"My name is Robert Peter Williams, and for the next two hours your arse is mine!"

And so they were, and other parts besides. At one point, the pop star-turned-crooner generously agreed to a woman's request to sign her cleavage. When she revealed her name was Charity, Williams didn't miss a beat.

"Charity? I'm f---ing sure it is!"

Born into superstardom at the tender age of 16 as part of boy band Take That, Williams has emerged at 40 as a fully-formed, all-singing, all-dancing showman.

It could be argued that individually his songs, vocals and dancing skills are not the greatest the world has ever seen, but it doesn't matter. Robbie has something unlearnable, unmatchable but eminently watchable - devilish charisma.

From his first appearance in a sleek suit and tails belting out Shine Your Shoes, Williams dazzled the packed Boondall Entertainment Centre crowd with his own brand of joyous, demented swing.

He pouted, he minced, he prowled, he jived, he bantered, he teased and he snogged.

He had more flair than a margarita-fuelled sex romp between Sammy Davis Jnr and Coco Chanel on top of Liberace's piano.

More an old-time variety show than a rock concert, Swing Both Ways was heavy on the swing and big band covers, with a sprinkling of self-deprecating new work thrown in for good measure.

Early highlights included a cracking Minnie the Moocher and No One Likes a Fat Pop Star, a new song for which Williams soared above the stage in a fat suit and a harness, mocking not only the music industry but his hometown of Stoke-on-Trent, where his own battles with size began.

"What I didn't realise was that the harness presses your bollocks back into your stomach," he moaned during a brief moment of silence to explain the elaborate stunt.

"It's not been worth it...but I've paid for it now so I'll stick it out for the tour."

The comedy routine continued with a vaudeville version of That's Amore, in which he demands an audience member become his "showbiz bride" (hello to "Lovely Teeth" Lisa). A fake magazine cover featuring the pair even flashed up with the headline "Robbie marries random fan - Ayda furious", a reference to his American bride Ayda Field.

Longtime collaborator Guy Chambers and other members of the slick band downed instruments to join Robbie in a hilarious barbershop interpretation of R. Kelly's sex ode Ignition; and Williams looked disturbingly attractive dressed as a chimp for a jungle-themed version of I Wanna Be Like You.

A choir of kiddies joined Robbie for a sweet cover High Hopes, sending the estrogen levels in the room soaring. And that was just among the men.

One bloke in the central pit was so excited when Robbie high-fived him that he turned excitedly to his wife and accidentally clocked her in the head. Robbie clearly touched both of them.

A gloriously camp Swing Both Ways closed out the first act, complete with feather boas and confetti cannons. In the tradition of true variety, a 20-minute intermission allowed patrons to check their phone for picture and video quality in relative comfort.

Act 2 resumed with an addition to the already luxe two-storied, chandeliered set - funnels and cabins of a ship, with Williams all a-splendour in his captain's outfit while his jolly naval dancers jigged to the sound of Soda Pop.

A medley of Trouble, Hit the Road Jack, Reet Petite and Shout segued into a gentler portion of the evening, with Williams sitting placidly on Chambers' grand piano for I Will Talk and Hollywood Will Listen, before dedicating Go Gentle to all the parents in the room (after Williams got the audience to wish his toddler daughter's best friend Jack a happy birthday).

A section of Alicia Keys' Empire State of Mind allowed a giant Statue of Liberty to hove into view behind the set, and no one was surprised to hear the triumphant brass of New York, New York burst into life. Who knows if Frank Sinatra would have liked Williams' version, but he surely would have nodded in solidarity with Robbie's reveries about early fame ("Starlets wanted to sleep with me, and I would let them").

The swing versions of smash hits Let Me Entertain You, Rock DJ, Millenium, Come Undone and Candy - the last of which didn't do well in the Australian charts. "It's not me, it's you," he said with a petulant wink.

The crowd - which had sung along happily all night - joined Williams for another Sinatra tribute, this time My Way. Again, Williams acquitted himself admirably, holding the long notes with strength and giving the lyrics that vital "lived in" feeling.

It felt like an ending, and some audience members in the stands started doing the usual "Let's escape before the traffic jam" early exit.

"Where do you think you're going?" cried Williams at a couple trying to sneak up a staircase.

"I know you want to beat the traffic, but I haven't done Angels yet."

The audience roared with approval, and prompted by Williams, sang a note-perfect chorus, allowing Williams to deliver a two-fingered salute to the by-now blushing absconders.

Chambers & co kicked in with their instruments, and Williams looked genuinely touched by how enthusiastically the crowd embraced his most beloved song.

The musical coda was a snappy, purpose-built number called Sensational, which simply praised the audience for giving Williams and his company a wonderful experience.

"Thank you Brisbane, you've been f---ing amazing!" said Williams, before stalking offstage as the stage curtain with the words "That's all, folks!" projected onto it descended over the band.

Swing Both Ways has been Williams' first Australian tour since 2006, when he filled Suncorp Stadium. Concert-goers on Monday night will no doubt hope they won't have to wait as long for the next one.