It was always going to be emotional. Since the announcement that lead singer Gord Downie had been diagnosed with terminal brain cancer, The Tragically Hip’s unofficial farewell tour would be a cross-country cultural happening tinged with genuine tragedy.
Last night’s two-hour marathon set at Vancouver’s Rogers Arena allowed at least one corner of the country to pay its respects and show the depth of its love to the most Canadian of Canadian rock bands.
If it really is better to burn out than fade away, Downie’s brought his own matches, as his band gave immediate notice that they’d come to play a rock and roll concert, not host a wake. Openers “Twist My Arm” and “Three Pistols” were delivered without introduction or comment, Downie contorting himself across the stage while throwing hard stares back at the crowd, unprepared and unwilling to receive its sympathy just yet. “Little Bones” roared into life minutes later, provoking spontaneous outbreaks of dancing on stage and across the Arena.
Refusing to let nostalgia rule the night, The Hip took a four-track excursion across their new album, “Man Machine Poem,” a trip highlighted by the self-explanatory “Tired as F**k,” Downie pointing to himself with a darkly comic smile as he repeated its chorus.
Downie’s subtle references to his own struggles appeared again towards the end of the show; a bittersweet grin paired with pained eyes as the new meaning of “So Hard Done By” dawned on him and the crowd.
But those moments of sadness were few and far between. This was far from a pity party. This was a celebration of life, orchestrated by a host with a deep understanding that the art of being a great rock and roll front man involves more than getting the party started. Led by Downie and his strange collective of stage moves the highlights drifted in and out: “At Transformation,” “The Lookahead,” “Fireworks” and “Bobcaygeon” all welcomed like old friends.
Set closer “Grace, Too” ended with Downie (on his third shiny suit of the night, this one gold) alone at centre stage, eyes watering as he soaked up the love from his adoring crowd. A giant Canadian flag spontaneously appeared on the arena floor. It was totally appropriate.
Not a soul was leaving early to beat the traffic as the encores began. The band left the stage after “Wheat Kings” and “Locked in the Trunk of a Car” leaving Rogers Arena in a near-religious frenzy, returning to finish the night with “Opiated” and “New Orleans is Sinking.” Once again, Downie was the last to leave the stage as the cheers rained down.
The adoration was understandable. In placing the Canadian experience at the heart of their art, that art has become a vital and unique element of the Canadian cultural experience. You can debate their legacy in the years to come. But if this is band on its way out, they’re going out at the top of their game.
