robbie williams 2014 tour

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Robbie Williams Australian Tour 2014 Announced

By Greg Moskovitch

Boasting 55 million albums sold globally, an obsessive international following, a notorious wit, and some of the most hit-laden pop records of the modern era, Robbie Williams is the definition of a phenomenon and he’s announced that he will make his return to Australia this September.

It’s been almost eight years since Williams delighted Australian audiences with his talents for showmanship, which are as renowned as his ability to pull off classics like Let Me Entertain You and Angels live, and he’ll be touring on the momentum of his latest LP, Swings Both Ways .

“First of all I wanted to do a swing album, because I wanted to do a swing album… The album this time is a definite ode and a loving glance towards a period on the planet that I was never invited to ’cause I wasn’t there…I wanted to be, which I feel still very strongly linked to,” said Williams.

The album, a follow-up to his 2001 swing release, Swing When You’re Winning , features collaborations with Lily Allen , Rufus Wainwright , Kelly Clarkson , and Michael Buble . Debuting at #1 in the UK and #5 on the ARIA charts, the album is Williams’ eleventh chart-topper in the UK.

Armed with a new treasure trove of hits to add to his already considerable arsenal, Williams will look to best his last Australian appearance in 2006, when the superstar undertook a colossal stadium tour across the country, which saw an epic nine stadium performances selling out in just one day.

The new tour will see Williams hitting the Perth Arena on Thursday, 11th September, Melbourne’s Rod Laver Arena on Tuesday, 16th September, the Brisbane Entertainment Centre on Monday, 22nd September, and concluding in Sydney at Allphones Arena on Saturday, 27th September.

Advance tickets for The Swing Tour Live will available via the Visa Entertainment presale for all Visa Credit, Debit and Prepaid cardholders from 9:00am local time Wednesday, 26th February till 5:00pm local time Friday, 28th February or until sold out, from the official Visa Entertainment website .

UPDATE 8:50am 28/02/14: Pre-sale demand has been so strong that Melbourne and Sydney have each been gifted another date before general release tickets have gone on sale. Details below.

Robbie Williams The Swing Tour Live

General tickets on sale 10:00am Tuesday, 4th March

Thursday, 11th September 2014 Perth Arena, Perth Tix: Via Ticketek | 132 849

Tuesday, 16th September 2014 Rod Laver Arena, Melbourne Tix: Via Ticketek | 132 849

Wednesday, 17th September 2014 – NEW SHOW! Rod Laver Arena, Melbourne Tix: Via Ticketek | 132 849

Monday, 22nd September 2014 Entertainment Centre, Brisbane Tix: Via Ticketek | 132 849

Saturday, 27th September 2014 Allphones Arena, Sydney Tix: Via Ticketek | 132 849

Sunday, 28th September 2014 – NEW SHOW! Allphones Arena, Sydney Tix: Via Ticketek | 132 849

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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 announces ‘XXV’ Australian tour

Celebrating "25 years of hits" next November

Robbie Williams’ ‘XXV’ world tour will arrive in Australia and New Zealand in November and December of 2023.

The tour, announced today (September 21), follows on from the exclusive Melbourne shows that Williams performed at Rod Laver Arena back in late April and early May – as well as the AFL grand final that Williams is set to perform at this weekend. In addition to playing open-air stadium shows in Sydney and Melbourne, Williams will also headline three winery shows hosted by A Day On The Green. A full list of dates can be seen below.

The singer will pre-empt the Australian tour with a single date in New Zealand, playing at the Mission Estate in Hawke’s Bay. Tickets for all shows will go on sale from next Friday (September 30) at 1pm local time, with various pre-sales being held by Telstra Plus, Frontier Touring and Williams’ own fanclub. Details for each can be found here , here and here respectively.

In a press statement, Williams described Australia and New Zealand as “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 said. “I can’t wait to do these shows in 2023 and spend some time with my fans.”

The ‘XXV’ world tour is in support of Williams’ titular new album , which he released earlier this month. A greatest hits of sorts, the album sees Williams re-recording many of his best-known songs with new orchestral arrangements. A new song, ‘Lost’ , was also included on the album.

