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Music | Iconic rock act postpones North American tour…

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Music | Iconic rock act postpones North American tour due to injury

Postponement impacts crowded house show in oakland.

The group, which is known for the memorable hits “Don’t Dream It’s Over” and “Something So Strong,” has announced that an injury to a band member is forcing a delay in the North American dates — including a show at the Fox Theater in Oakland that was originally scheduled for Sept. 28.

“Crowded House are disappointed to announce that we must postpone our upcoming North American tour,” band leader Neil Finn said in a news release. “Our drummer Elroy (Finn) is currently suffering a painful lower back injury and is receiving medical treatment for it. We are advised that there may be some risk in the recovery process for him to play shows at this time.

“The good health and future well-being of the band members has to be our priority and we have been assured that Elroy will fully recover in a matter of weeks given rest and rehabilitation.”

Ticket-holders are being encouraged to hold onto their ducats, which will be accepted at the new dates. Questions about refunds and such should be directed to the point of purchase.

“As I’m sure those who recently saw us play in Europe and U.K. will attest, we have developed into a formidable live band over the past year and want to bring our fans in North America the show at full strength, which is what you deserve,” Neil Finn says. “We apologize to all those who bought tickets for this tour but we will be announcing a new schedule as soon as we can.”

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Crowded House announce rescheduled North America tour dates

The band had postponed the original run after Elroy Finn was injured

Crowded House have shared details for the rescheduled North American leg of their ‘Dreamers Are Waiting’ tour, now set to commence in 2023.

Kicking off in Canada at Vancouver’s Orpheum, Crowded House will then undertake a further 17 shows throughout the month, including two back-to-back performances at Los Angeles’ Wiltern. Find all dates below.

The North American leg was originally due to commence in Philadelphia last month, but was postponed after drummer Elroy Finn sustained a “painful” injury to his lower back.

At the time, frontman Neil Finn said: “We are advised that there may be some risk in the recovery process for him to play shows at this time. The good health and future well-being of the band members has to be our priority.”

Tickets for original show dates remain valid for the new run. Remaining tickets are on sale now for all new shows, available here .

The tour comes in support of (and is named for) Crowded House’s seventh album, last year’s ‘Dreamers Are Waiting’. The release marked Crowded House’s first album in 11 years, heralded by its lead single ‘To The Island’ .

Crowded House ‘Dreamers Are Waiting’ 2023 US tour dates are:

MAY Tuesday 2 – Vancouver, BC, Orpheum Wednesday 3 – Seattle, WA, Paramount Theatre Thursday 4 – Portland, OR, Arlene Schnitzer Concert Hall Saturday 6 – Oakland, CA, Fox Theater Monday 8 – Los Angeles, CA, The Wiltern Tuesday 9 – Los Angeles, CA, The Wiltern Wednesday 10 – Mesa, AZ, Mesa Arts Center Friday 12 – Denver, CO, Paramount Theatre Sunday 14 – Minneapolis, MN, State Theatre Monday 15 – Chicago, IL, Chicago Theatre Wednesday 17 – Durham, NC, The Carolina Theatre of Durham-Fletcher Hall Friday 19 – Nashvillle, TN, Ryman Auditorium Sunday 21 – Washington, DC, The Anthem Monday 22 – New York, NY, Beacon Theatre Wednesday 24 – Philadelphia, PA, The Met Friday 26 – Red Bank, NJ, Count Basie Center for the Arts Saturday 27 – Toronto, ON, Budweiser Stage Tuesday 30 – Boston, MA, Wang Theatre at Boch Center

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Crowded House Postpone North American Tour Due to Injury

Shows in Toronto and Vancouver have been affected

BY Calum Slingerland Published Aug 25, 2022

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By 97.1FM The Drive | September 20, 2022

Crowded house’s postponed north american tour rescheduled for spring 2023.

Veteran New Zealand/Australian pop-rock band Crowded House has announced rescheduled dates for its recently postponed 2022 North American tour, which now will take place next spring.

The trek’s revamped itinerary, which features 18 shows, now kicks off on May 2 in Vancouver, Canada and is plotted out through a May 30 concert in Boston.

“Crowded House are delighted at long last to be able to play shows in North America,” says frontman Neil Finn in a statement. “We have been picking up the pace recently as the world opens up and can’t wait present the show with this band lineup in absolute top form to the good folk of North America, from sea to shining sea.”

