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Music Canada teams with economist Will Page to launch first-of-its-kind study on the Canadian streaming market

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Report details where and how Canadian artists are reaching fans today

As the Canadian Radio-Television and Telecommunications Commission (CRTC) continues its work to implement the Online Streaming Act, Music Canada has commissioned a first-of-its-kind report examining the presence and prominence of Canadian artists in Canada’s domestic audio streaming market.

The report, authored by renowned economist and streaming music market expert Will Page, analyzes Luminate data of the top 10,000 artists and top 10,000 songs listened to by Canadians on audio streaming platforms to determine the breadth and depth of Canadian artists connecting with Canadian fans. 

In the years studied, of the top 10,000 artists streamed in Canada, the report found nearly 1,000 were Canadian. Moreover, Canadian artists are well distributed throughout the top 10,000 – not just in the niche tail. Among the 1000 most-listened-to artists, 100 of them are Canadian, including a diversity of talent like Tate McRae, Karan Aujla, Lauren Spencer Smith, Fouki, Alexandra Stréliski and Josh Ross. 

“As the CRTC develops frameworks to bring streaming platforms under its regulatory purview, it’s really important they have a clear understanding of the current unregulated domestic streaming marketplace, and the wide array of Canadian artists who are finding success within it,” says Patrick Rogers, CEO, Music Canada. 

The report also considers the global nature of streaming, demonstrating how essential these platforms are to Canadians’ success around the world. It finds that, for every one stream at home, Canadian artists get almost 10 overseas. In fact, of the top 1,000 singles worldwide, Canadian artists ranked third, behind only the US and UK. 

“In a world where fans can listen to any artist, from any country in the world, and with nearly every recorded song at their fingertips, listeners are choosing Canadian music. Our regulatory framework should build on streaming’s ability to connect Canadian and Indigenous artists with fans at home and abroad,” says Rogers.

Read the full report here. 

 

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In age of AI, Canadians believe human artistry is essential to the creation of music

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Findings released as the Government of Canada holds consultations on implications of generative AI for copyright.

The vast majority of Canadians (85%) believe that human artists are essential to the creation of music – that’s according to a new study from the International Federation of the Phonographic Industry (IFPI) on attitudes toward Artificial Intelligence (AI). 

The research comes from the forthcoming Engaging with Music 2023, IFPI’s global report examining how fans around the world engage with, and feel about, music. This is the first year  the report includes a section dedicated to AI, as the technology’s rapid advancement continues to present both opportunities and challenges for the music business and for artists.  

The results overwhelmingly demonstrate that Canadians value authenticity in their music. And for those with an awareness of AI’s capabilities, the findings speak to a clear belief in the need for artist consent, credit and compensation. In fact, 79% of those Canadians think an artist’s music or vocals should not be used or ingested by AI without permission.

“Artificial intelligence is an exciting tool and one that, when used responsibly, can elevate creativity and help grow the creative industries. But, fundamentally, we believe that generative AI systems that ingest copyrighted music without authorization are stealing and profiting from the creations of human artists,” says Patrick Rogers, CEO, Music Canada. “We’re very pleased to see that the majority of Canadians agree with us.” 

The survey also found: 

  • 76% agree that AI should not be used to clone or impersonate music artists without authorization 
  • 77% agree that AI systems should clearly list which music has been ingested for training 
  • 85% believe that music generated solely by AI should be labeled as such 

As the Government of Canada is currently holding consultations on the implications of generative AI for copyright, these survey findings are particularly insightful. In fact, the survey found that of Canadians aware of AI’s capabilities, 75% believe there should be restrictions on what AI can do and 68% believe governments should play a role in setting those restrictions. 

Music Canada will submit feedback to the government on how Canada’s legislative frameworks could be updated to respond to the development and adoption of AI technologies. 

“We believe that any technology with the capability to clone or digitally reproduce a human’s voice, work or image without their consent has the potential to be detrimental to not only artists, but society as a whole,” says Rogers. “Music Canada is working to strengthen our policies and legal frameworks to better address these issues.” 

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Enablers and Barriers to Success in Canada’s Music Industry

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To better understand the barriers to inclusion facing equity-seeking groups in the music industry, and to help develop innovative solutions, Music Canada engaged Toronto Metropolitan University’s Diversity Institute to produce a report based on a national survey of industry professionals. 

The survey was designed with input from the Music Canada Advisory Council, the Canadian Live Music Association, the Canadian Country Music Association, Women in Music Canada, and ADVANCE, among other stakeholder groups. 

