Robbie Williams
Marvel Stadium
11 November 2026
G Flip couldn’t have asked for a better homecoming than tonight’s hometown show at Marvel Stadium, warming up the crowd ahead of Robbie Williams. Bringing plenty of energy and unapologetic Aussie attitude, they waste no time getting the stadium moving with ‘Disco Cowgirl’ before launching into ‘Gay4Me’ and ‘I Don’t Wanna Regret’.
Leaving all the bad vibes behind, G Flip encourages the crowd to join them in song, ripping into the saxophone along the way. With family in the audience including her 3-year-old niece, there’s an extra layer of emotion to the homecoming, including a shout-out to all the mums in the crowd who’ve come out in full force for Robbie tonight.
‘Good Enough’ delivers one of the set’s biggest moments as G Flip takes command of the drum kit by the second verse, unleashing an explosive performance that reminds everyone exactly why they belong on the big stage.
“I grew up watching Robbie Williams and I always wanted to do this little microphone flip trick he does,” G Flip confesses. They follow it up with their own “masc” take on Taylor Swift’s ‘Cruel Summer’, the same cover she performed for triple j’s Like A Version a few years ago, before nailing Robbie’s signature mic trick.
A mash-up of ‘Real Life’ and ‘Hyperfine’, ‘Drink Too Much’ and ‘The Worst Person Alive’ keep the momentum rolling before she closes with ‘Bed on Fire’, her viral hit from the TV show Off Campus. By the final ‘oh oh oh ohs’, the stadium is singing along for a big finish.
Robbie Williams makes the most epic entrance of all time, worthy of a rock star who has spent a lifetime perfecting the art of entertainment. He takes centre stage launching with ‘Rocket’ flanked by performers dressed in matching white outfits. Sporting a striking military-inspired white jumpsuit and sunglasses, he looks every bit the showman. He then climbs aboard a giant rocket structure that lifts off above the stage before he stage-dives head-first dangling upside down to recreate his legendary 2003 Knebworth entrance and the iconic imagery of his ‘Escapology’ album cover. It’s an outrageous introduction before launching straight into ‘Let Me Entertain You’.
“Let me re-introduce myself. My name is Robbie fucking Williams. This is my band, this is my ass and Melbourne, you better be good because I am phenomenal,” he declares cheekily. And if there’s one thing Robbie knows how to do, it’s entertain.
The ‘BRITPOP’ World Tour is part rock concert, part comedy show and part theatrical spectacular. Between the powerhouse vocals and anthemic hits, Robbie is constantly entertaining with his self-deprecating humour, cheeky confidence and wonderfully unpredictable crowd interactions.
“Some nights I get up on this stage and I wonder, have I still got it, Melbourne? Are my best days behind me? Am I still just a fat dancer from Take That?” he asks, before launching into ‘Rock DJ’. The opening call of “Can I kick it?” is met with an enormous stadium-wide “Yes you can!”
There’s plenty of nostalgic singalong moments throughout the night, from ‘Strong’, ‘Supreme’ and ‘Millennium’ to ‘No Regrets’ and ‘Come Undone’. But Williams also makes room for some unexpected treats, adding ‘Hot Fudge’ as a special inclusion just for Melbourne fans, knowing exactly how to win over his audience.
One of the night’s more heartfelt moments arrives before ‘The Road to Mandalay’, as he opens up about his struggles with alcohol, depression and anxiety, recalling a particularly difficult period in his life. It’s a candid and vulnerable moment from a performer whose public persona is so often built around confidence and comedy. Moving out into the audience, he gets up close with fans, high-fiving his way through the stadium as the song unfolds.
Over on the C-stage, ‘Better Man’ provides another special moment. William asks the crowd to raise their phone torches, transforming the stadium into a sea of lights without the need for illuminated wristbands that he jokes he was too cheap to pay for. He then hands over some creative control, asking the audience which songs they’d like to hear. Bringing out Tom Rylan from support act Lottery Winners for an acoustic segment, he tests the crowd on their lyrical knowledge before delivering a singalong cover of Oasis’ ‘Wonderwall’.
The theatricality continues with a wonderfully camp rendition of ‘Theme From New York, New York’. Sporting a fuchsia pink suit and oversized pink feather boa, Williams encourages everyone to “fly our cringe flags high” before belting out the jazz classic with plenty of vocal flair.
His band also gets its moment in the spotlight, introduced through an entertaining medley featuring everything from AC/DC’s ‘Back in Black’ and Shania Twain’s ‘Man! I Feel Like a Woman!’ to ‘Down Under’, ‘You’re the Voice’, ‘Y.M.C.A.’ and ‘Hey Jude’. Williams asks the audience to judge whether his musicians are any good, keeping the humour flowing while showcasing the incredible talent behind the performance.
But beneath all the cheekiness, there’s a more sentimental side. ‘Love My Life’ is dedicated to his family and ours, while ‘She’s the One’ sees him serenade a lucky woman in the front row. Before a moving cover of ‘My Way’, he shares a story about his father, who once told him that God had made him the best in the world. Delivered with trademark cockiness, the dedication is accompanied by a touching collage of family photographs featuring his wife and children.
As the main set draws to a close, Williams asks the crowd, “Australia, am I still your son?” It’s a question that feels almost rhetorical given the reception he’s receiving.
Returning for the encore in a jersey emblazoned with ‘National Treasure’, he reflects on his special connection with Australian audiences, declaring that if reincarnation is real, he wants God to make him Australian in his next life. “You’ve got an incredible thing going on here,” he tells the crowd.
‘Feel’ gets the encore underway before ‘Angels’ brings the evening to its emotional peak. Beginning with the audience singing acapella before the band joins in, it’s a goosebump-inducing stadium moment, with thousands of voices carrying one of Robbie’s most beloved songs.
For all the rockets, costume changes, outrageous humour and larger-than-life production, it’s ultimately the connection between Robbie and his audience that makes this show so memorable. Decades into his career, the former Take That star remains a master of the live performance. He’s funny, self-aware, occasionally outrageous and completely comfortable in his own skin. Whether he’s delivering stadium-sized anthems, sharing personal stories or poking fun at himself, Robbie knows exactly how to hold a crowd and judging by the deafening response inside Marvel Stadium, he’s still got it and is phenomenal, indeed.
Words by Michael Prebeg
