Robbie-Williams-BRITPOP-album-2025
Timing in pop is everything and Robbie Williams, as an old sea dog, knows this all too well.
After avoiding a head-on collision with the bulky battleship Taylor Swift (remember that the album was originally supposed to be released in October at the same time as “The Life of a Showgirl”) she delivers this “Britpop” to us as a sort of sonic time machine.
It's not just an album, but an attempt to rewrite history, as he himself declares, imagining the album he would have liked to release in 1995, immediately after his divorce from Take That. An operation that has less to do with nostalgia and more to do with control of one's own mythology.
The project presents itself as a mosaic of eleven tracks where the six absolute novelties mix with what has already been heard, such as the powerful “Rocket” embellished by Tony Iommi's guitar and precede another release in February “BRITPOP (Deluxe Edition)” album which will contain six other tracks including Desire (Official FIFA Anthem) the song done with Pausini. Is this a clue to his participation as a super guest in Sanremo?
Okay, let's abandon the digressions and spoilers and let's concentrate on the album or rather on the six new tracks.
Williams doesn't try to invent anything new, but forcefully claims his place in the world, moving in that perfect balance between the energy of rock and the most immediate melody. The operation is clever but sincere: in a market that today chews up and spits out nostalgia for the Nineties, Robbie takes back the scepter of protagonist of an era that saw him triumph.
The most curious and meaningful moment is undoubtedly Morrissey, a song that is not only a dedication to the leader of the Smiths, but marks the return of the collaboration with former socio-rival Gary Barlow. Seeing the two pillars of Take That write together a piece with such an iconoclastic title is a fascinating short circuit, a sign of maturity that goes beyond the old tabloid arguments.
The musical success of the album ends up almost secondary to its narrative function. Britpop does not seek innovation, but confirmation. There's Brit, there's Pop and there's that controlled shamelessness that makes the operation fully digestible.
It's not an album that pushes the boundaries of music, but it firmly reaffirms those of Robbie Williams territory. A conscious return home, necessary for him and, without too much effort, also enjoyable for those who listen.
SCORE: 6.50
TO LISTEN NOW
Bite Your Tongue – Morrissey – it's OK Until The Drugs Stop Working
TO BE SKIPPED IMMEDIATELY
One listen is also nice, two doesn't disturb, on the third I start skipping!
