Robbie Williams

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.

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+