Crit­ics wouldn’t be able to cope with her su­per sched­ule

The Sunday Times - - Opinion - Cameron Adams

IT’S been fas­ci­nat­ing watch­ing so­cial me­dia users be­come med­i­cal ex­perts over singer Pink’s hos­pi­tal­i­sa­tion in Syd­ney this week.

“How many ‘reg­u­lar peo­ple’ would ac­tu­ally be hos­pi­talised with de­hy­dra­tion?,” one Twit­ter user snark­ily pon­dered.

Judg­ing by the un­pleas­ant tweets that fol­lowed, this gent is not a Pink fan.

Her gas­tric virus does not im­pact him in any way.

That has not stopped him, and way too many other key­board he­roes, from kick­ing Pink while she’s down.

A few facts. Post­poned or can­celled con­certs (and Pink’s are still merely post­poned) are events ev­ery tour pro­moter dreads. It’s al­ways a last re­sort.

Artists and pro­mot­ers do this for a liv­ing.

They know the reper­cus­sions — for them­selves and pun­ters.

They know peo­ple have paid for travel, ac­com­mo­da­tion, babysit­ters, park­ing and booze.

That’s why they avoid it at all costs, but some­times the show just can’t go on.

Pink’s work ethic is sec­ond to none.

As any of the 600,000 or so peo­ple who’ve seen Pink per­form a con­cert in Aus­tralia over the past decade knows, hers is not just any con­cert.

She lit­er­ally swings up­side down, flies over the crowd, per­forms many songs above the stage, not on it, and the en­tire show is timed with mil­i­tary-grade pre­ci­sion.

There are blasts of fire, hoists to pro­pel her in the air, parts of the stage that open and shut, and tread­mills — a po­ten­tial mine­field for some­one not in top health.

This week, a bet­ting com­pany al­lowed (cough) fans to wa­ger on how many more shows Pink would not per­form.

The com­pany claimed win­nings could be an “in­sur­ance pol­icy” if peo­ple lost money re­lated to post­poned shows.

Pink’s By­ron Bay break last week was al­ways sched­uled. She’s been tour­ing since March across the US and Canada.

She per­formed 17 shows in 25 days since between when the tour started in Perth on July 3 and the first Mel­bourne leg ended on July 28.

This is also the first tour Pink has con­ducted with two kids trav­el­ling with her.

She doesn’t have nan­nies, she’s a hands-on mother.

There’s a long his­tory of fe­male artists who’ve tapped out for a decade to en­joy moth­er­hood — she’s a work­ing mother.

Some id­iots on so­cial me­dia are claim­ing that post­pon­ing shows or not fight­ing through her ill­ness (you know, the one she was hos­pi­talised over) demon­strates she doesn’t re­spect Aus­tralia, her “cash cow”, enough.

Pink is spend­ing two months of this year tour­ing just Aus­tralia.

And that’s a short stretch this time around.

She was based in Aus­tralia for three months on her pre­vi­ous tour, and closer to four months on the Fun­house tour.

A-list mu­sic artists just don’t do that. You’d have to go back to Dire Straits in 1986 to find the last time artists at the top of their game spent that long on tour Down Un­der.

Sure the tours make Pink mil­lions, and she earns ev­ery dol­lar, but they also plough mil­lions back into our econ­omy.

She’s known as a “ho­tel filler” in the hos­pi­tal­ity in­dus­try as peo­ple travel from re­gional ar­eas to see her in the city.

And we’re now on some creepy Pink watch. Has she left hos­pi­tal? When will the tour re­sume? What will she be like when she fi­nally re­turns to the stage? How will they resched­ule all the post­poned dates?

Ig­nore the fools play­ing doc­tors and nurses on­line and know no pro­fes­sional singer post­pones a show un­less it’s com­pletely nec­es­sary.

Un­well: Pink dur­ing one of her gru­elling con­certs.

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