Next month, Musgrave Park in Cork will witness the performance of Crowded House, marking 33 years since their initial appearance in Ireland at the Olympia Theatre, Dublin. Neil Finn recalls a memorable part of that momentous evening in 1991, when a man in the crowd unexpectedly proposed to his girlfriend on stage. Reminiscing from his residence in New Zealand, he highlights how such spontaneous incidents become unforgettable. He nostalgically mentions that it was an enthralling late-night gig.
His fellow band member, Nick Seymour, a resident of Sligo, corroborates Finn’s narration from his garden studio, or “man cave”. He affirms that there was a spectacular show during the evening, followed by a post-midnight gig, signifying the commencement of the ‘Midnight at the Olympia’ trend that year.
Crowded House has a resonating connection with Ireland. During their encore at the Olympia, they performed the song ‘Irish Heartbeat’ by Van Morrison, which held a special place in Finn’s mother, an émigré from Limerick to New Zealand. Finn and his brother Tim were often requested by their mother to sing this song.
The band has deep-seated Irish roots. Seymour, originally from Melbourne, purchased an apartment in Dublin’s Exchequer Street in 1994 and has held an Irish citizenship since 2008. They identify themselves as more Irish than Australasian. The only band member without Irish citizenship is the American keyboard player, Mitchell Froom. Seymour believes that the predominance of Irish citizenship essentially makes them an Irish band.
While Finn has held an Irish passport longer than Nick, he recalls breezing through passport control whenever they arrived in Ireland. He even jests about the band representing Ireland at the Eurovision.
Whilst awaiting that ambitious debut, Crowded House, which now includes Finn’s son Liam on guitar and Elroy on drums, is preoccupied with their eighth studio album, Gravity Stairs.
The distinct hallmark of Crowded House bleeds through their music, masterfully marrying lighter tones with elements of the shadows. The album’s title finds its roots in a lyric embedded in the entrancing first track christened as Magic Piano. As Finn expounds, the beautiful and melodious pathways of Nick’s bass lines conjure a harmonious dance along with Liam’s fluid and electric components of the guitar. A profound realisation dawned on them regarding the sheer artistic integrity and beauty emanating from their creation. Thus, they deemed it to be a fitting first record on the album.
Moreover, the song explores the delightfully complex journey of a songwriter. While the allure of melody and harmony is unrivalled, according to Finn, finding the right words poses a formidable challenge. The gift of songwriting is a double-edged sword, often susceptible to manipulation, subversion, and misuse. Just like any great blessing, the fear of not showing enough deference to the gift looms overhead. This song analyses the symmetry of music and the compulsive endeavour involved in its creation.
Differentiating from the other songs in the album, ‘All That I Can Ever Own’ is quite lyrically straightforward, inspired by the ever-evolving journey Finn is experiencing as a new grandfather. The song conveys the emotional process of transitioning to allow children to carve their own path as they mature. Finn narrates this as a lifelong journey of moulding them with full aspiration and then gradually learning to let go.
Despite geographical constraints, the band is eager to recommence their journey. The members find themselves in different corners of the world, pushing boundaries of what’s feasible, according to Neil Finn.
Another fascinating track, ‘Some Greater Plan (for Claire)’ showcases a Greek bouzouki band, Maistrato. After being captivated by their performance one night, Finn invited them to join the tour. The tune paints a hopeful portrait of music’s power, reinforcing its potential to ameliorate the world. As per Finn, the transformative potential of music reflects its capacity to tear down barriers and transcend into people’s minds, bringing healing, better judgment and offering a melodic backdrop for both pain and joy.
Addressing the apparent wave of lawlessness that fills the modern world, Seymour admits to an overwhelming sense of anxiety. However, he looks to music as a sanctuary, identifying it as a spot of tranquility amid the chaos.
Seymour finds a sanctuary and muse in his visual artwork: he is responsible for creating all of the band’s album covers. His most cherished work is the sculpture featured on the cover of their fourth album, Together Alone, which currently holds a space on Finn’s mantel. The cover illustration for Gravity Stairs is heavily influenced by The Beatles. Seymour aspires to encapsulate the personalities of each band member in his art, aiming for a style reminiscent of Klaus Voormann’s Revolver.
It has been nearly two decades since the tragic loss of their friend and drummer, Paul Hester, but his memory remains at the forefront of their minds, especially while they are working on music. “His presence is always around, and often feels like he is in the room when we are jamming,” shares Seymour. Finn reminisces fondly about Hester’s unique humour, recognising that his essence is integrated into the core fabric of the band, and acknowledging how much they miss his input during live shows.
When Elroy, playing old hits such as Weather With You, Fall at Your Feet and Don’t Dream It’s Over, implements techniques taught by Hester. “Elroy acquired his own skills with the brushes from Paul,” recalls Finn, who also mentions an occasion when Elroy, still in school at the time, attended rehearsals and demonstrated to their then drummer, Matt Sherrod, the correct technique.
Finn’s other son, Liam, is also proving to be a budding songwriting apprentice. He was credited with writing The Howl, a track featured on Gravity Stairs. Finn and Liam work well together, offering occasional assistance to each other. Finn appreciates this dynamic, noting how Liam’s slightly lax approach to phrasing often acts as a beneficial reminder for him not to be too rigid.
The members of the band live all over the globe, making airports a regular fixture in their lives. Finn looks forward to the imminent rehearsals set for Crowded House’s forthcoming tour. “We’re thrilled to resume our active roles in the band,” he expresses, “We exist as a band sprawled across both ends of the world, pushing the boundaries of feasibility.”
His primary driving force remains the essence of music. “The power of a melody can harmonise an incredibly diverse group of people, instilling a sense of warmth, goodness, and potentiality in humanity,” he declares, “I firmly believe it’s the only contribution I can make.”
Their latest release, Gravity Stairs, is set to come out on the 31st of May, Friday. A performance by Crowded House is scheduled at Musgrave Park, Cork, on the 23rd of June, Sunday.