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‘The Gift Of Music: Stories of Music Therapy’ documentary screening across Canada

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The Canadian Music Therapy Trust Fund has announced a series of screenings of The Gift Of Music: Stories of Music Therapy, taking place across Canada this month. The documentary portrays the incredible ways that music therapy touches the lives of people of all ages and abilities across Canada. In the film, viewers see how a young man overcomes many challenges to make music his career, meet a newborn without sight who learns to engage her other senses, and are touched by a dying man who is able to record a beautiful love song for his wife. A trailer for the film is available at http://vimeo.com/21257314, and embedded below.

Music Canada is proud to sponsor the venue rentals for the screenings, happening in eight cities across Canada.

The screenings are as follows:

  • Montreal (Nov 8), 3pm:  Concordia University, Open House/Donation at door – 1515 St-Catherine St W, EV Atrium Room 1.615
  • Vancouver (Nov 23), 2PM: Langara College 100 W 49th Ave, Lecture Theatre A122a
  • Peterborough (Nov 24), 7PM: Market Hall Performing Arts Centre. Donations at door – 140 Charlotte St
  • Halifax (Nov 24), 7PM: Dalhousie University, Rowe Building, Room 1014
  • Calgary (Nov 25), 7PM: Plaza Theatre, 1133 Kensington Road NW
  • Toronto (Nov 27), 7PM: Palmerston Library, 560 Palmerston Ave, Director Scott Rondeau will be present.
  • Edmonton (Nov 28), 7PM: Stanley A Milner Library – Edmonton Room, 7 Sir Winston Churchill Square
  • St. John’s (Nov 28), 7PM: Memorial University, 230 Elizabeth Ave, Suncor Room

For tickets or more information, visit the Canadian Music Therapy Trust Fund site. All proceeds from ticket sales will go to expanding music therapy initiatives and pioneering new programs across Canada.

 Gift of Music Sponsors

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PHOTOS: Mo Kenney Stops By Music Canada

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Earlier this week, Halifax, NS singer-songwriter Mo Kenney dropped by the Music Canada office for an intimate courtyard performance featuring songs off her latest album In My Dreams and a cover of “Five Years” by David Bowie by request. In My Dreams is Kenney’s sophomore release and was produced by Joel Plaskett, who also co-wrote some of the songs for the album. Mo Kenney is currently on tour across Canada and you can check out the tour dates here.

You can purchase In My Dreams from iTunes and Bandcamp.

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Ticket Giveaway: Retweet To Attend A Screening Of WHIPLASH In Toronto On October 23, 2014

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On Thursday October 23, 2014, Mongrel Media & 4479 proudly present Whiplash at Toronto’s Scotiabank Theatre, and an evening of Canadian Music in support of the charity MusiCounts. A favourite among festival goers this year, Whiplash tells the story of Andrew Neyman (played by Miles Teller), an aspiring young jazz drummer whose ambitious instructor (J.K. Simmons) helps push his ability using unorthodox (but effective) training methods.

Following the screening, we’ll head on over from Scotiabank Theatre to Adelaide Hall for the official after party!

Want to go? Simply retweet Music Canada’s tweet below by Wednesday October 22 at 12 PM and you’ll be automatically entered to win a pair of tickets to the screening and after party. You must be 19+ to enter. Transportation to Toronto will not be provided.

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Guest blog: Fairness in the Fishbowl – Reconsider the Copyright Board Ruling on Tariff 8

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The following is a guest blog by Greg Nisbet, Founder & CEO of Toronto-based digital music company Mediazoic:

Made-in-Toronto music biz legend Bob Ezrin recently wrote about the Copyright Board ruling on Tariff 8, speculating that it may be “The Day The Music Died”. In the piece, he states the following:

Perhaps the worst result of the low rate is that we will be granting a 90% discount to American streaming companies that covet our market and will eagerly sweep in here with powerful and well-funded systems that will wipe out any Canadian-owned competition – all at the expense of the creators you have historically supported with thoughtful policy.