Last month, the band announced that its 2022 tour, which had been slated to run from early September to early October, was being postponed because current Crowded House drummer Elroy Finn — Neil’s son — had injured his lower back and needed time to recuperate.

Previously purchased tickets for the 2022 dates will be honored for the rescheduled shows.

In addition to Neil and Elroy, Crowded House’s current lineup also features original bassist Nick Seymour , acclaimed producer Mitchell Froom on keyboards and Neil’s son Liam on guitar. The band is supporting its latest studio album, 2021’s Dreamers Are Waiting .

Prior to the North American trek, Crowded House will launch a 2022 Australian tour running from late October to late November. Check out the band’s full schedule at CrowdedHouse.com .

Copyright © 2022, ABC Audio. All rights reserved.

• Consequence

Crowded House Announce 2024 North American Tour

The band has also premiered "Teenage Summer" from their upcoming album, Gravity Stairs

Crowded House have confirmed a 2024 North American tour in support of their upcoming album, Gravity Stars .

The late summer jaunt kicks off in St. Augustine, FL on August 29th, with additional shows scheduled Atlanta, New York, Niagara Falls, Chicago, Omaha, Vail, and beyond.

Get Crowded House Tickets Here

Fans can look for deals or get tickets to sold-out shows via StubHub , where orders are 100% guaranteed through StubHub’s FanProtect program. StubHub is a secondary market ticketing platform, and prices may be higher or lower than face value, depending on demand.

Gravity Stairs is set for release on May 31st via BMG. After initially previewing the album with lead single “Oh Hi,”  the band has now unveiled “Teenage Summer,” which you can stream below.

Frontman Neil Finn also recently appeared on Kyle Meredith With.. . and previewed Gravity Stars . Listen to the full episode here .

Crowded House 2024 Tour Dates: 08/29 – St. Augustine, FL @ The Saint Augustine Amphitheatre 08/30 – Atlanta, GA @ Cadence Bank Amphitheatre at Chastain Park 08/31 – Cary, NC @ Koka Booth Amphitheatre 09/03 – Vienna, VA @ Wolf Trap 09/04 – New York, NY @ The Rooftop at Pier 17 09/08 – Niagara Falls, ON @ Fallsview Casino 09/10 – Huber Heights, OH @ Rose Music Center at the Heights 09/11 – Highland Park, IL @ Ravinia Festival 09/13 – Omaha, NE @ The Astro 09/14 – Waite Park, MN @ The Ledge Amphitheater 09/17 – Vail, CO @ Gerald R. Ford Amphitheater 09/21 – Woodinville, WA @ Chateau Ste. Michelle Winery 09/22 – Bend, OR @ Hayden Homes Amphitheater 09/25 – Saratoga, CA @ The Mountain Winery 09/28 – Paso Robles, CA @ Vina Robles Amphitheatre

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Showtime Redefined

Crowded House Dreamers Are Waiting North American Tour

This event has been postponed to Tuesday, May 24, 2023. All previously purchased tickets will be honored.

To reduce staff contact with guest belongings, we have implemented the following bag policy: small clutch bags approximately the size of a hand (MAX 4.5”x 6.5”) ARE ALLOWED (and need not be clear). LARGER BAGS MUST BE CLEAR TOTE BAGS. NO OTHER TYPES OF BAGS WILL BE ALLOWED. ALL BAGS OVER 12″x12″x6″ ARE PROHIBITED.

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Crowded House’s Neil Finn on How a Stint With Fleetwood Mac Led to Revitalizing His Own Band: ‘I Realized That We Had a Flag That You Can Follow’

By Chris Willman

Chris Willman

Senior Music Writer and Chief Music Critic

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(Friday night, the band performs one U.S. show before heading overseas, at New York’s Bowery Ballroom and can also be seen on “Jimmy Kimmel Live!” performing the new single “Teenage Summer.”)

You said something recently that was intriguing, about how being in Fleetwood Mac for a couple of years gave you a different perspective on Crowded House — something to the effect of, “Hey, I’ve got my own classic band, actually.” It sounds like maybe you had some kind of epiphany about embracing the band’s legacy and what it represents in the world.

