Why DO British boybands struggle to 'break America'? As US music fans reveal they STILL don't know who Robbie Williams is, how other huge groups struggled to succeed across the pond (with one notable exception!)

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Robbie Williams sparked fierce online debate after baffled Britons were left wondering why American audiences have never heard of the record-breaking singer from Stoke-on-Trent; or let alone, his equally legendary former group,Take That.

But while we may be devastated by our neighbours across the pond's ignorance of the masterminds behind Shine and Let Me Entertain You, UK music fans face further heartbreak with the knowledge that acts like Westlife, JLS, Busted - and even Oasis an Blur - never 'cracked' the US.

Speaking to FEMAIL, culture expert Hayley Knight - co-founder of BE YELLOW PR agency - said there is, as can be expected an undeniable 'Britishness' to most UK acts that may struggle to stick the landing in the States.

'British pop culture is incredibly unique, and British humour, slang and references can create a disconnect with the US fans,' she explained.

'We have seen many examples of UK artists having to change their style, right down to remaking their music videos in order to appeal to a US audience,' she added.

'The reason that bands such as Busted didn’t crack the US market, is that they simply embody the UK attitude too much, which was too ingrained to adapt.'

Elsewhere branding expert Riley Gardiner, Founder of No Strings Public Relations, said UK acts are often marked by a 'stubbornness' against adapting internationally.

'British boybands have never been able to crack the US market for a number of reasons, and it's not just because American audiences are blissfully ignorant of bands like Take That or Westlife,' he expressed.

Robbie Williams sparked fierce online debate after baffled Britons were left wondering why American audiences have never heard of the record-breaking singer from Stoke-on-Trent; or let alone, his equally legendary former group,Take That (pictured in 1993)

Westlife (pictured in 2000)- a Dublin pop group that amassed 34 top 50 singles and sold more than 55 million records - famously struggled in America

Busted - the ultimate noughties nostalgia act in Britain - had four UK number one singles and earned a Best British Breakthrough BRIT Award four years after debuting. Pictured in 2004

Another group which was huge for Britons but not the US was JLS - which had the UK hooked with their rendition of Beat Again in 2009. Pictured in 2011

Citing back acts as far as the 90s, Riley added: 'Oasis and Blur, despite laying the groundwork, fell victim to this as well, caught up in the Britpop movement but never quite understanding how to sell themselves on a broader international stage.' Oasis pictured in their comeback promo

'There’s actually a certain stubbornness to it - a failure to adapt to the US market that’s been the kiss of death for many.

'British boybands often appealed to a very specific British sensibility: they were cheeky, they leaned into charm and humour, and their pop sound was distinctly "European."

'US audiences, on the other hand, tend to have different expectations around the musical content they consume.

'American pop is often more influenced by a blend of hip hop, R&B, and rock, with more crossover potential.

'British boybands, while successful in their own right, sometimes came across as too polished or, dare I say, too "safe" for a US market.'

He said that promotion was a problem too. 

Many Americans were baffled to see a Better Man - Robbie's biopic - as they didn't even know who he was

But Brits on social media took to ardently defending Robbie (pictured in 2024) who is revered in the UK 

Taking to TikTok , influencer Dancashio explained that he wasn't surprised that the star of the Better Man biopic confused those over the Atlantic, as boybands from the four nations and Ireland 'never ever manage' to quite land there 

'The way these bands were marketed to American audiences didn’t always match what resonated with U.S. consumers too,' Riley revealed.

'British acts often lacked the same aggressive promotional strategies that their American counterparts utilised.

'Whereas American boybands like *NSYNC and Backstreet Boys were groomed for mainstream appeal from day one, British bands sometimes struggled to adjust their image for the larger, often more critical US market. Simply put, there wasn’t enough effort to localise their approach.'

'Breaking into the US requires extensive touring, promotional campaigns and media appearances, and an already loyal following,' Hayley agreed.

'Many UK boy bands struggle with the sheer scale of the U.S. and the financial and logistical resources required to maintain a presence across its vast regions can be unsustainable.

'Unlike the UK, where artists can tour relatively easily, the US demands a long-term commitment to perform in major cities, attend radio shows, and build relationships with local media outlets.

