The woman has been placed in an induced coma and is being treated at St Vincent’s Hospital after a dramatic fall at Allianz Stadium in Moore Park, where she fell down six rows of seats while the British pop singer performed on stage.
A New South Wales ambulance spokesperson confirmed that paramedics were called to the scene at around 10.15pm on Thursday 16 November.
“Last night we attended Allianz Stadium. We were called in to reports of a woman in her seventies who had fallen,” their statement said.
“We treated her on scene to injuries to her face and head and took her to St Vincent’s Hospital in a critical condition.”
The woman was apparently attempting to climb over several rows of seats when she slipped and fell, sustaining injuries to her head and face.
Staff at the venue, as well as a bystander, looked after her until emergency services arrived, a Venues NSW spokesperson told The Telegraph.
“The patron was attended to immediately by venue staff and a nearby guest who is a qualified medical professional.
“Medics arrived shortly after and the patron was taken from the venue by ambulance to hospital. We are working with NSW Police and will provide further updates as they become available.”
The woman remains in intensive care. The Independent has contacted Williams’ representatives for comment.
Williams is touring Australia for the first time since 2018, performing to up to 40,000 fans a night at stadiums around the country.
He is next set to play two nights in Queensland on 18 and 19 November before stopping for three shows in Victoria, ending up in Swan Valley on 1 December.
The tour comes after he released a Netflix documentary, Robbie Williams, which charts his rise to fame as the youngest member of Nineties pop band Take That, then as a solo star behind songs such as “Rock DJ”, “Angels” and “Millennium”.
In it, Williams also addresses his struggles with drugs and alcohol abuse as he dealt with overwhelming fame and scrutiny into his personal life.
“Robbie Williams is a tender portrait of a genuine British sensation,” critic Nick Hilton wrote in his four-star review. “Admittedly, it may end up just another instalment in Netflix’s hagiographic portraits of English icons, from David Beckham and Tyson Fury to George Michael and Keith Richards, but its attempt at self-examination, if a little arch, is an effective way of looking at the excesses and intrusions of celebrity at the turn of the millennium.
“Robbie Williams combines titillation and pity as effectively as its namesake does braggadocio and vulnerability.”
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