I run a 100% Canadian music streaming company and I agree with Mr. Ezrin. The ruling was a bad idea and the rates are too low.

It may at first seem counter-intuitive that a streaming company would advocate for paying higher costs to do business, in a business that is already notoriously expensive. Indeed, I was asked in a recent Globe & Mail article if music streaming companies will ever make money.

Well, I don’t know about other companies, but I am proud to be able to claim that ours has been built without any of the digital and entertainment grants available, and, not having had access to those deep wells of venture capital available to many of the international streaming companies, we have therefore managed any progress we’ve made through our own devices.

In our first couple years in business, that lack of funding was actually by choice 😉 People in the industry told me for years that Mediazoic was the ultimate grant magnet – Canadian, digital, music, and media all rolled into one. I used to respond that I didn’t think we could consider ourselves a viable business model unless and until the market had decided our fate. We were going to focus on getting clients, not writing grants.

Then one day we lost a huge deal to a very well-funded international service because, in order to enter our market, they were willing to do for free what I’d have actually had to pay my people to do. I understood immediately the frustration of the local merchant with the big box store opening next door (and yes, we started applying for all the grants we could!)

So yes, Bob Ezrin has a point, but mine is not an argument for protection of companies like mine up against better-funded international competitors. I still think having to stand on our own two feet helps us understand how to build something valuable and sustainable.

My concern with the Copyright Board ruling is that it will foist this “big box” model on our music creators as well. The price-driven “big box stores” (streaming companies) are set up to thrive, but their “suppliers” (artists, management, labels, etc.) are not. And listeners may think they’re better off, but when the creators suffer, it is ultimately music fans who suffer.

It would have been one thing if licensors, who have a deep understanding of the business/culture balance and of Canadian/international ownership complexities, had decided the timing and nature of a change in rates. As we all know, streaming even at low rates is still preferable to file sharing, or streaming from sources that don’t report their plays. The progress that has been made in monetizing convenient access to great music is not something likely to reverse, and in spite of the whipping-boy status earned during the piracy wars, I haven’t found anyone in the business who understands that better than label folks.

And yes, streaming companies do need an environment in which to make a profit. But rather than push for lower rates, my company chose to innovate the business model. Basically, we believe the success of each project we undertake is based on three parties – us for providing the platform, the rightsholders of the music played on our system, and our station hosts (clients) for getting it out there. As such, when planning and implementing a project, we always strive for a fair and transparent split of the revenue between the parties. This isn’t just because we’re nice and we love music – we believe that in the music business of the future, the most successful companies will be the most fair and transparent.

Indeed, we hear repeatedly that one of the main reasons our clients choose to do business with us is that they want to support a flourishing arts community, even more so if that has built-in support for Canadian artists and companies.

We live in a fishbowl. Fairness may be desirable now for organizations, but it is rapidly becoming necessary. Systems that are not based on fairness are doomed to fail, as they will not bear the ever-increasing scrutiny that comes with our interconnected world.

Simply put, the Copyright Board ruling is not fair. It is my hope that the artistic community will use every means at its disposal to support the many innovative new ways of delivering music that actually focus on giving artists a fair shake.

 

Greg Nisbet

Mediazoic…Radio, Evolved

gregn [at] mediazoic [dot] com

http://www.mediazoic.com

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Bob Ezrin: “Please don’t let this be the day the music died”

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Esteemed Canadian music producer Bob Ezrin has published the following op-ed on the Copyright Board of Canada’s Tariff 8 decision in this week’s edition of The Hill Times.

REPRINTED WITH PERMISSION FROM THE HILL TIMES, SEPT. 22, 2014

Please don’t let this be the day the music died

By BOB EZRIN
Published: Monday, 09/22/2014 12:00 am EDT

TORONTO—It’s always been a mixed blessing to live next to the economic and cultural behemoth to our south. On one hand, we have access to the world’s largest market, while still enjoying the more liberal and enlightened Canadian life. On the other hand, they can easily overwhelm us with sheer bulk and easy access to our market.