The resulting report finds that despite existing efforts in the industry, there remain practices which perpetuate inequalities for industry members defined by their gender and ethnocultural background. The report examines those challenges and provides a number of recommendations on meaningful ways for music industry organizations to embed EDI considerations into their governance, human resources processes, organizational culture, and elsewhere.

Learn more & download the report here. 

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IFPI releases ‘Engaging with Music 2021’, a comprehensive report that explores the ways that people listen to, discover and engage with music around the world

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Today, IFPI, the organization representing recorded music worldwide, released Engaging with Music 2021, a comprehensive report that explores the ways that people listen to, discover and engage with music around the world. Based on research conducted by IFPI across 21 of the world’s leading music markets, including Canada, the report is a global snapshot of music engagement in 2021. 

Engagement with streaming – particularly subscription audio streaming – continues to grow and is the most popular form of music consumption around the world. More than three-quarters of people (78%) said they listen to music through licensed audio streaming services (subscription and ad-supported). Globally, there was strong growth (51%) in time spent listening to music on subscription audio streaming services, reinforcing the strong attraction of streaming to music fans. Audio streaming services (paid and free models) made up the largest share of music listening for consumers in Canada and around the globe.

This rapid growth in streaming engagement is evident in Canada’s music marketplace. Last week, Music Canada was proud to present a panel on Canadian Music Data in 2021, as part of Canadian Music Week’s Virtual Voices Series. The panel highlighted that Canada’s music market is reaching a new major milestone. Canadians will soon stream 2 billion songs in a single week – a benchmark that reflects how much we all love and value music. The fact that these streams all come from licensed services reaffirms that there is a strong market for recorded music in Canada where creators are paid when their music is played. This rapid growth in the streaming marketplace is a Canadian success story. Record companies’ ongoing work and investments in artists, technology, infrastructure and staff have laid the foundations for the success in the digital marketplace today. 

IFPI’s Engaging With Music study paints a rich and diverse picture of the music engagement landscape today. Music plays an important role on short form video platforms like TikTok, where 68% of the time respondents spent on these apps involved music-dependent videos such as lip syncing and dance challenges.  The report also highlights music’s long standing relationship with gaming. 31% of gamers have attended a virtual concert on platforms like Fortnite, Roblox, or Minecraft.

The full Engaging with Music 2021 report is now available on IFPI’s website. An accompanying infographic illustrating key takeaways from the report is also available here.

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Music Canada and CONNECT Music Licensing release new research report, Supporting Artist Entrepreneurs in the Evolving Music Economy

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To help enable sustainable careers for artist entrepreneurs, Music Canada and CONNECT Music Licensing have released a new research report, titled Supporting Artist Entrepreneurs in the Evolving Music Economy.

The report summarizes the findings of a national research study of more than 300 artist entrepreneurs, conducted by Music Canada and CONNECT. The study shows that a lack of business and entrepreneurial training, as well as gaps in understanding of music sector structures, are key barriers to success for artists. 

“Too often overlooked in economic development conversations, artists are a remarkable segment of Canadian entrepreneurs who contribute to both the economic and cultural fabric of our society, and help create jobs for themselves and others in the Canadian music economy,” says Sarah Hashem, Music Canada’s Vice President, Strategic Initiatives. “According to the COVID-19 Artist Impact Survey we conducted with CONNECT earlier this year, each artist creates an average of 3.7 jobs. However, a gap exists in entrepreneurial support and training available to artists.”

The report identifies artists’ key business needs within an evolving music economy, outlines industry-wide strategies to promote artists’ business success, and makes recommendations that can be applied by government and artist-serving organizations to better support artists in sustaining their livelihoods through music. 

“Artist entrepreneurs represent more than 90% of CONNECT’s members, and the great majority of the creative middle class,” says Catherine Jones, Executive Director of CONNECT Music Licensing. “Like entrepreneurs in other fields, artists are creative, they are risk-takers, and they are job-creators. By supporting them with training and resources, we can help empower more artists to achieve their goals and earn a sustainable career.”

Music Canada and CONNECT have begun addressing some of the gaps with initiatives such as the Industry Insider Video Series. We hope the report can inspire artists serving organizations and government agencies to incorporate entrepreneurship and business  resources in their artist support offerings.