The singer is also reportedly at work on the studio follow-up to his last album, 2016’s ‘The Heavy Entertainment Show’ (as well as his 2019 Christmas album ‘The Christmas Present’). Williams claims that the “guitar based” album is based around the hypothetical of going “back to 1995” , fresh from his departure from Take That .

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“Now, with the… musical knowledge that I have, what would be the album that I would make?” he said.

Williams’ ties to Australia have been a key aspect of his year, with his biopic  Better Man being filmed in Melbourne . The film is being directed by Michael Gracey, best known for his work on  The Greatest Showman , whom Williams’ songwriter Guy Chambers has described as “a bit of a genius”.

“The only thing I know about [the movie] so far is that the songs will be reimagined in the film,” Chambers said in an interview with NME last year. “It’s going to be a bit like they did with the Elton biopic [ Rocketman ].”

In July, a television documentary about Williams was also announced. It is reportedly being made by the same production company behind the Liam Gallagher documentary  As It Was , and will be coming to Netflix at some point in 2023.

Robbie Williams’ ‘XXV’ Australasian tour dates are:

NOVEMBER 2023 Saturday 11 – Hawke’s Bay, Mission Estate Thursday 16 – Sydney, Allianz Stadium Saturday 18 – Mount Cotton, Sirromet Wines Thursday 23 – Melbourne, AAMI Park Saturday 25 – Geelong, Mt. Duneed Estate

DECEMBER 2023 Friday 1 – Swan Valley, Nikola Estate

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• June 17, 2014 Setlist

Robbie Williams Setlist at First Direct Arena, Leeds, England

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• Shine My Shoes Play Video
• Puttin' On the Ritz ( Irving Berlin  cover) Play Video
• Ain't That a Kick in the Head ( Dean Martin  cover) Play Video
• Minnie the Moocher (The Ho De Ho Song) ( Cab Calloway  cover) Play Video
• Supreme ( played in "Swing Supreme" version ) Play Video
• No One Likes a Fat Pop Star Play Video
• That's Amore ( Dean Martin  cover) Play Video
• Mr. Bojangles ( Jerry Jeff Walker  cover) Play Video
• Ignition ( R. Kelly  cover) ( Remix ) Play Video
• I Wan'na Be Like You (The Monkey Song) ( Richard M. Sherman & Robert B. Sherman  cover) Play Video
• High Hopes ( Frank Sinatra  cover) Play Video
• Swings Both Ways Play Video
• Soda Pop Play Video
• Trouble / Hit the Road Jack / Reet Petite / Shout Play Video
• I Will Talk and Hollywood Will Listen Play Video
• Go Gentle Play Video
• Do Nothin' Till You Hear From Me ( Duke Ellington and His Orchestra  cover) Play Video
• Empire State of Mind ( JAY‐Z  cover) Play Video
• Theme From New York, New York ( John Kander  cover) Play Video
• Let Me Entertain You / Come Undone / Old Before I Die / Candy Play Video
• My Way ( Claude François  cover) Play Video
• Angels Play Video
• Sensational Play Video

Edits and Comments

24 activities (last edit by ExecutiveChimp , 22 Aug 2023, 00:22 Etc/UTC )

Songs on Albums

• Ain't That a Kick in the Head by Dean Martin
• Do Nothin' Till You Hear From Me by Duke Ellington and His Orchestra
• Empire State of Mind by JAY‐Z
• High Hopes by Frank Sinatra
• I Wan'na Be Like You (The Monkey Song) by Richard M. Sherman & Robert B. Sherman
• Ignition by R. Kelly
• Minnie the Moocher (The Ho De Ho Song) by Cab Calloway
• Mr. Bojangles by Jerry Jeff Walker
• My Way by Claude François
• Puttin' On the Ritz by Irving Berlin
• That's Amore by Dean Martin
• Theme From New York, New York by John Kander
• No One Likes a Fat Pop Star
• Shine My Shoes
• Swings Both Ways
• Let Me Entertain You / Come Undone / Old Before I Die / Candy
• Trouble / Hit the Road Jack / Reet Petite / Shout
• I Will Talk and Hollywood Will Listen
• Sensational

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• Jun 17 2014 First Direct Arena This Setlist Leeds, England Add time Add time
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NEWS... BUT NOT AS YOU KNOW IT

Take That fans spot band using cheeky trick to remember lyrics to their ‘worst song’ on tour

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Take That kicked off their 2024 world tour in Sheffield earlier this week and fans have spotted the way the trio remember their song lyrics on stage.

