The border mystery
For years, the perception that the Tragically Hip’s popularity is an exclusively Canadian phenomenon – that somehow, the group’s success vanishes in an imaginary “dead zone” that begins 50 miles from the Canada-U. S. border – has reared its head in most Hip-related press, both Canadian and American.
For fans, it’s perhaps a way to cling to and protect their love for the band – a way of stating, “We get this, but all these other idiots don’t.” For those who don’t care for the band, the mantra is “That’s just a Canadian thing, I guess.”
It’s more than understandable that, over time, the reoccurrence of this idea in the press has crawled beneath the skin of Tragically Hip manager Bernie Breen. The whole “south of the border dead zone” idea is, according to Breen, exaggerated.
It’s true, however, that while the band can quickly fill huge stadiums all over Canada and didn’t have any trouble selling out its four upcoming shows at Artpark and in other border towns, the band’s forays deeper into the American musical landscape have not been as successful. In fact, in a recent article in the Wall Street Journal, lead singer Gordon Downie was quoted as saying, “We can’t draw flies in the States.”
Breen’s argument, though, is that while it’s different and not as overwhelming, the Hip’s reputation and following in America is just fine, thanks.
“It’s funny, because in truth, the Hip plays the same rooms as, say, a Steve Earle or a Wilco,” says Breen. “Over the past 15 years, the band has sold a million records in America, it continues to build its fan-base in the States, and it plays sold-out shows in 2,500-seat venues in major markets from Los Angeles to Boston. In fact, it has been doing exactly that for a decade.”
Breen also says that the band was invited to be on Jay Leno’s “Tonight Show” the last time they were touring, but had to refuse because of prior commitments appearing with none other than the Who.
Breen points to recent high-profile gigs in New York City’s Nokia Theatre and Boston’s House of Blues – both of which were completely sold out – as ample evidence of the band’s status in the United States.
“Both of those shows were packed with fans who knew all the music and were completely into it,” Breen says. “And these were not flag-waving Canadians who’d traveled to the shows, or anything like that. Both New York and Boston were filled with local fans, people who live in these cities, and follow the band.”
— Jeff Miers
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