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2017 JUNO Awards adds second wave of performers

Posted March 16, 2017 by Bram Gonshor

Multi-Platinum rockers Billy Talent will perform at the 2017 JUNO Awards

The Canadian Academy of Recording Arts and Sciences (CARAS) has announced the next group of performers for the 2017 JUNO Awards, broadcasting in 4K from Ottawa’s Canadian Tire Centre April 2, 2017, on CTV.

JUNO-winners Billy Talent, Dallas Smith, and July Talk have been confirmed as performers for the broadcast, joining the previously announced artists Arkells, A Tribe Called Red, Alessia Cara, Ruth B, Shawn Mendes, and The Sturmbellas. Diamond-certified Canadian Music Hall of Fame inductee Sarah McLachlan rounds out the list of confirmed performers for this year’s broadcast.

CARAS has also revealed that in light of its superstar roster, the 2017 JUNO Awards, hosted by Bryan Adams and Russel Peters, will expand to two-and-a-half hours for the first time in five years. This announcement also comes on the heels of the 2016 JUNO Awards winning the Canadian Screen Award for Best Music Program or Series last week.

Tickets for the 2017 JUNO Awards, starting at $59, are available through Ticketmaster or by phone at 1-877-788-3267. $1 from every ticket is donated to MusiCounts through the JUNOs’ partnership with Plus 1, a non-profit that partners with touring artists to facilitate a $1 add-on from every concert ticket to go to a cause the artist believes in. The donation will help ensure that children and youth across Canada have access to musical instruments.

Categories: Industry News
Tags: 2017 Juno Awards, Billy Talent, Canada 150, Dallas Smith, Gold/Platinum, July Talk, JUNOs, Ottawa

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Rock, pop, and jazz score big at 2017 Canadian Screen Awards

Posted March 13, 2017 by Bram Gonshor

The 2017 Canadian Screen Awards, which recognize excellence in Canadian film, TV, and digital media productions, were handed out Sunday night at Toronto’s Sony Centre for the Performing Arts. Canadian rock heroes The Tragically Hip picked up the most awards in the music-related categories for the unforgettable broadcast of their August 20, 2016 hometown show in Kingston, ON.

The Tragically Hip: A National Celebration earned six awards for the production’s direction, design, sound, and photography. Hip members Paul Langlois and Rob Baker were on hand to accept their award for Best Performance in a Variety or Sketch Comedy Program, sharing their appreciation for all the support they felt during their Man Machine Poem summer tour.

Congratulations to #TheTragicallyHip A National Celebration on their win for Best Live Entertainment Special! #CdnScreenAwards pic.twitter.com/5PqkTHXwXR

— Canadian Academy (@TheCdnAcademy) March 13, 2017

Born To Be Blue, the Chet Baker biopic starring Ethan Hawke, picked up two awards for the film’s original score. Todor Kobakov, Steve London, and David Braid were awarded Achievement in Music – Original Score, while Braid also won Achievement in Music – Original Song sponsored by Slaight Music for “Could Have Been.” The film was shot in Sudbury, ON.

Trevor Yuile’s win for Best Original Music Score helped Orphan Black earn their leading total of nine ‘Candy’ awards, while Best Original Music Score for a Program sponsored by Slaight Music was awarded to Robert Carli for Murdoch Mysteries.

The 2016 JUNO Awards broadcast won Best Music Program or Series sponsored by Yangaroo. Last year, the 2015 JUNOs broadcast won the Live Entertainment Special category, which was awarded to the Tragically Hip this year.

The full list of winners and nominees can be found here.

Categories: Industry News
Tags: Born To Be Blue, Canadian Screen Awards, JUNOs, The Hip, The Tragically Hip

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NYC completes first ever Music Report

Posted March 9, 2017 by Alex Clement

A new report has established New York City as one of the largest music ecosystems in the world. The “Music in New York City” report, the first-ever economic impact study of the city’s music industry, was commissioned by the Mayor’s Office of Media and Entertainment (MOME) and it found that the music sector supports nearly 60,000 jobs, accounts for $5 billion in wages, and generates $21 billion in total economic output for the city.

When Mayor Bill de Blasio appointed Julie Menin Commissioner of the MOME in February 2016, the role of the agency was expanded to include music. This was the first time that a New York City agency had been given a mandate to support and promote the music industry. This study was considered an essential step to help the MOME understand the music sector’s scale, landscape, challenges, and opportunities.

“Music is an inclusive force and economic driver in this City,” said Mayor Bill de Blasio. “As we continue to build good jobs for New Yorkers, we see that raw talent and homegrown energy has built a powerful local industry. Together, we will continue to grow that success.”