I realized that I had my own band that has kind of a mana , as they say in New Zealand [a Maori word that is understood to mean “prestige”]… some kind of gravitas or something that carries it along … a flag that you follow somehow. And I was also really hungry to be fully engaged. I wouldn’t want to be churlish at all about my time in Fleetwood Mac. It was magnificent. But I wasn’t fully engaged the whole night, which was really unusual for me. And so I was really looking forward to the feeling of being right there at the front and center of something. So all of those factors were part of the decision to get the band back together, for sure.

You did something a bit humbling in being part of that group, but the driver’s seat is where you feel, “This is where I’m meant to be”?

Or just being able to be a part of every note… You know, you’re hearing the spaces between the notes, and you’re not just waiting till your parts come up. I guess I’m used to that in my musical life, so really, I relish that. It’s being in some kind of altered state of consciousness, and if you’re right in the midst of it, you can keep that feeling going and it can become transcendent.

Almost strangely, when we look at the lineup of Crowded House on stage now, it feels like everyone in in it is either formally or informally family at this point. You have your two sons; you have Nick Seymour, an original member going back to the mid-‘80s; and Mitchell Froom, your original producer, on keyboards. It was not unfamiliar to see Mitchell sitting in on keys when you would do L.A. shows over the decades, but he is on board for tours and all.

Yeah, Mitchell is a fully functioning band member now. You know, he keeps trying to organize things like a producer all the time, and I say, “No, just jam!” And he’s enjoying that. I mean, he’s still very meticulous about getting his parts working for the songs, but I think he’s really enjoying being part of an ensemble. It’s a really lovely change of dynamic for him, and of course, his deep attachment and knowledge of the band makes him a very soulful addition. And as you know, my two boys who grew up with the band, it’s in their DNA, and they’ve become two of my favorite musicians on the planet. And with Nick obviously there from the start, I feel like everyone’s deeply connected, which is a really nice feeling. I think bands can redefine themselves, but to do so with such an intimate group of people makes it feel all more special. So it feels like it’s a very cohesive and soulful lineup.

Yeah. It feels like it’s got a lot of future built into it. We’re expanding our shades and the areas we can go to with the addition of two really good writers. Liam and Elroy are both very, very good writers, and with Mitchell’s arrangement skills, it feels like we’re expanding our universe, if that’s possible — expanding our dimensions, anyway — and that’s exciting.

In the past, it has gotten to a point a couple of times, for version one and version two, where I couldn’t see the way ahead. I couldn’t imagine it, and it wasn’t manifesting in rehearsals, so I sort of stepped away from it. The first time [in the mid-1990s], we thought it was necessary to make a grand statement and say, “No, that’s it: we’re breaking up.” The second time [in the mid-2010s], it was like, “Well, let’s just not do it for a while, and not make such a big deal out of it.” This time I see it as an ongoing thing. I think I’ll be doing the odd project off to the side, maybe something with my brother (Tim Finn), or other projects, possibly. But Crowded House feels like it will continue now for a long time, and we can continue to expand it and get better.

Was there ever a time at which you thought that that being under the banner Crowded House was like a limitation, where it felt like it glued you to a signature sound? It feels like you have found this kind of happy balance where everyone can say, “Yes, of course that feels like Crowded House,” but nobody’s gonna mistake it for an attempt to precisely recreate “Woodface” or something.

Yeah, I mean, all the records have their own distinct qualities. Even in our first incarnation, we changed over the different records. You know, the first record was kind of rollicking, and the second record [“Temple of Low Men”] was more reflective. The third, “Woodface,” is a little combination there. And, you know, “Together Alone,” was quite different again. I hope we’ll keep changing from album to album, song to song. Certain things become more sophisticated because you’ve been doing it for longer, and so your observational skills come to the fore. And you can pick subtlety as an asset, once you become better at observing how music works — and hopefully won’t lose the essence of a pop sensibility, which I always have and feels good to me.

When a song you’re expected to play comes up, whether it’s one of the ones you were doing in the Fleetwood Mac shows or the ones that obviously everybody wants to hear on tour now, does your relationship to those change over time, or cyclically? Do you ever think you’l go mad if you have to play a hit one more time, and then you come back around to embracing it, or does that stay the same over the years?

I mean, there’s a couple of ’em that probably are less interesting to play, possibly sometimes because I’m playing acoustic guitar, and that’s the bit that’s not as fun. But the ones that I play electric guitar on, you can find new notes every night and you can influence the sound more. So that’s probably more what it comes down to, rather than the song itself. Actually, having said that, I play acoustic guitar half the night, and I’m quite happy to. But I do love it when I can get the old electric out and me and Liam can go wailing together.

