Party Like a Russian

About

Party Like a Russian was released on 30 September 2016 as the first official single from Heavy Entertainment Show. Written by Robbie Williams, Guy Chambers and Chris Heath, and produced by Chambers and Richard Flack, it samples the orchestral piece "Dance of the Knights" from Sergei Prokofiev’s ballet Romeo and Juliet, better known as the theme from BBC’s The Apprentice.

The title originated from Chambers, who had prepared the Prokofiev sample as a possible backing track. He suggested the idea of a song about Russian opulence and excess, and within two days Williams had developed a complete lyric and melody. Initially recorded in a light-hearted session, the track evolved into a theatrical portrait of a decadent oligarch. Lyrics such as “I put a bank inside a car, inside a plane, inside a boat” and “It takes half the Western world just to keep my ship afloat” drew attention for their exaggerated humour.

The song provoked significant media coverage on release, with speculation that it mocked Russia and Vladimir Putin. Williams denied any political intent, describing it as a “camp, funny song in character” rather than satire. The controversy led to widespread international reporting, which Williams later admitted had caused him anxiety about potential backlash but also increased attention for the single.

“It’s a song about partying and hedonism. No one parties like the Russians party, and that’s why it’s called Party Like a Russian.”Robbie Williams

Directed by Vaughan Arnell and filmed at Hatfield House in Hertfordshire, the video depicted Williams as an extravagant host surrounded by dancers in a lavish mansion. Arnell described it as “a lonely oligarch living by himself in a stately home, part old grandeur, part new money.” The clip’s surreal imagery and choreography, including scenes of ice cream-throwing and gold paint, reinforced the song’s parody of wealth and self-indulgence.

Commercially, the single reached number 68 in the UK and performed modestly elsewhere in Europe, peaking at number 18 in Belgium and number 12 in Hungary. Critics were divided: some praised its audacity and humour, while others found it overblown. Despite mixed reviews, it became one of Williams’ most discussed releases of the decade, emblematic of his flair for provocation and theatrical pop.