Robbie Williams

From his time as part of the chart-dominating U.K. boy band Take That in the 1990s, Robbie Williams built a solo path that highlighted his abilities as both vocalist and entertainer. After the group issued three multi-platinum albums, his independent output eclipsed that success through repeated chart leaders and substantially higher overall sales. He opened his solo run with the 1997 album Life Thru a Lens, which delivered the breakthrough single “Angels.” The follow-up I’ve Been Expecting You marked a high point, earning ten-times platinum status and expanding his reach via the single “Millennium.” Throughout the 2000s he continued topping the album charts, adding further number-one singles such as “Rock DJ,” “Somethin’ Stupid,” and “Candy.” Once established at the peak of pop, he explored new avenues by rejoining Take That, serving as a judge on The X Factor, launching the dance project Lufthaus, and appearing in the 2024 biographical film Better Man.

Born Robert Peter Williams in 1974, he spent his Stoke-on-Trent childhood dividing his energies between football and performing. At sixteen he joined Take That as its youngest member. His roguish charisma set him apart within the quartet, though frequent clashes with fellow members and management—stemming from resistance to their polished image—made his exit predictable. He departed in the summer of 1995 to launch a solo career, though some accounts describe the move as a dismissal.

Despite leaving first, Williams took time to establish momentum. During much of 1995 he sought credibility by touring with Oasis in hopes that Noel Gallagher might contribute material. No songs materialized, yet the association drew him into an intense cycle of partying, drinking, and drug use. By 1996 he had become a regular tabloid subject in the U.K. While he occasionally spoke of shifting from lightweight dance-pop toward Brit-pop, his debut single was a cover of George Michael’s “Freedom ’90.” Issued late that year, it stalled commercially, but the 1997 follow-up “Old Before I Die” aligned more closely with his stated direction through its clear Oasis influence.

Life Thru a Lens arrived in full in 1997. Powered by the global reach of “Angels,” it achieved major success in Britain and cleared the way for I’ve Been Expecting You, which went multi-platinum on release in 1998. A U.S.-targeted compilation, The Ego Has Landed, appeared stateside in spring 1999. Sing When You’re Winning followed in late 2000 and gained attention through the video for “Rock DJ,” while the standards collection Swing When You’re Winning surfaced a year later. By then he ranked among Europe’s foremost pop figures, equally renowned for headline-making conduct and hit-filled records. His solo catalog had also outsold his Take That work by a considerable margin.

In 2002 Williams signed a reported 80-million-dollar contract with EMI yet parted ways with longtime collaborator Guy Chambers. Escapology, his fifth album and the final one to feature Chambers’ contributions for over a decade, sold millions across Europe but made little headway in the United States, so the 2003 live set Live at Knebworth received no domestic release. He introduced new partner Stephen Duffy on two tracks for the Greatest Hits compilation and returned in 2005 with Intensive Care. Although the album topped European charts and his 2006 world tour sold more than one and a half million tickets in a single day, creative stagnation lingered despite Duffy’s input.

Within a year he issued Rudebox, a dance-oriented project assembled with multiple outside producers, guest features, and cover versions rather than original songs. It reached number one throughout Europe yet achieved only double-platinum status in the U.K., marking his lowest-selling studio album at the time. Consequently, the 2009 release Reality Killed the Video Star reverted to the style of earlier work, with Trevor Horn of the Buggles handling production. The album became his sole U.K. chart-topper miss, surpassed by JLS.

Attention the next year centered on his Take That reunion, which produced the album Progress and new songs with Gary Barlow issued on the hits collection In and Out of Consciousness: Greatest Hits 1990-2010. Barlow also contributed to the ninth studio album, Take the Crown, released in late 2012. Co-produced by Williams and Jacknife Lee, the record revived the eclectic pop approach of prior releases, led by the Barlow co-write “Candy,” which topped charts across Europe including the U.K.; the album itself was certified platinum.

For the subsequent project Williams reunited with Chambers for the swing album Swings Both Ways, mixing standards and originals. Released in late 2013, it included appearances by Lily Allen, Olly Murs, Rufus Wainwright, Kelly Clarkson, and Michael Bublé. He maintained a lower profile for several years, focusing on family life with wife Ayda Field and their two children, and issued only the odds-and-sods set Under the Radar, Vol. 1 in late 2014. He reentered the pop arena in late 2016 with The Heavy Entertainment Show, his eleventh album, featuring production from Chambers and Richard Flack plus songwriting input from the Killers, Stuart Price, and Rufus Wainwright. The release became his twelfth U.K. number-one album, confirming him as the most successful U.K. solo artist in chart history.

During summer 2018 Williams performed at the FIFA World Cup opening ceremony and released Under the Radar, Vol. 2 the following month. He joined the judging panel for the fifteenth season of The X Factor and delivered Under the Radar, Vol. 3 in early 2019. His twelfth studio effort, The Christmas Present, arrived later that year. The first disc, subtitled “Christmas Past,” featured holiday standards such as “Christmas (Baby Please Come Home)” and “Santa Baby,” while the second disc offered new material including “Let’s Not Go Shopping,” “Rudolph,” and “Christmas Future.” Guests included Jamie Cullum, Helene Fischer, Rod Stewart, and Bryan Adams. The album reached the summit of the U.K. chart for the thirteenth time, a mark previously matched only by Elvis Presley.

Following a quieter period amid the COVID-19 pandemic, Williams teamed with producers Tim Metcalfe and Flynn Francis on electronic trance material under the name Lufthaus. The trio issued the debut single “Sway” in February and “To the Light” in April. In June Williams released a new version of “Angels,” the initial track from the album XXV, which presented re-recorded, orchestrated versions of career highlights in collaboration with Chambers, Steve Sidwell, Jules Buckley, and the Metropole Orkest. That October Lufthaus delivered Visions, Vol. 1. Williams remained active with duet appearances alongside Sophie Ellis-Bextor on “Immortal,” Lucy Spraggan on “Sober,” and Noga Erez on “Danny,” while contributing to the film adaptation of his life story. Featuring a CGI monkey in the lead role, he narrated and supplied the soundtrack; the first single, “Forbidden Road,” earned multiple award nominations, and the album debuted at number one on the U.K. chart upon its January 2025 release.