One of Canada’s most valuable resources—and most profitable exports—is our culture. Per capita, we may be the world’s largest exporter of culture and talent. This has been made possible by the wise decisions of our hard-working parents and by forward-thinking government policy to support the arts in schools and in the marketplace and to provide developmental resources to Canada’s creative class.

We’ve grown successive generations of creators who are the equal to any of their global counterparts. And we have a vibrant national cultural industry.

Historically we’ve ensured that our creators are not just “sponsored” as they grow, but able to earn a sustainable livelihood. But now we face a major sea of change in the marketplace that begins with Canadian music and will ultimately swamp Canadian television, film, and even literature.

It is clear that in the future most music will be consumed through digital streaming services, offering low-cost “all you can eat” subscription plans in place of selling “à la carte” songs or albums. This will become true for television and film as well.

Streaming services want rights holders to believe that, with universal penetration, we will earn much more than we used to collect selling our creations. The reality is quite different. Historically, huge global hit songs would generate millions and fund the industry’s investment in tomorrow’s hit-makers—our R&D.  Today, in the streaming model, the return is a fraction of that.

And in Canada, we are beginning to set rates that are dramatically less than that.

Today, a massive hit streamed 100,000,000 times on  “non- or semi-interactive” services in most developed countries earns performers and their record labels between $130,000 and $220,000. Under the tariff set by our Copyright Board earlier this year, 100,000,000 listens in Canada—a near impossibility given our size—would generate a whopping $10,200. That is less than 10 per cent of what is paid in most other major markets—and roughly 10 per cent of what our industry had already negotiated in direct deals with the streaming services here! And the amount paid to Canadian songwriters and publishers is a similar pittance.

I know that the board operates with the best of intentions, but I am afraid in the case of Tariff 8 it has miscalculated what this industry needs, and Canadian music creators will suffer the consequences.

In short, if the Copyright Board’s inadvertent devaluation of our music is widely adopted and spreads to other rights, we’re dead. Our homegrown Canadian music industry cannot survive this. We will shrivel and die. And when we shrink, it will affect all the workers who support us, from graphic artists to marketing people to truck drivers to hotel workers to stagehands and software engineers—because many of us will simply no longer be able to afford to be creators and marketers of music, or to put our shows on the road.

Perhaps the worst result of the low rate is that we will be granting a 90 per cent discount to American streaming companies that covet our market and will eagerly sweep in here with powerful and well-funded systems that will wipe out any Canadian-owned competition—all at the expense of the creators Canada has historically supported with thoughtful policy.

My message to our government and the Copyright Board is simple:  Please pay attention to the marketplace, because that’s where we make our living. And please recognize that if our digital marketplace is to flourish, it will depend on the health and sustainability of our creative industries, which provide the content that fuel the digital marketplace. Please reconsider Tariff 8. And let’s sit down together to find a way to protect this most valuable of Canadian resources—our culture—in the new economy.

Please don’t let this be the day the music died.

Bob Ezrin has produced some of the world’s most important music artists, including Pink Floyd, Alice Cooper, Peter Gabriel, Johnny Reid and Young Artists for Haiti. He was inducted into the Canadian Music Hall of Fame in 2004 and Canada’s Walk of Fame in 2013. In 2013, he was also named an Honorary Fellow of the Royal Conservatory of Music. Bob can be reached at:  bobezrin@nimbusarts.ca.

 

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4th Edition Of “It’s Your Shot” Songwriting & Artist Development Competition Kicking Off Sept. 1

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On September 1st, Slaight Music and Warner Music Canada will kickoff It’s Your Shot 4 Canadian songwriting and artist development competition. The contest, which is open to all musical genres, encourages artists to submit a song and/or video to www.itsyourshot.ca for a chance to win a Grand Prize valued at $50,000.

Each year, Slaight Music – a company focused on discovering, developing, inspiring and supporting Canadian recording artists – partners with one of Canada’s major record labels to support this initiative.  The winning artist this year will receive distribution, radio promotion, publicity, and marketing support via Warner Music Canada, along with a professional photo session, a professionally written biography, the development of an artist website, social network pages and an opportunity to perform at a high-profile musical event in 2015.