'This often requires the band to have a US based team, and some record companies just aren’t willing to invest the time or the money in order to achieve this.'

Citing back acts as far as the 90s, Riley added: 'Oasis and Blur, despite laying the groundwork, fell victim to this as well, caught up in the Britpop movement but never quite understanding how to sell themselves on a broader international stage.

Pictured: Take That, the group Robbie Williams found his start with, at a photocall in London in 1993

'The US isn’t just another market; it's a beast that needs to be approached differently. There’s a significant cultural difference between the UK’s "let's have fun with this" attitude and the US’ "give us something we can buy into for the long haul".'

Hayley notes there are of course, notable exceptions - namely, One Direction which has amassed international superstardom. 

'One Direction was an anomaly in this, and their breakthrough in the US can be attributed to a perfect combination of timing, strategy, and appeal,' she said.

'The band leveraged their reality TV fame to establish a global fan base early on, setting the stage for America.

'Unlike their predecessors such as Blue and Oasis, they were formed during the rise of social media, which allowed them to directly engage with a global audience, and build an online presence, developing devoted US fans before even stepping foot into the country.

'In comparison, The Beatles also broke America due to a combination of talent, timing and strategy and The One Direction team tapped into this, because it worked. Like One Direction, The Beatles brought something new, had charisma and had a solid strategy behind them, and both bands became the voices of a generation.

'There isn’t any magic formula to breaking America, but as discussed, the most successful artists have all had excellent timing, strategy and have filled a void in the US music scene.'

A lot of it also comes down to America having an intensely competitive music market 'before it even entertains international acts'.

Meanwhile, McFly (pictured in 2010) - which had teenage girls in the noughties obsessed - doesn't appear to have an entry on the American Billboard, despite at the time, in Britain, beating the Beatles' record at being the youngest band to ever have an album debut at number one

'When you have NSYNC and Backstreet Boys, why would you care about Take That and Boyzone?' Hayley remarked.

Taking to TikTok, influencer Dancashio explained that he wasn't surprised that the star of the Better Man biopic confused those over the Atlantic, as boybands from the four nations and Ireland 'never ever manage' to quite land there.

'Like, it was such a rarity,' he explained. 'Take That, Boyzone, Westlife.

'Busted didn't but their songs were given to the Jonas Brothers who went absolutely huge! It was just never a market really.'

Dan said One Direction however had 'the perfect storm' behind them. 

'They went on the X Factor. The X Factor in Britain was huge,' the social media star recounted.

'Everyone watched it, everyone talked about it and they had a really interesting storyline from day one which was that they all got told 'no', then they were brought together as a boy band.

'Liam had already been on it before and he had like a really strong audition as well so when he got told no it was a bit of a surprise.

One Direction, pictured in 2014, managed to 'crack' America and became huge worldwide performers

The group, pictured in 2010, got their start on the X Factor and were initially all told 'no' at auditions

'And then Twitter was starting to also skyrocket and this British boy band were going on Twitter, they were tweeting all the time, they were doing Twitcams - which is basically TikTok live now - and they'd go on it for hours just chatting.'

Dan said an 'international audience' had formed and by the time One Direction made their way to the US they were already a familiar presence to US audience thanks to social media.

Take That and Robbie, he expressed, wouldn't have had the same backing behind them - nor other famous British acts which received lukewarm responses, such as Blur, Oasis and Westlife.

The latter - a Dublin pop group that amassed 34 top 50 singles and sold more than 55 million records - famously struggled in America.

In 2000, they cracked the US Top 20 with Swear It Again, but never made another entry after.

Nine years later, group member Mark Feehily however insisted that they were 'over' trying to score it across the pond.

Speaking to Digital Spy about their record Where We Are, he said: 'We looked outside the box on this album and that brought us to America as well as other places in the world - London, Ireland, everywhere. It wasn't a conscious decision to break the States or anything.

'With America, we're over the fact that we haven't broken it. If it ever comes up as an opportunity, we'll definitely take it, but we don't design things to try and break America anymore.'

But the group, which much like One Direction originated on X Factor, struggled to make a dent in America, which US legends Boyz II Men said was down to the nature of how radio stations treated R&B music. Pictured in 2010

Elsewhere, his bandmate Nicky Byrne in 2011 told Metro - as reported by Press Party: 'We did a promotional tour of the US in 2000.