“The music industry is a vital part of the city’s creative economy and we are thrilled to be its go-to agency in the City,” Mayor’s Office of Media and Entertainment Commissioner Julie Menin said. “This first-of-its kind study details the substantial amount of economic activity that all aspects of this rapidly changing sector of the entertainment industry generate in the City. The study also squarely reaffirms New York City’s status as the music capital of the world. Because of the City’s resilience and resourcefulness, New York has weathered changes in the music industry better than other cities and has come out on top. We look forward to building on that momentum and working with the industry to help it continue to grow and thrive.”

According to the report, the four key pillars of the city’s music ecosystem are local artist communities, mass music consumption, the global record business, and infrastructure and support services. These are directly responsible for approximately 31,400 jobs, $2.8 billion in wages, and $13.7 billion in economic output.

The economic impact of the sector is broken down in the report; the key findings are as follows:

Through transactions with suppliers and vendors to the music business (such as professional services, IT, and telecom), New York City’s music industry has an indirect economic impact amounting to approximately 10,100 jobs, $900 million in wages, and $3.4 billion in economic output.
The induced economic impact – created when those employed within the industry, or in jobs indirectly supported by it, spend their wages in New York City – amounts to approximately 16,100 jobs, $1.0 billion in wages, and $3.9 billion in economic output.
The music industry’s ancillary economic impact – tourism spending that can be attributed solely to attending music-related events – amounts to $400 to $500 million.
Total music ecosystem jobs and wages are slightly outpacing the broader New York City economy, growing at annual rates of 4 and 7 percent, respectively (by comparison, total city jobs and wages are growing at annual rates of 3 and 5 percent, respectively). Jobs and wages in the mass music consumption pillar grow the fastest, with 5 and 12 percent, respectively.

The report identifies rising real estate prices, high cost of living, and the global disruption ushered in by digital services and technologies as challenges facing the music sector. It notes that many smaller venues have closed in recent years, and that many artists are seeing their income from record sales decrease while the demand for live performance slots increases.

The study recommends that the city capitalize on opportunities to:

Support and help to build thriving local artist communities.
Create more performance opportunities for local artists.
Increase the economic impact of mass music consumption.
Harness and expand the presence of digital music services.

You can read the city’s press release here.

And read the report here.

Categories: Industry News, Music Cities
Tags: Bill de Blasio, Julie Menin, Music Cities, New York City

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Department of Canadian Heritage releases #DigiCanCon consultation report

Posted February 27, 2017 by Corey Poole

On February 21, the Department of Canadian Heritage released its Canadian Content in a Digital World consultation report. The government commissioned the independent data analysis firm Ipsos to synthesize the information gathered from the DigiCanCon consultations. The results contained in the report are described as a thematic overview of submissions received.

The television and film industries are thoroughly discussed, and while the report doesn’t contain many direct mentions of music, some sections have a strong focus on creators and the need to showcase Canada’s cultural sector at home and abroad, as well as “a need to ensure that Canadian creators share in the financial rewards resulting from increased dissemination of cultural content via digital channels.”

The report identifies three main principles that arose during the consultations, and positives for the creative community can be drawn from the feedback the government received related to each of these principles:

Focusing on citizens and creators

This principle involves supporting creators through skills development and ownership protection, investing in creators with a re-evaluated funding model to allow broader access, and respecting citizen choice to afford all Canadians with access to a diverse body of cultural content.

Reflecting Canadian identities and promoting sound democracy

A sentiment expressed by many during the consultations was that “the Canadian ‘brand’ should reflect the diversity of both Canada’s cultural and ethnic populations and also Canada’s geography and landscape.” Per the report, “there was general agreement that a robust Canadian cultural offering contributes to a strong Canadian identity which in turn breeds engaged citizens.” This is how many participants felt that culture can promote a sound democracy.

Catalyzing economic and social innovation

How to create a cultural ecosystem that fuels growth of the middle class was one of the questions the government sought to answer. While participants reportedly had difficulty expressing how a thriving cultural sector would benefit the middle class, it’s important to remember that many members of the creative class earn an income below the poverty line from their creative work. Independent musicians earned an average of $7,228 per year from music-related activities in 2011. In many respects, a strong creative class contributes directly to a strong middle class. This is one of the main reasons the Focus On Creators coalition exists – to ask the government to put creators at the heart of future policy so they can earn a reasonable living from their work, and BE part of the middle class.

We were very encouraged by one of the “next steps” identified by the government to “through both public policy and perception, reposition the cultural sector as an engine of economic growth and innovation in Canada.” We firmly believe that music has incredible potential as a driver of economic growth and job creation and we’re committed to spreading this message.