Derrick Ross, President of Slaight Music comments, “Every year the It’s Your Shot competition highlights the fact that Canada produces many of the most creative and talented musicians in the world.  Winning this competition is a giant step towards a successful musical career for any emerging artist and we can’t wait to hear what the entrants to It’s Your Shot 4 bring this year!”

Past winners of the competition include: Liz Coyles (2011) who had a Top 20 hit with her debut single “Butterflies”; Hamilton’s Thought Beneath Film (2012), currently writing their sophomore album; and 20 year-old Jill Godin (2013), from Saint John, NB, who is currently in the studio adding the finishing touches to  her debut single and EP  that are due for release via Universal Music Canada in early 2015.  “Most other music contests offer money, but with It’s Your Shot, the money goes toward real artist development and comes with a team dedicated to launching a career”, Jill says.

The contest will run from September 1st to October 31st with the winning submission announced on December 15th.

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MEDIA ADVISORY: Six music cities to share best practices for music development at Music Cities Exchange during NXNE

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Toronto, June 12, 2014: Representatives from six cities who have taken a pro-active approach to developing their music scenes will take part in a Music Cities Exchange during NXNE on Friday, June 20, 2014. Panelists from Toronto, Austin, Hamilton, London, Chicago, Kitchener, and Montreal have been invited to participate in a moderated forum where panelists discuss the steps their city has taken to leverage their respective music scenes and grow opportunities for music development.

The Music Cities Exchange will share best practices, discuss challenges and opportunities facing their respective music communities, and explore the relationship between music and tourism agencies, municipal governments and other sectors.

When: Friday, June 20 @ 2:30 – 4 pm

Where: The Portland Room, The Spoke Club, 600 King St W, Toronto

To arrange interviews with panelists, please contact Quentin Burgess at qburgess@musiccanada.com or 647-981-8410.

This event is proudly sponsored by NXNE, 4479, and Music Canada.

– 30 –

For more information:

Music Canada Media Contact: Quentin Burgess, 647.981.8410, qburgess@musiccanada.com

NXNE Media Contact: FLIP PUBLICITY Damien Nelson, 416.533.7710 X221, damien@flip-publicity.com

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The Standing Committee on Canadian Heritage – Review of the Canadian Music Industry

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The Standing Committee on Canadian Heritage has undertaken a Review of the Canadian Music Industry, following an approved motion at the Committee on December 5, 2013, where “it was agreed, — That, pursuant to S.O. 108(2) the Committee undertake a review of the Canadian music industry… in order to:

a) inform Committee members of the details and impacts of the government support on Canadian music, as well as the creators and entrepreneurs who create and distribute music in Canada;

b) determine how funding is allocated;

c) to establish whether the government support is meeting the objectives laid out for it, and to make recommendations to the government on how it might strengthen support for Canadian music, and report its findings to the House.”

 

 

Music Canada is looking forward for an opportunity to address the committee on themes as explored in The Next Big Bang, A New Direction for Music in Canada.

For reference, links to witness appearances and transcripts are below, and we will update this page following future appearances.

Past Meetings:

March 4, 2014:
 Witnesses:
Department of Canadian Heritage: Jean-François Bernier, Director General, Cultural Industries; Sophie Couture, Director, Music Policy and Programs.
Minutes
Transcript
Audio streams

March 25, 2014:
 Witnesses:
Society for Reproduction Rights of Authors, Composers and Publishers in Canada: Alain Lauzon, General Manager.
Connect Music Licensing: Victoria Shepherd, Executive Director.
Alliance of Canadian Cinema, Television and Radio Artists: Brad Keenan, Director, Recording Artists’ Collecting Society; David Faber, Canadian Musician, Faber Drive .
Association québécoise de l’industrie du disque, du spectacle et de la vidéo (ADISQ) : Solange Drouin, Vice-President of Public Affairs and Executive Director.
Canadian Independent Music Association: Stuart Johnston, President; Shauna de Cartier, Chair.
Music BC Industry Association: Robert D’Eith, Executive Director.
Minutes
Transcript
Audio streams