'We did a local radio station roadshow in a big football stadium. There were ten acts on and about five people standing at the front barrier, and the rest of the place was empty. I just remember thinking: "This is a ball of s***e.".

'Our US label sent World Of Our Own to radio stations in LA and New York without our name on it. It got a good response but when they found out who it was they wouldn’t playlist it as they weren’t supporting boy bands... We all would have liked to. You never admit defeat.'

Elsewhere, other titles synonymous with the very idea of a boyband in the UK didn't land much beyond a one hit wonder in the States.

Busted - the ultimate noughties nostalgia act in Britain - had four UK number one singles and earned a Best British Breakthrough BRIT Award four years after debuting.

They have a number of tunes Brits are fond of - from Air Hostess to Crashed the Wedding and What I Go to School For.

But Americans will likely only know their hit Year 3000 - which charted on the Billboard Hot 100 in 2007, but was largely more known thanks to the Jonas Brothers cover.

Speaking to the Daily Star in 2023, Busted's Matt Willis revealed that it was thanks to the ex Disney stars that he was able to 'pay his mortgage'.

After weeks of growing speculation about a comeback, the Manchester brothers put their 15-year feud on ice to announce they will be performing together again

In an interview with the Wired column, as reported by Virgin Radio, the singer revealed: 'I got a message from my publishers because me and James [Bourne, bandmate] wrote that song, and so I got a message saying, "There's this Disney band that want to cover Year 3000", and I was like, "Cool" - you know Busted wasn't happening so I was like yeah, great.

'Then I kind of forgot about it until I got a royalty cheque, and royalties cheques are always a certain amount per quarter, so I got this royalty cheque and it was like 20x what a normal royalty cheque was and I was like, "What the f*** has happened?"

'Then that song just paid my mortgage for f****** years because of the Jonas Brothers.'

Meanwhile, McFly - which had teenage girls in the noughties obsessed - doesn't appear to have an entry on the American Billboard, despite at the time, in Britain, beating the Beatles' record at being the youngest band to ever have an album debut at number one. 

In 2005, they then became the youngest band to have topped the UK Albums Chart twice.

Both Louis Tomlinson and Niall Horan of One Direction fame have listed McFly as a major musical influence.

Another group which was huge for Britons but not the US was JLS - which had the UK hooked with their rendition of Beat Again in 2009.

But the group, which much like One Direction originated on X Factor, struggled to make a dent in America, which US legends Boyz II Men said was down to the nature of how radio stations treated R&B music. 

Elsewhere, music marketing expert James Kirkham, Founder, ICONIC, said that 'Oasis's comeback feels like a masterclass in PR, and comms, in stark contrast to their 90s rivals Blur who appeared at Coachella and left front man Albarn bemoaning the lacklustre crowd response'. Blur pictured at Coachella

In 2012, the artists told Yahoo!: 'JLS could be great guys with great music but what their singing needs to correlate with what little girls are going through and if it doesn't then the records don't sell.

'With JLS there was a geographical disconnect and it didn't help that there were four guys with English accents. American girls go crazy over a band called Mindless Behaviour, they don't sing that well, but they have this American swag about them.

'They're slick dancers and are cute kids. Unfortunately Americans aren't into the greatest of music.'

The artists added that the US radio charts are 'totally segregated' when it comes to hip-hop, pop and other genres, so 'if you've lasted in the music industry more than 10 years that's it, you're not being played on certain radio stations'.

However, last January the band's Marvin Humes said he still hopes JLS will 'crack' America.

Speaking to the Sun, he revealed: 'When we were on X Factor we made a goals list of 300 things we wanted to achieve and every single night we would read out the list. We’ve easily achieved 100 of them, which is incredible. They say make as many goals as you can and if you achieve half of them you have been successful.

'We’ve won Brit awards, had arena tours, written No1 singles and albums. The only big thing we didn’t achieve was international success. It’s our only regret.

'Times have changed and there’s much more of an outreach due to social media, so we would like to go to new countries. Cracking America is a dream for every artist.'

