ROBBIE WILLIAMS - BRITISH SUMMER TIME 2024 // HYDE PARK, LONDON
robbie williams live at london’s british summer time at hyde park
★★★★☆ (4/5)
ROBBIE WILLIAMS PERFORMING AT LONDON’S BRITISH SUMMER TIME AT HYDE PARK
PHOTOCREDIT: DAVE HOGAN MEDIA
Despite having imminent prospects of ascending to ‘national treasure’ status, Robbie Williams has no misgivings when it comes to reminding his British Summer Time audience of the cocky superego that fueled his reign over 90’s and 00’s British pop. This is immediately exemplified by an intro video which shows the 50-year old icon backstage in his dressing room reading a newspaper bearing the front headline “Is Robbie Williams the Greatest Living Entertainer” before strutting to the stage door in a white suit amongst a train of sequined backing dancers. Appearing on stage to the opening chords of ‘Let Me Entertain You’, Williams declares to the audience “I am Robbie f***ing Williams. This is my band, this is my arse, you better be good because I am phenomenal.” Whilst most people who are old enough to remember the 00s wouldn’t expect that Williams would have the capacity to be self-effacing, it's clear to see what he is doing. The 2-hour concert is essentially presented as a musical about the heady days of Britpop in which Williams plays himself as near-caricature, complete with soliloquys about debauchery, misbehaviour and addiction (and Glastonbury).
The performance has a loose narrative which follows his early career and tells of the artists he met along the way, initially serving to semi-justify playing covers of Take That’s ‘Back For Good’, Oasis’ ‘Don’t Look Back in Anger, Supergrass’ ‘Alright’ (with Gaz Coombes himself) and a rendition of Blur’s Parklife, the latter of which features the Coldstream Guards marching band and Danny Dyer (“let’s ‘ave it”). The feeling of being beaten over the head with the lead pipe of British culture is undeniable but the showmanship on display makes for the most impressive karaoke you’ve seen all year. Williams doesn’t return to his own catalogue until around halfway through his set for some of his later hits such as ‘Love My Life’ and ‘Candy’ before really getting into the meat of the set with the John Barry-esque ‘Millenium’, ‘Feel’ (performed solo with an ambient light show) and powerhouse choruses on ‘Kids’ and ‘Rock DJ’ – the soundtrack to every school disco of the 00s. The stage show has almost satirical levels of excess but Williams keeps things grounded by frequently bringing up how his on-stage behaviour might have been different eighteen years ago before the stability of his wife and four children who are watching on from the wings. The ballad-heavy encore of ‘No Regrets’ and ‘She’s the One’ act as warm-ups for the inevitable closer ‘Angels’, ending the show with a euphoric crowd sing-a-long.
Perhaps vying for a Glastonbury legends slot over the next few years, Robbie provides an impressive show which whilst lewd, manages to steer away from being crass or crude. Despite any criticisms, it certainly entertains.