March 27, 2014:
Witnesses:
Canadian Music Publishers Association: Elisabeth Bihl, Executive Director; Jodie Ferneyhough, President.
Society of Composers, Authors and Music Publishers of Canada: Gilles Daigle, General Counsel and Head of Legal Services.
Professional Music Publishers’ Association: David Murphy, President.
Library and Archives of Canada: Hervé Déry, Acting Librarian and Archivist of Canada, Office of the Librarian and Archivist of Canada; Cecilia Muir, Chief Operating Officer, Office of the Chief Operating Officer.
Canadian Radio-television and Telecommunications Commission: Scott Hutton, Executive Director, Broadcasting; Annie Laflamme, Director, Radio Policy and Applications.
Minutes
Transcript
Audio Streams

April 1, 2014
Witnesses:
Alliance nationale de l’industrie musicale : Natalie Bernardin, President; Benoit Henry, Chief Executive Officer.
Songwriters Association of Canada: Greg Johnston, Vice-President; Jean-Robert Bisaillon, Vice-President.
Gospel Music Association of Canada: Martin Smith, President.
Volu.me: Shawn Cooper, President and Co-Founder.
SiriusXM Canada: Andréanne Sasseville, Director, Canadian Content Development and Industry Relations; Paul Cunningham, Vice-President.
Songza: Vanessa Thomas, Managing Director, Canada.
Minutes
Transcript
Audio streams

April 8, 2014
Witnesses:
Canadian Academy of Recording Arts and Sciences: Allan Reid, Director, MusiCounts
As individuals: Brett Kissel; Louis O’Reilly, Manager, O’Reilly International Inc.
Re:Sound Music Licensing Company: Ian MacKay, President
Avalanche Productions and Sound Publishing: Sébastien Nasra, President-Founder, M for Montreal – Mundial Montreal
Artisti and Union des artistes: Richard Petit; Annie Morin, Director
Minutes
Transcript
Audio streams

April 10, 2014
Witnesses:
Société professionnelle des auteurs et des compositeurs du Québec: Pierre-Daniel Rheault, Chief Executive Officer
Canadian Federation of Musicians: Mark Tetreault, Director of Symphonic Services
Guilde des musiciens et musiciennes du Québec: Luc Fortin, President
North by Northeast (NXNE): Mike Tanner, Director of Operations
Live Nation Canada: Riley O’Connor, Chairman; Ken Craig, Promoter
Ticketmaster Canada: Patti-Anne Tarlton, Chief Operating Officer
Minutes
Transcript
Audio streams

April 29, 2014
Witnesses:
Cerberus Management and Consulting: Brian Hetherman, President
Quebecor Media Inc.: J. Serge Sasseville, Vice-President, Corporate and Institutional Affairs; Christian Breton, Vice-President, Music sector, Groupe Archambault
Polaris Music Prize: Steve Jordan, Founder and Executive Director
RBC Ottawa Bluesfest: Mark Monahan, Executive Director
Canadian Tourism Commission: Greg Klassen, President and Chief Executive Officer
Tourism Industry Association of Canada: David F. Goldstein, President and Chief Executive Officer
Minutes
Transcript
Audio stream

May 1, 2014
Witnesses:
Institut de la statistique du Québec: Dominique Jutras, Director, Observatoire de la culture et des communications; Claude Fortier, Project Manager, Observatoire de la culture et des communications
Warner Music Canada: Steven Kane, President
Nettwerk Music Group: Simon Mortimer-Lamb, President and Chief Operating Officer
L’Équipe Spectra: François Bissoondoyal, Director, Label; Roseline Rico, Vice-President, Governmental Affairs
Coup de coeur francophone: Alain Chartrand, Executive and Artistic Director
Lula Lounge: Jose Ortega, Co-Artistic Director, Lula Music and Arts Centre; Tracy Jenkins, Executive and Co-Artistic Director, Lula Music and Arts Centre
Notice of meeting
Transcript
Audio stream