Ashley Rudd, Director at MODA PR said the Gallaghers also cleverly tapped into their Manchester roots for the comeback - and focused on the UK instead of trying to make a global comeback. Noel pictured in 1995

However, while many British artists may yearn for success in LA, it's not been the case for all acts. 

For example, Oasis's 'biblical' comeback announcement last summer proved to be a success because they 'know their audience' and 'have always had better marketing strategies' - unlike 90s rivals Blur - who played to a 'dead' crowd at Coachella, branding experts revealed.

Speaking to FEMAIL, music marketers explained that Liam and Noel Gallagher were able to perfectly build on their nostalgic value and existing fanbase as well as attracting younger audiences with a social media savvy campaign as they have reformed for a mammoth tour around the UK and Ireland.

After weeks of growing speculation about a comeback, the Manchester brothers put their 15-year feud on ice to announce they will be performing together again, 34 years after their first gig.

Excitement reached fever pitch after the pair shared the same video, written in the Oasis style, teasing an announcement for Tuesday 8am. The same poster appeared on big screens as Liam finished his headline slot at Reading Festival. 

Speaking to FEMAIL, culture expert Hayley said that while other 90s icons have been resurfacing, it's Oasis that have won the spotlight.

'The exciting Britpop revival is also joined by the likes of Pulp and Blur, with both bands returning to major stages, but it's the Oasis reunion that really feels like the last piece of the puzzle,' she said.

'Their announcement was accompanied by a powerful statement: 'The guns have fallen silent. The stars have aligned. The great wait is over,' which has already set them above their 'rival bands'. 

Hayley too added: 'The difference between Oasis and Blur, is that Oasis has managed to stay ahead of the game and in the spotlight more than Blur has'. Blur pictured in 1997

Pictured: Liam Gallagher performing live on stage during day three of Reading Festival as Oasis's comeback is official

'And even if you're a fan of Blur, over Oasis, you can't deny that the Gallagher brothers have 'The Masterplan' when it comes to strategic launches.'

Hayley explained that while Blur's comeback was 'hugely anticipated' but 'marred with criticism'. 

The band still made an incredible return to the stage together, with roaring crowds at their string of Wembley shows and ardent fans slamming American crowds for not 'deserving' Blur at Coachella.

At the end of July, their Live at Wembley recording also reached  number one on the official album charts. 

'The new album received mixed reviews, and their live performance was criticised for lack of energy and its setlist, and now they're being overshadowed by Oasis, which I would assume was the goal of their announcement,' she added.

'The two bands were iconic rivals during the 90s Britpop era, and this will be very much in the minds of the band as they focus on media attention.'

'Blur's 2024 comeback had many marketing missteps, including inconsistent messaging and narrative, underwhelming promotion, and not tapping into the brand of the band,' Hayley continued.

'Blur also seemed to ignore social media platforms, meaning that they were able to engage with their original fanbase, but not with younger and wider audiences online. Timing was also a misstep, as they clashed with Oasis, and became overshadowed.'

Experts said that in contrast, Blur's attempt to reach both the home shores and across the pond felt like a 'desire to remain relevant' instead of 'playing to their strengths'. Blur pictured in 1995

Elsewhere, music marketing expert James Kirkham, Founder, ICONIC, said that 'Oasis's comeback feels like a masterclass in PR, and comms, in stark contrast to their 90s rivals Blur who appeared at Coachella and left front man Albarn bemoaning the lacklustre crowd response'.

'Oasis are demonstrating a very modern 'PR is everywhere' approach,' he remarked.

'A strategy which atomises every aspect and see it as a potential opportunity for PR. Each and every ingredient are then perfectly in place to maximise impact, so we now a tsunami of social media noise. 

'It is almost entirely positive, tapping into nostalgia and feel good memories of millions , and helps Oasis unite a following of fans on social platforms more recently famous for division.' 

He added that Oasis's 'brilliance' lies in knowing their audience - which Blur failed to make the most of. 

'Frontman Liam teased the announcement at rock festival Reading just the night before, dedicating the song 'Half The World Away' (itself the theme tune to hit 90s sitcom The Royale Family) to 'Noel f**king Gallagher',' he explained.