One of the key themes of the consultations, identified on page 10, is “Modernizing Canada’s legislative framework and national cultural institutions.” According to the report, the Copyright Act was one of the institutions that participants said has “not kept pace with the shifting digital environment and should be examined.” The upcoming government-mandated Copyright Act review in 2017 was identified as a vital opportunity for Canada to stand up for creators, noting that “most agreed that changes to IP legislation that divert the flow of revenue back to the hands of the idea generators is essential to the future of the cultural ecosystem in Canada.” The Copyright Act is also included as a legislative framework in the government’s “federal cultural policy toolkit.” We hope that the opportunity presented by the 2017 Copyright Act review is used to its full potential to benefit Canada’s cultural industries.

Although it was not mentioned in the Ipsos report, The Copyright Board of Canada also has enormous potential to act as a business development force for our cultural industries. In a report released in December of 2016, The Standing Senate Committee on Banking, Trade and Commerce stated “The Copyright Board of Canada plays a pivotal role in Canada’s cultural sector. Yet, from what the committee heard, the Board is dated, dysfunctional and in dire need of reform.” The Senate committee report recommended that an “in-depth examination of the Copyright Board of Canada’s mandate, practices and resources” be included as part of the 2017 Copyright Act review.

Music Canada would like to commend Minister Joly and the Department of Canadian Heritage for undertaking such a thorough consultation at this crucial moment in time for Canada’s cultural industries. We are very encouraged by the commitment to creators displayed by both the government and participants in the consultation, and we are hopeful that these consultations will result in new policies to better support our creative industries in the digital age.

Categories: Advocacy, Industry News
Tags: Canadian content in a digital world, Copyright Act, Copyright Board, DigiCanCon, Focus On Creators, Mélanie Joly

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Hitting the Town for Music Therapy: A Night Out For Music Heals

Posted February 23, 2017 by Zoe Peled

The following is a guest blog by Zoe Peled, Community Outreach Specialist of Vancouver-based charity Music Heals:

It’s a familiar practice for most of us: the end of the Monday-to-Friday stretch arrives. We shift into weekend mode, and head to our favourite haunts for food, beverages, music, and general merriment. It is not uncommon that gatherings progress to bars, concerts, clubs, or venues. What happens when we incorporate a non-profit component into this social ritual? Enter: A Night Out For Music Heals.

A Night Out For Music Heals, the first major initiative of the year for Canadian charity Music Heals, invites bars, venues, nightclubs, pubs, breweries, and more to come together on one night to support the organization. Participating businesses support #NightOut4MH by donating $1 per patron from their cover charge, offering a flat donation, or highlighting a feature drink or menu item (and donating partial proceeds from sales).

Music Heals works to raise awareness about music therapy, and funds programs across Canada. The Music Heals Charitable Foundation supports a wide range of music therapy services to communities in BC and across Canada. Funding is directed to increased access to music therapy for patients in children’ hospitals, seniors’ centres, palliative care, AIDS & HIV programs, at-risk youth, rehabilitation, bereavement support, and more.

A Night Out For Music Heals 2017 will take place on Saturday, March 4, and kicks off a month of activations for Music Therapy Awareness Month. Music Heals is aiming to work with more than 100 businesses across Canada, and are still waiting for participants to come on board from arts and culture hubs Toronto and Montreal.

Money raised in each province stays in that province, giving participants the opportunity to engage with local initiatives and programs. A unique fundraising event model, #NightOut4MH encourages cross- Canada business relations, is formatted to permit businesses of all sizes and scales to participate, and simultaneously celebrates several components of the diverse Canadian music industry.

For more information, visit www.musicheals.ca, email the organization via nightout@musicheals.ca, or follow via social: musicheals_ca.

Categories: Industry News
Tags: A Night Out For Music Heals, Music Heals, Music Therapy, NightOut4MH

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London, Ontario, completes first ever music census

Posted February 16, 2017 by Alex Clement

The London Music Census is a first-of-its-kind study of London, Ontario’s music industry. The census originated with the London Music Office, and seeks to further the city’s understanding of the assets that make up the city’s music sector. The census has identified both barriers to prosperity and potential areas for future growth of London’s music sector.