The single, as we understand it, went through a title change. It was originally called “Life’s Imitation” and it took a young family member to change it to “Teenage Summer”?

It took my grandson to point it out, actually. Because he was singing it one day when I was on FaceTime with him, and he said, “I really liked that song, papa… ‘Teenage Summer.’” And I went, dang … this seemed entirely obvious, that suddenly that he’d picked out the key moment of the song, and the children might have to be heard. So I made a late call to change the title. I might’ve been subtly afraid in the early stages that it was a bit too Katy Perry or something to call a song “Teenage Summer.” But, you know, why should young people have all the fun? … I think there’s other hooks in the song, so I didn’t really figure out that that was the one, but that’s the moment that he really related to. And he is only 5 years old, so I figured, does he know what a teenage summer is? But there’s something about that that resonates for people, and certainly a lot of people have said to me since that it sparks some kind of nostalgic yearning, which is cool. You know, I’ll take anything if it makes you feel it.

There are a few songs on the album, like “All That I Can Ever Own,” that seem to refer to a child or a grandchild maybe just the sense of childhood. And there seems to be a real sense of kind of generationality in some of these songs. When you sing, “Every child is a mystic having visions of a new dawn”…

Well, I am particularly interested in the way that children think, and trying to keep up within myself a childlike view. Certainly with making music, being childlike in the way you approach it, to start with, is always a good idea. And then to be able to apply the reason of an adult to the editing of those ideas, that’s where the sweet spot is, if you get it right.

So, yeah, there is a focus on children. And certainly “All I Can Ever Own” is set, in my mind, in the car on the way home from the hospital with this new human being that you are about to really draw into yourself and get to know. And then, the inevitable process of letting it go, as well — that’s a fascinating theme, to my mind.

The new record starts with “Magic Piano,” and the album title, “Gravity Stairs,” takes its name from one of the lyrics. It feels like a slightly tricky song, in a way — tricky, but catchy, which is sort of your way.

Yeah — through life. I think it’s representative of a certain mentality that we have always had, and just with this record, of having some twists and turns and freedom in the way that the instruments are expressing themselves. I think the way Nick and Liam were playing together was like a really melodic little dance. The bass is particularly melodic in that song. They’re unusual chords, and the shifts from minor to major allow some really unusual atmospheres to emerge. It had an unusual structure that took us a while to figure out… I don’t know if I’ve told you too much or not enough!

It’s in the tradition of your unusual chord changes that feel sort of inevitable and sort of surprising at the same time. That feels like a particular gift you have.

I’m with you. I like that too. … The title “Magic Piano” comes from a children’s radio show — I don’t know if you knew that — but it’s just a title. There’s a really great little kids’ story about a kid who hates practicing piano, and his piano starts to talk to him, and then he becomes able to play incredible things on his piano because the piano is sort of doing it all. And so some of the theme was sparked by that. But then, it is a genuinely a genuine love song to my piano. It’s also got other things to it, about music in general — just the effort to achieve lightness and elevation, and how magical that the whole thing is. I suppose I’m also stating my absolute devotion to melody as the lead — how it takes the lead part in my own relationship with music.

A common characteristic of many of your songs is the dance between the light and the dark. They can be bright and cheerful and then there is this undercurrent of doubt that might just become prevalent in the bridge or something, like in “Something So Strong.” So in a new song like “All That I Can Ever Own,” it’s upbeat and positive in a way, but suddenly we get “I might push her away if I’m not careful.” That feels so Neil Finn, in a way, to have that little turn where it doesn’t totally subvert the song, but there’s this sense of how things could go wrong.

To go from the sublime to the business-like… you were in headlines recently with making a deal with Primary Wave for your publishing, which is the kind of deal so many songwriters of a certain stature and catalog are making. Is there like a level of security in that it sort of allows you to really follow your arrow wherever it leads, without having to worry about being as commercial at every moment?