Download Report

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Music Canada and CONNECT Music Licensing partner for Industry Insider Video Series hosted by Domanique Grant

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The Industry Insider Video Series presented by Music Canada & CONNECT Music Licensing is an exciting new web series created in collaboration with Toronto-based artist Domanique Grant. The four episode series hosted by Domanique was developed to provide Canadian artist entrepreneurs with useful tips and resources from some of the industry’s top experts on how to navigate Canada’s music ecosystem, and give insight on how to effectively pivot during COVID-19. 

All the episodes are now streaming on Music Canada’s Facebook, Instagram TV, and YouTube channels, and the links are available below. 

Episode 1: Amanda Power (Unison Benevolent Fund)

In the first episode of the Industry Insider Video Series, Domanique speaks with Amanda Power, Executive Director of the Unison Benevolent Fund, to provide artists and members of the Canadian music community with critical information about the support programs available to them through Unison, including their free counselling services and COVID-19 financial relief program.

YouTube | Instagram | Facebook

 

Episode 2: Catherine Jones (CONNECT Music Licensing)

Catherine Jones, Executive Director of CONNECT Music Licensing, provides viewers with key information on the licensing landscape in Canada including copyright, distribution, ISRC codes, and registering with the correct collective management organizations. Visit the resources and infographics that Catherine references for more helpful information.

YouTube | Instagram | Facebook

 

Episode 3: Allan Reid (CARAS, The JUNO Awards, MusiCounts)

Domanique speaks with Allan Reid – President and CEO of the Canadian Academy of Recording Arts and Sciences, the not-for-profit umbrella organization for The JUNO Awards, MusiCounts, and the Canadian Music Hall of Fame. Allan discusses how artist entrepreneurs can build the foundations for success in the Canadian music business, and shares critical advice from his 30 year career.

YouTube | Instagram | Facebook

 

Episode 4: Shad (Artist, Host of Netflix’s Hip-Hop Evolution)

In this final episode of the Industry Insider Video Series, JUNO Award-winning rap artist Shad sits down for an in-depth discussion about an artist’s balance of sustaining a living in music while staying true to their artistic visions. Domanique and Shad share their beliefs on how artists can use their personal compass to navigate their career growth without compromising their creative output and social responsibility. 

YouTube | Instagram | Facebook

 

We hope you enjoyed the Industry Insider Video Series. Stay tuned to Music Canada and CONNECT Music Licensing for more information surrounding more tools and resources for artist entrepreneurs in Canada. 

The theme music for the Industry Insider Video Series was created and provided by Nick Fowler of TEKnology Productions.

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OMDC announces key dates for Ontario Music Fund 2016-17

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The Ontario Media Development Corporation (OMDC) has announced the key dates for the Ontario Music Fund’s 2016-17 period.

Timelines and deadlines for the four streams of the Ontario Music Fund (OMF) are as follows. The OMDC noted that the key dates for each stream vary, and all dates may be subject to change.

OMF Music Company Development Stream

  • Guidelines and Application Launch: Early March 2016
  • Deadline: May 17, 2016 (by 5 p.m.)
  • Activity Period: August 1, 2016 – July 31, 2017

 

OMF Music Futures Stream
NEW Important 2016-17 Program Update
Note: Two separate deadlines for specific types of applicants:

For eligible Domestic Artist-Entrepreneurs, Music Managers, Music Publishers and Record Labels:

  • Guidelines and Application Launch: Early March 2016
  • Deadline: May 18, 2016 (by 5 p.m.)
  • Activity Period: August 1, 2016 – July 31, 2017

For eligible Domestic Booking Agents and Music Promoters/Presenters:

  • Guidelines Launch: Early March 2016
  • Application Launch: Early June 2016
  • Deadline: October 4, 2016 (by 5 p.m.)
  • Activity Period: June 1, 2016 – December 31, 2017

 

OMF Music Industry Development Stream

  • Guidelines and Application Launch: Late March 2016
  • Rolling Deadline: Application evaluations occur throughout the year, from launch through to October 28, 2016
  • Activity Period: June 1, 2016 – July 31, 2017

Applicants are strongly encouraged to submit applications in advance of the program deadline date.

 

OMF Live Music Stream
NEW Important 2016-17 Program Update
Note: Application deadline has moved to Fall 2016

  • Guidelines and Application Launch: early June 2016
  • Deadline: October 4, 2016 (by 5 p.m.)
  • Activity Period: June 1, 2016 – December 31, 2017

 

The OMDC also announced that information and webinar sessions on the OMF will be held between April to September 2016. Details and registration will be posted on the OMDC website in the near future.

