The Avalanches have cancelled their remaining North American tour dates due to “serious illness”.
The Australian duo have been on tour behind their 2020 album ‘We Will Always Love You’, and were set to wrap up with US and Canada headline shows this month.
These dates have now been called off, with the band taking to social media to tell fans: “Unfortunately due to serious illness, we have had to make the heartbreaking decision to cancel our remaining US and Canadian shows to return home.
“Thank you to everyone who has made this tour so joyous, and apologies to everyone who had tickets for the remaining shows. All ticket holders will be contacted directly with refund details. Thank you.”
The band’s current tour, which was set to hit Detroit tonight (October 2) and wrap up in Philadelphia later this month (October 10), was rescheduled from earlier in 2022, when “ongoing personal health issues” led to the dates being pushed back.
See the band’s statement and cancelled tour dates below.
— The Avalanches (@TheAvalanches) October 1, 2022
The Avalanches’ cancelled 2022 US tour dates:
1 – Chicago, Metro
2 – Detroit, Majestic Theatre
4 – Toronto, Phoenix Concert Theatre
5 – Montreal, Corona Theatre
7 – Washington DC, 9:30 Club
8 – New York, Terminal 5
9 – Boston, Paradise Rock Club
10 – Philadelphia, Theatre Of Living Arts
Earlier this year, The Avalanches contributed to a project that involves sending exclusive transmissions to the Moon and back as part of the UK-wide Tour de Moon festival.
As part of the festival, creative director Dr. Nelly Ben Hayoun, who is also the founder of NASA’s International Space Orchestra, has collaborated with artists including The Avalanches, Massive Attack, Moses Boyd and Pussy Riot using Moonbounce: an Earth-Moon-Earth (EME) technology.
The band’s Robbie Chater told NME about how they got involved. “We worked with Nelly during lockdown, when we did a collaboration with the International Space Orchestra via Zoom,” he said. “We performed a version of our song ‘Wherever You Go’ together, which was a really, really incredible experience.”
He continued: “I suppose we’ve always been interested in the idea of sampling and of sound as a kind of never ending life-force, a cycle of transmission that goes around and around and around. I love thinking about how there’ll be an old record that we find and I often think about what was going on in the person’s life who made that record at the time, say in the 1950s, and how they’ve recorded all their emotion and feelings onto wax.”
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