Security’s not quite the right word for me. Simplicity is definitely part of it, and the idea that people really do care about my songs. I wouldn’t have ventured forth if I didn’t sense a genuine desire for them to really make the songs work on a broad basis. The idea they’re out there working for them is gonna be a benefit to me, to the band, and hopefully the songs themselves. And I have no obligations to manage the business of them, which in a way is the burdensome part. You know, as much as people say, “Ah, you’ve got to own your songs” and all that sort of stuff, it actually just means you’re hiring accountants and getting daily correspondence about how songs should be used, how splits should be administered, commissions paid, all that sort of stuff. I’m giving you a fairly comprehensive description of my thinking. But there’s something really lovely and simple about having somebody else taking care of it, and I’m confident they’re taking care of it in a really good way. So I’ll just get on and sing them and, you know, they’re out there in the world anyway. They belong to everybody, in a way. But somebody’s taking care of it.

I’ve got big aspirations for what I might do with the money that they’ve given me as well. I want to do really good things with that, so it gives me an opportunity to reach a little bit further than I could do. I’ve done well and it’s not that I feel like I’m gonna run out of money — that was not my motivation. But I think I can do good things with that money, while I’m got the energy to make good things happen, you know?

Crowded House’s Gravity Stairs Tour North American Dates:

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'Dreamers Are Waiting' North American Tour Announced

Tour follows band’s most recent critically acclaimed album release dreamers are waiting
.

April 26, 2022  – Today, iconic multi-platinum selling band  CROWDED HOUSE  officially announced their highly anticipated North American tour that follows on the heels of both sold-out Australian and European legs of the tour along with their seventh studio album  Dreamers Are Waiting  – Listen to the album  HERE . The new music as well as the tour features founding members Neil Finn and Nick Seymour along with producer and keyboardist Mitchell Froom, guitarist and singer Liam Finn and drummer Elroy Finn. 
 ‍ “Crowded House are delighted at long last to be able to play shows in North America. We have been picking up the pace recently as the world opens up and can’t wait present the show with this band lineup in absolute top form to the good folk of North America, from sea to shining sea,” said Neil Finn. 

Tickets for the tour will go on-sale to the general public starting Friday, April 29th at 10am local time, but check local listings.  American Express® Card Members can purchase tickets in select markets before the general public beginning Wednesday, April 27 at 10am local time through Thursday, April 28 at 10pm local time.

See the Shows page for ticket links. ‍

TOUR ITINERARY


Friday, September 2 Philadelphia, PA The Metropolitan Opera House Saturday, September 3         Selbyville, DE Freeman Arts Pavilion Sunday, September 4         Durham, NC The Carolina Theatre of Durham-Fletcher Hall Tuesday, September 6         Pittsburgh, PA Carnegie Music Hall of Oakland Wednesday, September 7 New York, NY Beacon Theatre Saturday, September 10 Boston, MA Boch Center - Wang Theatre Sunday, September 11         Washington, DC The Anthem Monday, September 12 Huber Heights, OH Rose Music Center at The Heights Wednesday, September 14 Toronto, ON Budweiser Stage Thursday, September 15 Detroit, MI Fox Theatre Saturday, September 17 Louisville, KY Bourbon & Beyond Festival Sunday, September 18         Nashville, TN Ryman Auditorium Tuesday, September 20 Chicago, IL Chicago Theatre Wednesday, September 21 Minneapolis, MN State Theatre Friday, September 23         Denver, CO Paramount Theatre Saturday, September 24 Salt Lake City, UT Eccles Theater – Delta Hall Monday, September 26 Los Angeles, CA The Wiltern Wednesday, September 28 Oakland, CA Fox Theater Friday, September 30         Portland, OR Arlene Schnitzer Concert Hall Saturday, October 1 Seattle, WA Paramount Theatre Monday, October 3 Vancouver, BC Orpheum

Crowded House  is a long standing and much-loved vehicle for the song writing talents of Neil Finn. Formed in Melbourne Australia in 1985 out the ashes of New Zealand’s Split Enz by Neil, Paul Hester and Nick Seymour, their eponymous self-titled debut album on Capitol Records went on to global success with the hits “Don’t Dream It’s Over” and “Something So Strong”. Those songs and many that followed are still resonating with audiences today, the former in particular being one of the most covered songs of the last 20 years. The band’s first incarnation lasted from 1985 through 1996 with 4 studio albums and enjoyed much success worldwide, becoming particularly beloved for their freewheeling and interactive live shows. This lineup said Farewell to the World on the steps of the Sydney Opera House in 1996 with a now legendary performance in front of 150,000 people. 
 
