With his latest album release Robbie Williams holds the record for most number one albums…..

Nearly three decades after he burst onto the scene with Life Through a Lens and the now-iconic “Let Me Entertain You” Robbie Williams returns with Britpop, a vibrant love letter to the era that made him a superstar. Twenty-eight years later, he’s still as audacious as ever, declaring, “Try and stop me, I’m still cocky.” With his 16th #1 album, surpassing The Beatles. Robbie proves he’s not just sticking around, he’s still moving forward.

Listening to Britpop felt like catching up with an old friend—one who’s still larger than life but now willing to share a little more honesty and heart. The album is far more than a nostalgia trip; it’s a celebration and a reckoning, looking back on the “chaos, dreams, and audacity” that have defined Robbie’s journey. You sense this especially in tracks like “Pretty Face,” where classic Robbie bravado meets massive sing-along choruses and anthemic guitar riffs, and “Human,” where Jess & Joy’s gentle harmonies bring a rare moment of intimacy.

Reflection is a running theme here, first glimpsed in his XXV greatest hits album with new arrangements of hit songs, then explored in his 2023 Netflix documentary and the self-aware biopic, Better Man. In the latter, Robbie, ever the “performing monkey” portrays himself as a chimp, exploring fame, vulnerability, and his struggles with addiction: “It’s OK until The Drugs Stop Working,” he confesses, a sentiment echoed in the album’s tracklist and relentless pace and emotional candour.

Britpop also sees Robbie building bridges. “Morrissey,” co-written with former Take That bandmate Gary Barlow, opens with “I like the singer” a world away from their ’90s feud and a testament to growth. There are surprises, too: Tony Iommi of Black Sabbath lends his signature guitar to “Rocket,” and Jess & Joy’s vocals on “Human” deliver a gentle touch. Not every experiment lands perfectly—some tracks lean heavily into nostalgia and may not connect as strongly with new listeners, like “Comment Section”, on the deluxe version, but the sincerity and theatrical self-awareness make up for it.

The album’s release, dropped ahead of schedule, delighted fans already buzzing from Robbie’s sold-out stadium tour. The cover, a defaced photo from Glastonbury ’95 taken at the height of Oasis mania, symbolises a man unafraid to own his past and move on.

What stands out is how Britpop works for longtime fans and new listeners alike. For the diehards, it’s packed with callbacks and attitude; for newcomers, there’s enough vulnerability and self-reflection to show why Robbie still matters. And as Oasis’ reunion reignites Britpop nostalgia, Robbie’s still here, proving the era and his place in it are far from over.

For me, this album is Robbie at his most open. He’s still the showman, but now with a depth and wisdom that makes you root for him even more. With intimate gigs on the horizon and a new clothing brand, Hopeium, launching soon, Robbie Williams is nowhere near coming undone. Britpop isn’t just a victory lap it’s proof the show goes on, and it’s a hell of a ride.

Review by CeeJay Bonner for The Songbird HQ