May 6, 2014
Witnesses:
Canadian Independent Recording Artists’ Association: Zachary Leighton, Executive Director; Gregg Terrence, President
National Music Centre: Andrew Mosker, President and Chief Executive Officer
Stingray Digital: Eric Albert, Executive Vice-President; Mathieu Peloquin, Senior Vice-President Marketing and Communications
Google Canada: Jason Kee, Counsel, Public Policy and Government Relations
Deezer: Justin Erdman, Managing Director, Canada
Notice of meeting
Audio stream

May 8, 2014
Witnesses:
Quinlan Road Limited: Loreena McKennitt, President; As individuals, Jim Vallance, Paul Hoffert
Mo’fat Management: Stéphanie Moffatt, President; Mylène Fortier, Director, Marketing
Music NB : Jean Surette, Executive Director; Richard Hornsby, Director of Music, University of New Brunswick
Manitoba Music: Stephen Carroll, Board Member
Notice of meeting
Audio stream

May 13, 2014
Witnesses:
Foundation Assisting Canadian Talent on Recordings (FACTOR): Susan Wheeler, Chair; Duncan McKie, President; Allison Outhit, Vice-President, Operation
Fondation Musicaction: Pierre Rodrigue, Chairman of the Board of Directors, Louise Chenail, Chief Executive Officer
Fonds RadioStar: François Bissoondoyal, Chairman of the Board of Directors; Louise Chenail, Chief Executive Officer
Music Canada: Graham Henderson, President
Radio Starmaker Fund: Sylvie Courtemanche, Chair of the Board; Chip Sutherland, Executive Director; Alan Doyle, Member of the Board
Canadian Music Week: Neill Dixon, President
Notice of meeting
Video stream

May 15, 2014

Drafting Instructions for a Report
Notice of meeting
Video stream

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A Tribe Called Red & Lisa LeBlanc deliver incredible performances at Minister of Canadian Heritage Shelly Glover’s Canadian Music Night

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A Tribe Called Red & Lisa LeBlanc delivered incredible performances this week at Minister of Canadian Heritage Shelly Glover’s Canadian Music Night, an event series celebrating Canadian music and its contribution to Canada’s economy. The event, organized by Music Canada and Quebecor, with the support of TD Bank, Stingray Digital Group, CIMA, and ADISQ, was held at the National Arts Centre in Ottawa, and was well attended by a non-partisan crowd including Members of Parliament from various parties, Senators, members of the media, and representatives from Canada’s music industry.

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Photo: Lisa Leblanc performs at the National Arts Centre
Photo by John Major Photography

ATCR1
Photo: A Tribe Called Red perform at the National Arts Centre
Photo by John Major Photography

The Minister’s Music Night series is an opportunity to expose Members of Parliament to some of Canada’s top musical talents, and the fifth iteration of the event highlighted Canada’s diverse and eclectic music styles. This was the first time the event featured Aboriginal and Acadian artists, with the distinct mix of A Tribe Called Red’s blend of traditional pow wow vocals and drumming with cutting-edge electronic music, and Lisa LeBlanc’s unique style of francophone Acadian ‘folk-trash’ songs. In an interview with QMI, Lisa LeBlanc said it was a great opportunity to share the stage with A Tribe Called Red, “which doesn’t happen often, because we have such different music styles.”

This was the second Canadian Music Night hosted by Minister Glover, following an event held at Museum of Civilization (History) in Gatineau, QC last December, which featured performances by Kaïn & Brett Kissel. After the event, Minister Glover highlighted the vitality of Canada’s music industry, noting the cultural and economic importance of the sector.

“I was thrilled to once again host the popular Music Night and showcase some of Canada’s best and brightest stars in the music industry. This unforgettable evening left me with a deeper sense of pride in our country’s dynamic, brilliant musicians and artists,” said Minister Glover. “Our guest artists, folk-rock singer-songwriter Lisa Leblanc and electronic music group A Tribe Called Red, have made waves and enriched the lives of many, both at home and abroad, with their unique styles.”