'This was to a rock n roll audience, thrilled to be watching Liam play hits from the archive and who were ready to embrace anything Oasis.

'It comes off the back of the anniversary tour of Definitely Maybe by Liam, singing the first album in its entirety to over a million fans across the UK and Europe.

'Not just a celebratory sing along for those who remember 1994, but now it feels like the ultimate tease campaign.

'What better way to preface the anniversary of their 2nd album in 2025 with the live playback of the first to so many adoring fans.

'The thawing of the relations was seen from his brother too, with expertly released video clip of Noel talking to 90s musical journalist and writer John Robb, and speaking glowingly about Liam's voice and unmatched vocal range, for what seems the first time in decades.

'There was no such audience understanding with their 90s Britpop rivals Blur however.

'Choosing to play California music festival Coachella in the spring, this sundrenched location has become a festival for Tiktok influencers and Instagrammers.

'Despite celebrity guests, Blur played to apathetic crowds who might have been more keen to see headliners Tyler the Creator and Doja Cat.

'It left Albarn perplexed and looking exasperated on stage, seeing a lack of interest from fans who were mostly not born during Albarn's witty esoteric writing of Parklife, a love letter to England's working classes; greyhound racing, betting shops and fish 'n' chips. California it most definitely isn't.

'As for Oasis, they will fill airwaves, column inches and social streams from now until next summer, and their pitch perfect PR will guarantee venue tickets sold out in a matter of minutes.'

Hayley too added: 'The difference between Oasis and Blur, is that Oasis has managed to stay ahead of the game and in the spotlight more than Blur has.

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'In my opinion, Blur was always the better band, Oasis always had the better marketing strategies, especially when it came to the brotherly in-band rivalry, which reached across decades and generations.'

Ashley Rudd, Director at MODA PR said the Gallaghers also cleverly tapped into their Manchester roots for the comeback - and focused on the UK instead of trying to make a global comeback.

'Oasis has always been open about its pride in coming from Manchester, and its focus on the UK reflects a keen understanding of its appeal,' she said.

'By starting the comeback tour in the UK, Oasis effectively played to its strengths, leaning into the nostalgia for classic albums like 'Definitely Maybe' and '(What's the Story) Morning Glory?'

'While they enjoyed significant success in the U.S. during the '90s, their music and persona are deeply rooted in British culture. By sticking to the UK, they tapped into the national pride and cultural relevance they still hold there - I know this first-hand watching Liam Gallagher perform at Co-op Live.

'This approach also minimised the risk of a lukewarm reception abroad, where the connection might need to be stronger and sustained.'

She said that in contrast, Blur's attempt to reach both the home shores and across the pond felt like a 'desire to remain relevant' instead of  'playing to their strengths'. 

Elsewhere, Esteban Touma, linguistic and cultural expert at Babbel revealed that Oasis's charm also lies in the fact that their sound has become synonymous with 90s Britain.

'Oasis’s music has become iconic for perfectly capturing the essence of 1990s Britain, especially during the Britpop era, was a time characterised by both frustration and hope,' he said.

'Their songs, marked by powerful anthems and memorable melodies, continue to resonate with listeners who might not have lived through the '90s but can relate to the band's lyrical content, which often reflects personal struggles and societal commentary in a conversational manner.

'For example, the line "So, Sally can wait" has become a mantra for moving forward despite challenges. The song "Wonderwall" isn’t just a quintessential '90s anthem; it has embedded itself into the wider cultural lexicon, and still resonates with people today to such an extent that it has transformed into a cultural meme, often featured in humorous contexts online.'

Esteban also said that Oasis’s songs 'offer a fascinating glimpse into British linguistic and cultural nuances'.

'The band’s lyrics are rich with regional slang and colloquialisms, providing a window into British vernacular,' he explained.

'For instance, phrases like 'Mad fer it' (from “Cigarettes & Alcohol”), which is Mancunian slang for being very excited or enthusiastic, reflect the vibrant local speech patterns and cultural attitudes of the era. This regional authenticity endears them to fans who appreciate the band's genuine representation of British culture.

'Oasis’s decision to focus their comeback in the UK reinforces their deep cultural connection with their audience, proving that sometimes staying true to your origins can be the most powerful comeback strategy of all.'