At The Prime Meridian

Britain has produced a lot of world-renowned musicians over the years. That often leads people to assume that we (people outside the country) know all the famous British musicians. But no: there are some artists that make it big in the UK but not in the rest of the world.

I’ve always been amused by the fact that the British themselves are kind of oblivious about this. You might see reporters on BBC World breathlessly reporting that Robbie Williams has hinted at a Take That reunion, unaware that much of the world has no idea who that is.

In most cases, the explanation of British-only stars is that there was an American substitute. For instance, Take That were around in the glory days of boy bands, so it’s not too surprising that they couldn’t pry Americans’ attention away from Backstreet Boys and NSYNC. But there are also situations where a British artist’s work just doesn’t translate well to outside audiences.

Which brings us to Blur. Music news sites have been buzzing that they have a new album coming out.

If you’re not familiar with the story, in the Britpop era of the nineties, Blur and Oasis were the two leading bands, sort of like, well, Backstreet Boys and NSYNC. Oasis made it big world-wide — like much of the western world, I still have “Wonderwall” going faintly through my head — while Blur scored a minor hit on the North American alternative charts with. “Girls & Boys.” Then, to make the story even weirder, Blur made a tongue-in-cheek fast rock song — "Song 2," probably better known as the “Woo-Hoo” song — and scored a transcendent, world-wide hit. So now most people around the world think they’re a grunge band, even though their music was largely a reaction to grunge, and this sort of odd band who would have been named, “Seymour” if the record execs hadn’t insisted on something more marketable, will forever be played in stadiums and included on lists of the best Jock-Jams.

If you listen to their music, it’s not hard to see why it didn’t translate outside the UK. It’s rather terribly British. Not British in the commemorative-royal-family-tea-set way, but in the dryly satirizing everyday life sense.

Of course, whenever I see something like this in another country, I naturally ask myself if there is any Canadian equivalent: If there can be a band so British that only the British really “get” it, can there be a band so Canadian that only we “get” it. Of course, we do have that: The Tragically Hip. Which then leads to the shocking revelation: The Tragically Hip is Canada’s answer to Blur? (Okay, The Hip started a few years earlier, so Blur is the U.K.‘s answer to The Tragically Hip, but still, the point is that it’s a weird comparison.) Really, they're bands that take very different styles to their music, with Blur's irony and satire and The Hip's cryptic can-lit and history references. It would be interesting to see someone take Blur's playful approach to life and focus it on Canadian culture. Although, arguably, those different levels of irony are themselves a reflection of the national identities of the respective bands. Okay, now my head hurts.

This leads me to wonder how many other countries are sitting on something like this: a band they love that never made it with the outsiders. Obviously, many countries have a language barrier that keeps local musicians from making it big world-wide. But this phenomenon even keeps some English-speaking performers local, even from countries that have produced world-famous musicians.  So I googled, “Australian bands that weren’t popular outside Australia” and found a list of the best Australian bands as voted by Australian musicians. In among the usual suspects, AC/DC, INXS, Midnight Oil, and Crowded House, there was Cold Chisel, whom I had never heard of. They’re described as a "pub band" who leaned in to the wild rock lifestyle of the 70’s-early-80’s and known for wild live shows. 

Reading the comments, Australians showed a feeling of nostalgia for their music that seemed reminiscent of The Hip, that they speak to the experience of growing up and living in the country. I guess every country does have that band that couldn’t be exported, even if they vary wildly stylistically.