(Columbia)
Framed as the music Williams wanted to make post-Take That, Britpop surpasses pastiche and swerves unpredictably. Homoerotic paean to Morrissey, anyone?
The arrival of Robbie Williams’s 13th album has been a complicated business. It was announced in May 2025 and was supposed to come out in October, when its title would have chimed with the 90s nostalgia sparked by the Oasis reunion. Williams spent the summer engaging in promotion, unveiling fake Britpop-themed blue plaques around London and staging a press conference at the Groucho Club. There was a launch gig at storied Camden venue Dingwalls, at which he performed not just his new album in full, but his 1997 solo debut Life Thru a Lens.
It was a bold choice, given that Life Thru a Lens initially threatened to derail his solo career: at the time, the now nakedly obvious supernova hits Angels and Let Me Entertain You were overlooked while people criticised Williams’s muddled attempts to fit in with, well, Britpop. On stage at Dingwalls, he made the surprise announcement that the album now wasn’t coming out until mid-February, admitting with winning candour that he didn’t want to compete with Taylor Swift’s The Life of a Showgirl. Now it’s suddenly appeared, without explanation, two weeks into January: presumably because Williams will have fewer competitors in the albums chart this week, giving him a greater chance at breaking the record he currently jointly holds with the Beatles for the most UK No 1 albums ever.
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