In 2007 following the tragic death of Paul Hester, Neil and Nick felt emotionally compelled to bring Crowded House back, to put some more good history, as they described it, into the story of the band.  Drafting in new drummer Matt Sherrod and with long time touring member Mark Hart they released the album “Time On Earth” to critical acclaim and toured the world. Another album, ‘Intriguer”, was recorded in 2009 and Crowded House was inducted into the ARIA Hall of Fame in 2016, at the same time reprising its Farewell shows at the Sydney Opera House with 4 nights of stunning performances.

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Crowded House Drops ‘Gravity Stairs’: Stream It Now

"Gravity Stairs" is Crowded House's eighth studio album and first through a new deal with BMG.

By Lars Brandle

Lars Brandle

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Gravity Stairs is produced with Steven Schram (Paul Kelly, San Cisco) and the band, currently featuring Finn and his sons Elroy and Liam; founding, Australia-born bass player Nick Seymour; and U.S.-born keyboardist Mitchell Froom, and is inspired by a heavy stone staircase near where the band leader vacations.

“The Gravity Stairs are symbolic of the struggle to ascend,” says Auckland-based Finn, “acknowledging the opposing forces of weight on the mechanics of living. It’s an act of will every day.”

Since emerging fully-formed in 1986 as a trio of Finn (singer, songwriter, guitar), Seymour and the late, Australian drummer Paul Hester, the group has sold over 15 million records worldwide, and achieved induction into the ARIA Hall of Fame, 13 ARIA Awards, an MTV VMA, a BRIT Award and a U.K. No. 1 album (with 1996’s Recurring Dream – The Very Best Of ). Finn was on hand at the 2024 Rolling Stone Australia Awards in Sydney this April to collect the second-ever “ icon ” honor.

That first self-titled album housed the hits “’Something So Strong” and “Don’t Dream It’s Over,” which peaked at No. 2 on the Billboard Hot 100. “Don’t Dream It’s Over” made a mighty comeback last year. Thanks to a sync to an episode of the rebooted detective classic Magnum P.I., the song powered to No. 1 on Billboard’s Top TV Songs chart.

Crowded House will support the new LP with a trans-Tasman tour , kicking off Nov. 9 at TSB Arena in the NZ capital, Wellington, with Australia dates starting Nov. 29 at Perth’s Kings Park & Botanical Gardens. Live Nation is producing the swing Down Under.

Stream Gravity Stairs in full below.

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Aussie rock legends Crowded House prompt fury as they miss Adelaide on 2024 tour after major US pop acts also skipped the city: 'We don't exist'

• READ MORE:  Crowded House singer Neil Finn sells Los Angeles mansion 

Australian music legends Crowded House are set to tour Down Under in November with tickets going on sale on Monday .

But sadly their dedicated fans in Adelaide won't get to see them.

The Don't Dream It's Over hitmakers are set to perform their Gravity Stairs tour only in Sydney , Adelaide, Perth , Brisbane and Newcastle.

And the band's fans in the South Australian capital took to Instagram in a fury to protest the snub.

'And Adelaide misses out again,' moaned one disappointed fan on the band's official Instagram.

'Not even the Crowdies will do Adelaide,' agreed another disgruntled music lover.

'Na Adelaide doesn't exist,' messaged another.

'Nope we don't,' agreed another.

Crowded House have announced they will start their international tour to promote their new album Gravity Stars with a series of shows in the U.S. in June before heading Down Under.

Their first gig will be in Perth on November 29 at Kings Park and Botanic Gardens before they head to Sydney to play at the Opera House on December 4 and 5.

On December 10 they are set to play in Melbourne at the Rod Laver Arena, before a gig at the Newcastle Entertainment Centre on December 13. 

They play their final show in Brisbane at the Entertainment Centre on December 14.

This tour will be the first time that the Crowdies have played Down Under since 2022.

Fans can look forward to seeing founding members Neill Finn, 65, and Nick Seymour, 65. They will be joined by the band's current line up of Mitchell Froom, 70, and Neil's sons Liam Finn, 40 and Elroy Finn.

Music fans in Adelaide have continually missed out on major performers on their Down Under tours over the past few years.

Recently US pop star Billie Eilish elected to miss playing in the city on her upcoming Australian tour .

Other acts who  have avoided Adelaide include Taylor Swift, SZA, Coldplay and Pearl Jam.

Promoters have blamed the relatively small market in Adelaide which does not  make it profitable to tour large and expensive shows there reported The Advertiser  last month.

Tickets for the Crowded House Gravity Stairs Tour are available here .