Robbie Williams ProfileRobbie Williams knows a thing or two about putting on a show. After decades in the industry, he still has the rare ability to make a Wednesday night feel like a Friday. Taking over Marvel Stadium, the British pop superstar delivered a night of big hits and cheeky theatrics, but the mischief actually started more than a week earlier.
Last Monday, Williams popped into his Chapel Street pop-up, Shoppie Williams, getting hands-on with the merchandise, trying on his iconic Rock DJ tank for size (it still fits), meeting fans and even creating a live art piece.
Part merchandise outlet, part art exhibition, the fan hub takes the pop-up concept to the next level, offering exclusive memorabilia, daily ticket giveaways and a collection of artwork. Among the displays are original works from Williams’ Radical Honesty exhibition at Moco Museum, making their Australian debut, alongside never-before-seen illustrations from Inklings & Thinklings and pieces from his fashion label, Hopeium.
Then came Flemington. Last Tuesday, Williams headed to the racecourse for not one, but two performances at Melbourne Cup.
Rising to fame in the ‘90s with Take That, Williams went on to enjoy even greater success as a solo artist, selling more than 75 million records worldwide and cementing his status as one of the UK’s most successful solo artists of all time.
Returning to Australia in support of his latest album, BRITPOP, Williams kicked off the five-date Australian leg of his world tour in Adelaide before arriving in Melbourne for last night’s show.
Having opened for Williams across much of his UK and European tour, The Lottery Winners were well and truly in fighting shape. The Manchester indie-pop band comprising Thom Rylance, guitarist Robert Lally, bassist Katie Lloyd, and drummer Joe Singleton were a positively delightful opener. Within seconds, Rylance (no relation to Kaleb Cooper from Clarkson’s Farm) had established himself as a bit of a larrikin.
Introducing You Again, he remarked, “This one’s really famous in England, but you guys didn’t play it here.” Letter to Myself and Much Better also went down a treat, while Rylance repeatedly urged the audience to “pretend it was a hit.” In a mischievous nod to the headliner, Rylance wondered aloud, “Do you think Rob would kick us off the tour if we did Angels?” before whisper-singing a few bars. With a set that felt like a jolly good time at the pub, The Lottery Winners made a strong case for themselves. Fans can catch them next April on their newly announced headline tour.
Fresh off their AFL Grand Final performance, G Flip returned with a blistering set. The Melbourne-born singer-songwriter and multi-instrumentalist was joined on stage by guitarist Sophie Giuliani and drummer Benji Ellingworth. Bright as it was punchy, highlights from the set included Disco Cowgirl and I Don’t Wanna Regret, the latter complete with a saxophone solo.
A staple of their shows since 2024, their cover of Taylor Swift’s Cruel Summer, first recorded for triple j’s Like A Version, had every Swiftie singing along. “We butched it up a bit,” G Flip explained. Whether belting out tunes from behind the drum kit, as on The Worst Person Alive, or switching instruments mid-song, as on Good Enough, G Flip delivered a performance as dynamic as it was distinctive. They closed with their monster hit Bed on Fire.
Then it was time for the lad from Stoke-on-Trent, who immediately switched things up. Rather than opening with his customary Let Me Entertain You, Williams blasted into Rocket—the explosive, guitar-driven lead single from his latest album. Dressed as though he were about to embark on one of those sub-orbital celebrity space flights, albeit more NASCAR and less Blue Origin, Williams scaled a set of golden angel wings before leaping headfirst back down to Earth, giving new meaning to the phrase stage diving. The spectacle continued with the cheeky Let Me Entertain You. “Have I still got it, Melbourne?” he shouted to the 50,000-strong crowd.
He needn’t have asked.
It was a spectacular start, but the classic still has the edge. Some songs are simply made for that opening moment, and Let Me Entertain You is undoubtedly one of them.
Next up was Rock DJ, with Williams donning a floor-length red fur coat and acting every bit the pop star. The band, bolstered by a horn section, was in fine form. Pretty Face, the second and final offering from the new record, came with a dose of self-awareness, as Williams thanked the audience for “putting up with a new song.”
Love My Life offered a more heartfelt moment, with Williams reflecting on the importance of family. “My wife and kids saved my fucking life,” he declared, before adding, “four children from the same woman, none of you expected that.” A shower of technicolour streamers burst overhead, serving as a suitably celebratory punctuation mark.
Once a setlist staple, Hot Fudge had become something of a live rarity, with Williams revealing fans had drummer Karl Brazil to thank for persistently lobbying for its return.
On the C stage, Better Man, accompanied by footage from his 2024 biopic, became one of the evening's more poignant moments.
Just over a year since Oasis’s seismic show at Marvel Stadium, Williams brought Wonderwall back to the same stage for an acoustic cover featuring The Lottery Winners’ Rylance. But not before playfully asserting, “You don’t get to talk. It says Robbie Williams on the poster, so Robbie Williams will use the microphone.”
Something Beautiful, Millennium and Come Undone further showcased the breadth of William’s catalogue, while Kids kept the momentum going, with the backing vocalists taking on Kylie’s parts.
Unfortunately, Marvel Stadium's acoustics proved less than ideal, with a noticeable echo occasionally distracting from the performance.
Following a quick costume change, Williams re-emerged in a hot-pink suit and frilly boa, taking a moment to down a banana for a hit of potassium (he is 52, after all) before delivering a dose of self-deprecation. “I’ve come to terms with something. I’m not cool,” he confessed. “I tried being cool once, and I couldn’t pull it off. I just looked constipated.” Moments later, he was adjusting his fly, doing little to dispel that notion.
A recurring fixture of his shows, She’s the One had fans eagerly vying for the chance to be singled out and serenaded. Last night, Roxanne from Perth became the lucky girl.
The encore took a sentimental turn with the luscious Feel, before Angels brought the night to a close. Williams’ signature ballad soared across the stadium, with the crowd taking over in one final, deafening singalong.
One audience member summed it up perfectly: Williams is to mums what Harry Styles is to their daughters. It’s a neat assessment of his enduring appeal. A born entertainer, what’s most apparent is just how much Williams loves being on stage, whether belting out a hit or flirting with the camera. He knows exactly how to work a crowd.
Consider us entertained.