The veteran boyband, who formed in 1990 , began their first major tour in five years at the Steel City’s Utilita Arena, playing to a sell-out crowd of 13,000 people.

And when it came time to perform a song that’s over 30 years old now, some of the 13,000 fans in attendance noticed a clever but hilarious trick Gary Barlow , Mark Owen , and Howard Donald were using to remember the words.

The trio was singing I Found Heaven, from their 1992 album Take That & Party, when fans spotted a teleprompter spelling out the lyrics for them on stage.

It’s not one of Take That’s best-known singles – only charting at number 15 in the UK – and Gary, 53, himself has previously described the song as ‘f***ing awful’ and the group’s worst ‘by a huge margin’.

On the setlist, I Found Heaven was sandwiched between A Million Love Songs and Patience, with the group performing 29 of their hits for almost three hours.

However, fans were forgiving of the decision to use the teleprompter, with one saying that with ‘so many great hits’ that it would be hard to remember the words to all of them.

Some of Gary’s monologues between songs were also typed out on the prompter, with the Cheshire-born singer looking back at Take That’s beginnings in Manchester, describing the city as ‘the place to be’ in the 1980s and 1990s.

The Never Forget hitmakers originally split in 1996 after Robbie Williams left the group to go solo, but reformed without Robbie in 2006 and achieved great success with their comeback album Beautiful World.

Robbie, 50, re-joined the group shortly afterward, forming part of the line-up for their third comeback album Progress, but left once again in 2014, continuing to work with Gary on new music after his second departure.

In the 2010s, Robbie was soon followed out of the group by original member Jason Orange , who insisted there had been no arguments or disagreements between the remaining members.

Since then, Take That have continued working as a trio, releasing their latest album This Life in 2023 – this latest tour is in support of its unveiling last year.

The tour will last for 41 dates, visiting several cities in the UK and Ireland before jetting off to Germany, Denmark, Switzerland, Abu Dhabi, and New Zealand.

In preparation for the tour, Take That joined Lulu on-stage at the Bridgewater Hall in Manchester to perform their hit single together, Relight My Fire, on the same day Lulu announced she would be retiring from live performances this summer.

The 1960s singer, who broke out with her top 10 hit Shout in 1967, said she would be performing at the Glastonbury Festival in June before calling time on her seven-decade career.

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• SFA Orchestra, Combined Choirs To Present Williams’ ‘Dona Nobis Pacem’

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Sfa orchestra, combined choirs to present williams’ ‘dona nobis pacem’.

Debbie Berry

Scott LaGraff

NACOGDOCHES, Texas – A collaboration between the choral and orchestral departments in the School of Music at Stephen F. Austin State University will bring together the SFA Symphony Orchestra, A Cappella Choir and combined choirs of Kantorei and Singin’ Axes performing Ralph Vaughan Williams’ “Dona Nobis Pacem” at 7:30 p.m. Saturday, May 4, in W.M. Turner Auditorium on the SFA campus. “Dona Nobis Pacem,” or “Grant Us Peace,” features as vocal soloists music faculty members Dr. Scott LaGraff, baritone, and Debbie Berry, soprano.  “‘Dona Nobis Pacem’ was composed in 1936 and is a plea for peace after recent wars and growing fears of the coming second world war,” said Dr. Gregory Grabowski, director of orchestral activities at SFA and the Symphony Orchestra’s conductor. “This is especially relevant to us today considering all that is happening in the Ukraine and in Israel.” The concert will also feature the A Capella Choir on Johannes Brahms’ “Schickslaslied,” conducted by Dr. Michael Murphy, director of choral activities, and the SFA Symphony Orchestra on Aaron Copland’s “Our Town.” Concert tickets are $8 for adults, $6 for seniors and $3 for students and youth. To purchase tickets, visit the SFA Fine Arts Box Office website or call (936) 468-6407. For additional information, contact the SFA School of Music at (936) 468-4602.