For further information on the Ontario Music Fund, visit the OMDC’s website at http://www.omdc.on.ca/music/the_ontario_music_fund.htm.

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First-ever study of live music in Ontario to be released on Tuesday, December 8, 2015

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Ontario’s live music industry is thriving, and for the first time, we have measured and recorded data that captures just how large of an impact it’s having in the province.

As some of our long-time readers may remember, in 2014 Music Canada – with the support of the Government of Ontario’s Ontario Music Fund – asked Nordicity to develop a profile and conduct an economic impact analysis of the live music industry in Ontario. Through this survey, we have been able to create a profile that identifies the strengths, weaknesses, opportunities and threats facing this community, while also providing it with a critical tool that will assist individual and cooperative efforts to grow the industry.

On December 8th, 2015, we will release a study that is the first of its kind in the province. Live Music Measures Up: An Economic Impact Analysis of Live Music In Ontario is a comprehensive look at Ontario’s live music sector. We asked the music community to stand up and be counted. Through a partnership with Nordicity, they have conducted research and interviews with artist managers, promoters, agents, music venues, and festivals from across the province to explore and better understand the revenue, audience, and economic impact of the sector.

The economic profile is organized into four key areas: revenue, audience, economic impact, and future outlook.

GDP - Insta-Facts B

Stay tuned via Twitter by following #MeasuringLiveMusic, or visit www.musiccanada.com for the report’s release on December 8.

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Music NB releases Sound IMPACT, a profile and economic impact assessment of New Brunswick’s music industry

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Music NB has released an economic impact study of the New Brunswick music industry, including a sector profile and strategic recommendations for the industry going forward. The study, completed by Nordicity, builds upon a 2004 report and provides up to date information on the industry which has experienced significant changes over the last decade.

The study highlights the economic aspect of New Brunswick’s music industry which accounts for $65.2 million in GDP and contributes $19.6 million in tax revenues to all levels of government. The province’s music industry has also experienced an estimated 284 percent increase in revenues over the last decade, increasing from $19.9 million in 2003 to $76.5 million in 2013.

“This study will help us as an organization to better see the needs of our industry,” said Jean Surette, executive director of Music NB, in an interview with The Aquinian. “The music industry can be an economic engine to development.”

The findings of the report suggest that there are opportunities going forward for the music community and policy makers in New Brunswick to build links and work more closely. It is recommended that music industry education, identified as one of the province’s strengths, continue to be supported.

The full report is now available for download at http://www.musicnb.org/sound-impact-industry-study.

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The first economic impact analysis of live music in Ontario to be released in November

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The live music industry in Ontario is thriving, and continues to position itself as a growing industry relative to the wider music industry. It has wide reaching economic benefits, and is a major source of income for artists at all stages of their careers. At a time of increased investment and international success, the industry is seeking to take the next steps to develop its capacity, increase growth, and effectively harness its strengths. It is in this spirit, that we’re excited to announce the forthcoming economic profile of live music companies operating in Ontario.

As some of our long-time readers may remember, in 2014, Music Canada – with the support of the Government of Ontario’s Ontario Music Fund – asked Nordicity to develop a profile and conduct an economic impact analysis of the live music industry in Ontario. This study is the first of its kind in the province. Through this survey, we have been able to create a profile that identifies the strengths, weaknesses, opportunities and threats facing this community, while also providing it with a critical tool that will assist individual and cooperative efforts to grow the industry.

We asked the music community to stand up and be counted. Nordicity conducted research and interviews with artist managers, promoters, agents, music venues, and festivals from across the province to explore and better understand the revenue, audience, and economic impact of the sector. It is with this research that the study hopes to identify new lines of business, new jurisdictions, factors to facilitate growth, and potential or existing barriers to growth.

“We can’t wait to share – for the first time – data that attests to the growing success of Ontario’s live music industry. Live music contributes to the livelihoods of so many Ontarians – from promoters, to artist managers, to hotels and restaurants. Venues and festivals of all sizes and in all contexts, in communities large and small, provide critical opportunities for artists to develop and benefit from live performance.  And in turn, the depth of our live music offering fuels tourism in Ontario  Our soon-to-be-released report will put numbers behind these statements while also identifying opportunities for further growth,” said Music Canada’s VP Public Affairs Amy Terrill.

Stay tuned for a release of the full report in November.

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