The census was successful in shaping a deeper understanding of the state of London’s live music sector. The results revealed that the city’s music industry is concentrated in the realm of popular music, that there exists a wide variety of music businesses in the city, and that, interestingly, few music businesses are applying for government grants. Several key statistics emerged from the London Music Census, including:

London is a hub for emerging talent with 875 students studying music at post-secondary institutions;
The live music sector is growing with 4,620 music events held in 2015 and new festivals introduced in 2016;
London has a diverse mix of venues which includes 52 live music venues, with total seating capacity of 57,000;
Nearly half (44.7%) of musicians surveyed are strictly performing original music; and,
Over $ 7 million dollars earned in royalties by 1,203 music writers and publishers in London (2015)

London has made serious efforts in the past few years to support its local music community. This particular initiative is part of the London Music Strategy, which was released in August 2014, and also supports the city council’s 2015-19 Strategic Plan, which includes strong language calling for the strengthening of economic growth in the city’s cultural sector, the support of cultural programming, and celebrating and promoting culture.

“The London Music Strategy is a key part of growing our economy and promoting culture in London through our Strategic Plan,” said Mayor Matt Brown. “The results from the London Music Census will give us a detailed look at how we can cultivate and support London’s already eclectic and thriving music scene.”

The census, which obtained over 1,500 responses, took place over the summer of 2016. The survey, which was posted on the music office’s website, was broken up into five categories: Musicians, Venues, Festival/Event Organizations, Music Industry, and Music Fans.

“The London Music Census provided an opportunity to understand our advantages, issues, and gaps faced by the growing local music industry in London,” said Cory Crossman, London’s Music Industry Development Officer. “Through community and industry support we collected a database of assets and baseline figures for future analysis and measurement.”

To read more about the London Music Census, see the article on the London Music Office website.

Categories: Industry News, Music Cities
Tags: London Music Census, London Music Office

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Bell Media’s MuchFACT hits $100 million milestone in funding for Canadian music videos and projects

Posted February 16, 2017 by Corey Poole

With the announcement of February’s funding recipients, Bell Media also revealed that its MuchFACT (A Foundation to Assist Canadian Talent) program has surpassed $100 million in contributions to projects by Canadian artists.

Since MuchFACT’s launch in 1984, funding for nearly 9,000 projects has helped propel the careers of some of Canada’s most successful artists. MuchFACT’s press release lists Carly Rae Jepsen’s “Call Me Maybe,” Arcade Fire’s “Sprawl II,” and “Lovers In A Dangerous Time” by Barenaked Ladies as some of the most prominent videos to receive funding. In addition to developing Canadian music artists, MuchFACT has also been an important resource for Canadian directors, many of whom MuchFACT says have gone on to direct feature films, documentaries and award-winning music videos. The program is exclusively funded by Much & M3, divisions of Bell Media Inc.

20 new project funding recipients were confirmed from MuchFACT’s February music committee meeting. Those recipients are:

Music Content Package

Whitehorse – “Boys Like You” and “Pink Kimono”
Jessie Reyez – “Gatekeeper”

Music Videos

Sam Patch – “St. Sebastian”
Dragonette – “Body 2 Body”
HONORS – “Over”
Dzeko – “Never Gonna Love”
Smalltown DJs – “Erased the Night” (f. Lisa Lobsinger)
Daniel Caesar – “We Found Love”
The New Pornographers – “Whiteout Conditions”
Saya – “Cold Fire”
Cadence Weapon – “My Crew (Woooo)”
Harrison Brome – “Body Heat”
Jacques Greene – “True” (f. How To Dress Well)

Online Music Video / Project

Hoodies at Night – “4 Weeks” (f. KROY)
Chewii – “PuNoni”
TOPS – “Further”
Royal Canoe – “Living A Lie”
Yoko Gold – “Just a Fling”

Digital Tools

Doldrums – “We Come In Pieces”
BADBADNOTGOOD – “In Your Eyes” (f. Charlotte Day Wilson)

Applications for MuchFACT funding can be submitted though the MuchFACT website. The next upcoming deadline is Thursday, March 9, 2016 at 11:59 p.m. ET.

MuchFACT returns this year as a sponsor of the Video of the Year category at the 46^th annual JUNO Awards, happening April 2, 2017, in Ottawa.

Below is a showcase of videos that MuchFACT has helped support through the years.

Categories: Industry News
Tags: Bell Media, Juno Awards, MuchFACT

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Government of Canada to provide $8.3 million in funding towards Massey Hall revitalization

Posted February 10, 2017 by Bram Gonshor

Left to right: The Honourable Melanie Joly, Melissa McClelland and Luke Doucet (Whitehorse), Jim Cuddy, Deane Cameron, Adam Vaughan

The Honourable Mélanie Joly, Minister of Canadian Heritage, was in Toronto Friday to announce The Corporation of Massey Hall and Roy Thomson Hall as a recipient of the Canada Cultural Spaces Fund. The Government of Canada will provide $8,330,000 to assist with the revitalization of the legendary Massey Hall, which will improve its accessibility, technical infrastructure and presentation environment.

