkest . From Take That’s The Flood to Rock DJ to Kylie Minogue duet Kids , it’s essentially a personalised tour of his career, from boyband heartthrob through the cocaine years to his current station as a family man whose kids think he’s lost his looks. The set is peppered with anecdotes about going on holiday with Geri Horner when he was first getting sober, and doing cocaine with Oasis at Glastonbury before hammering out a cover of Don’t Look Back in Anger so resonant it should legitimately annoy the Gallagher brothers into burying the hatchet.

Given the framework of the tour, it’s no surprise that it feels almost like a swan song. He talks about 1990 – the year Thatcher resigned, the Berlin wall fell (November 1989 to be exact), and, more importantly, Take That formed. He does live commentary on the video for Everything Changes : explaining why there is jelly bouncing off his bare body and how Gary Barlow got all the lead parts. He reminisces about reading NME in the 90s and getting “big ideas” about writing his own songs. He makes dedications to his family and says he has found happiness. At one point a camera sweeps past the barrier and lingers on an older male fan holding a handmade sign that says “hardcore since ’74” (the year Robbie was born).

To counter, there’s plenty of the man that gave us Rudebox (which he graciously does not play). He points into the crowd and grabs his crotch and he bends over and roars “this is my bum, this is my arse” followed by something about ageing. Within the first five minutes he’s down among the crowd screaming “come on you fuckers”. For a sweeping encore of No Regrets and She’s the One , he dons a customised wrestling robe and holds his arms outstretched while the orchestra blows the songs up to operatic proportions.

Like his father Peter, the Sinatra of working men’s clubs, Williams is a showman from start to finish. While waxing lyrical about entertainment, he tells us that the number one rule is “love your audience”, and that love clearly goes both ways. Before finally bringing things to a close with Angels , he nods to Knebworth 2003: “When I asked you to grow old with me at Knebworth you did, didn’t you?”

Now approaching 50, Williams doesn’t just write songs about living fast and being young. He performs with the joy of what can come after. His parting message for anyone who’s followed his journey from the start – and, I suspect, himself: “Turns out there is a happy ending.”

• Robbie Williams
• Pop and rock

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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

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