 

Prior to the show, A Tribe Called Red & Lisa LeBlanc toured Parliament Hill with MP Patrick Brown, which included a visit to the Senate, the Library of Parliament, and the Peace Tower.

LibraryParliament
Photo: A Tribe Called Red and Lisa Leblanc in the Library of Parliament
Photo by John Major Photography

PeaceTower
Photo: A Tribe Called Red and Lisa Leblanc in the Peace Tower
Photo by John Major Photography

MinisterArtists
Photo: A Tribe Called Red, Lisa Leblanc, and the Honourable Shelly Glover at Parliament
Photo by John Major Photography

 

SpeakerReception
Photo: A Tribe Called Red, Lisa Leblanc, and the Honourable Andrew Scheer at the Speaker’s Reception
Photo by John Major Photography

SergeSpeaking
Photo: Serge Sasseville, Senior Vice President, Corporate and Institutional Affairs, Quebecor, speaks at the National Arts Centre
Photo by John Major Photography

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Photo: Graham Henderson, President of Music Canada, speaks at the National Arts Centre
Photo by John Major Photography

GaryClement
Photo: Gary Clement, Senior Manager, Government Relations, TD Bank Group, speaks at the National Arts Centre
Photo by John Major Photography

MinisterSpeaking
Photo: the Honourable Shelly Glover, Minister of Canadian Heritage and Official Languages, speaks at the National Arts Centre
Photo by John Major Photography

After a sound check and meet and greet at the National Arts Centre, Lisa LeBlanc kicked off the show, wowing the audience with her energetic performance on guitar and banjo, drawing comparisons to kd lang, Linda Ronstadt, and Janis Joplin. LeBlanc earned a standing ovation from the crowd, who were clapping and stomping their feet along with the music.

A Tribe Called Red’s set continued the high level of energy in the room, both with their mix of traditional pow wow drumming and dubstep and electronic music, and the incredible dancing from James Jones, the traditional hoop dancer who joined them on stage. By the end of their set, members of the audience were on stage as well, joining James in a circle dance.

After their performances, both bands joined members of the audience in a post-reception in the lobby, signing autographs and snapping photos with their new fans.
Several guests of the events shared highlighted from the concert on Twitter, embedded below:

 

For more photos from the event, see our album on our Facebook page.

Post by Music Canada.
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FitMix launched as one-stop music solution for fitness instructors

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Canadian fitness instructors have a new option for high-energy music to power their spin classes and bootcamp sessions: FitMix Inc. is a new digital service offering a one-stop music solution for fitness instructors.FitMixPlaylist

Licensed by all of Canada’s major labels and top independent labels through Connect Music Licensing, FitMix leases continuous mixes of ten to twelve songs, which are mixed especially for exercise classes. As Julie from Fitmix described, this means the mixes are continuous, which allows the exercise classes to maintain their pace as there are no breaks between the songs. Each mix is timed between 45 and 48 minutes, so classes keep a consistent time.

The tempo of Fitmix’s songs are also designed to fit with exercise class routines, with the songs’ beats per minutes matching the desired intensity of the class. As the chart shows, some of the latest FitMixes gradually gain intensity, while others end with a slower song for the cool-down portion of the class.

FitMix is a welcome addition for instructors, says Julie, because it allows them to have a one-stop shop for their music, which is pre-licensed and allows them to spend their time working with clients instead of preparing playlists, which is generally unpaid work for instructors. The Connect Music License covers the reproduction of sound recordings, while the gym operaters can cover the public performance of the music with a license from SOCAN & Re:Sound.

FitMix releases are in mp3 format, which allows instructors to bring them to class on their mp3 player or mobile phone. All of FitMix’s songs are performed by the original artist, and are clean versions to avoid offensive language during classes.

For more information, visit their website at https://fitmix.ca/.FitMixBPMs

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