“We are thrilled that the Government of Canada is investing in Massey Hall’s future through the Canada Cultural Spaces Fund,” said Deane Cameron, President and Chief Executive Officer, The Corporation of Massey Hall & Roy Thomson Hall. “This funding will help set the stage for the completion of the Massey Hall Revitalization Project to ensure that Massey Hall remains a home to showcase and cultivate our future leaders in arts, culture and beyond.”

A rendering of the completed Massey Hall exterior revitalization (photo: Cicada Design for Kuwabara Payne McKenna Blumberg Architects)

The Canada Cultural Spaces Fund launched in 2001 and receives an average of 137 applications each year. As of March 31, 2016, the fund has invested approximately $410 million in 1,381 projects in every province and territory.

“Investing in Canada’s cultural sector helps create jobs for the middle class, strengthens the economy, and ensures that Canada’s unique perspective is shared with the world,” said Minister Joly.

Also in attendance at the announcement was Spadina-Fort York MP Adam Vaughan, and musician Jim Cuddy of Blue Rodeo, who spoke to his experiences playing the infamous stage and the impact the venue has had on the City of Toronto. Joly also spoke to the venue’s presence in Toronto during her address, deeming it a “right of passage” for musicians from all over the world who grace its stage. Toronto-based duo Whitehorse closed out the event with a captivating performance.

Massey Hall opened in 1894, and the last major renovation occurred in occurred in 1948. Phase 2 planning of the revitalization is underway, and construction is set to complete in 2021.

Categories: Industry News, Music Cities
Tags: Deane Cameron, Honourable Mélanie Joly, Jim Cuddy, Massey Hall, TOMusicCity, Toronto, Whitehorse

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Drake named IFPI’s Global Recording Artist of the Year as fellow Canadians Justin Bieber and The Weeknd reach the Top 10

Posted February 8, 2017 by Bram Gonshor

Today, the IFPI announced that Toronto hip hop artist Drake is the recipient of the IFPI 2016 Global Artist of the Year Award, which recognizes an artist’s worldwide success across physical and digital formats, including downloads and steams. Drake is the first Canadian to receive the award, and the fourth recipient since its launch in 2013.

Joining Drake in the Top 10 chart are fellow Ontarians Justin Bieber and The Weeknd, who reached #5 and #10, respectively. All three artists also appeared in the 2015 Global Top 10 chart.

“I’m delighted to be able to honour Drake as the IFPI Global Recording Artist 2016,” says IFPI chief executive Frances Moore in a release. “Drake’s phenomenal success reflects how deeply his unique sound appeals to an enormous global audience. The Global Top 10 list features a number of amazing artists, and the variety and vibrancy of their art speaks volumes about the exciting state of music today.”

Drake’s 2016 Double Platinum album Views became the first album to reach one billion streams on Apple Music, while the album’s single and summer smash “One Dance” became the first song to be played one billion times on Spotify. In 2015, Drake appeared at number nine on the list.

Justin Bieber, whose 2015 album Purpose contained multi-Platinum singles like “Sorry,” “Love Yourself,” and “What Do You Mean?” lands in the fifth position, allowing for two Canadian artists to appear in the top five. This is the second consecutive year the Stratford, Ontario native has appeared on the list, after reaching the number four spot in 2015.

Multi-Platinum R&B sensation and Scarborough, Ontario native The Weeknd, who released his Platinum-certified album Starboy in late 2016, was announced as the number ten artist, matching his 2015 position on the chart. While his album JUNO Award winning album Beauty Behind The Madness was released in 2015, The Weeknd, born Abel Tesfaye, continued to see success through the start of 2016 with the album’s singles “Can’t Feel My Face,” “In The Night,” and “The Hills.”

One Direction were the first group to be named Top Artist by IFPI when the list began in 2013, which also included Canadian Michael Bublé in the ninth spot. Taylor Swift earned the award in 2014, and in 2015, IFPI named Adele as the top global recording artist, who appears at number four in 2016.

Click here more for information on IFPI’s results, and view the full list below.

Top 10 Global Recording Artists of 2016

Drake
David Bowie
Coldplay
Adele
Justin Bieber
Twenty One Pilots
Beyoncé
Rihanna
Prince
The Weeknd

Categories: Industry News
Tags: 2016, Drake., Global Artist of the Year, IFPI, Justin Bieber, The Weeknd, Top Ten Global Recording Artists

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