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Posts by Amy Terrill (26)


Mark Garner, Executive Director of the Downtown Yonge BIA, receives first ever Music Canada President’s Award

“It is pretty obvious when someone from outside of our community has a deep passion for music and the people who make it.”

And with that, Music Canada President & CEO, Graham Henderson, awarded Mark Garner, Executive Director of the Downtown Yonge BIA the first ever Music Canada President’s Award for his outstanding contribution to Toronto’s music scene.

President's Award - Mark Garner

Inspired by a similar award bestowed on Music Canada by Tourism Toronto in 2014, the award recognizes an organization or individual outside of the music industry that has an impact on the music industry.

Under Garner’s leadership, the DYBIA has created an action plan to stimulate music performance, creation, education and celebration in the downtown core of the city. Their music strategy builds on the rich music history in downtown Yonge in order to create an environment where music can succeed now and in the future.

“I’m encouraged every day by the teams and everybody around us…we’re not experts in the music industry…there’s a lot of people to thank that are connecting the dots for us. Everybody around us that is showing us how we can be that execution agent and supporting us in our efforts,” said Garner. “So this really a thank you for all of you, to thank you for the continued support and ongoing mentorship that we get from you on a day-to-day basis as we navigate this beast to help deliver the Music City vision on behalf of Toronto.”

Specifically, the Downtown Yonge BIA Music Strategy includes:

  • An integrated urban experience that allows visitors to pay homage to Yonge Street’s music legends through walking tours, historical plaques and neon sign installations;
  • Activation of public spaces including parks, squares and laneways with live performance events like Play the Parks, a series of concerts held in the summer; and,
  • A focus on education and incubation, beginning with an artist manager incubation program but building towards a multi-level, multi-disciplinary music incubator.

Video of the presentation is now available on Youtube, and is embedded below.


Music Cities: Australia Puts a Dollar Figure on Live Music

A recently produced study of live music in Australia makes a thoughtful contribution to the discussion around the importance of a vibrant music scene. The Economic & Cultural Value of Live Music was released earlier this month by the University of Tasmania and Australia’s Live Music Office, as well as partnering organizations, Creative City Sydney, the City of Melbourne, and the Government of South Australia.

Big Benefits

Tjintu Desert Band2The headline in this report is that for every dollar spent on live music in Australia, three dollars of benefits are driven back into the community. This cost-benefit analysis framework makes this study unique. It tries to capture the economic benefits of live music under three categories: commercial, civic, and individual.

As a starting point, the report demonstrates that the usual way of measuring live music benefits (by using information gathered from producers of live music) captures less than half of the real value. Producers can report on such things as ticket sales and food and alcohol sales. However, data is often limited to activities like festivals or licensed live music venues, often not capturing the full scope of live music presentation. In addition, according to the report, “producers are unlikely to be able to reliably account for the secondary markets that exist within their venues, such as ticket scalping and merchandise sales.” Further, this initial spending also triggers things like accommodation and travel expenditures, and according to the study, things like memberships and subscriptions, clothing, phone and internet.

For that reason, in addition to interviewing producers of live music, the researchers surveyed consumers.

When all of these categories of value are calculated, the researchers estimate that live music delivers benefits of $15.7B to the Australian economy.

A Spotlight on Live Music Capital 

Tjintu Desert BandOne the areas explored in depth in this report is the impact live music has on commonly accepted forms of capital: physical, human, social and symbolic.

Physical capital refers to the physical assets that are created by the live music scene. There is a large list including performance spaces, rehearsal spaces, training institutions, production companies, touring companies, acoustic manufacturers and media. The report also includes the “neighbourhoods where musicians and other creative individuals choose to live.”

Human capital refers to the knowledge and skills, education and training, and physical and mental wellbeing that results from live music.

The community benefit most commonly identified by both consumers and producers of music is social capital. To put it simply, live music encourages a sense of community. In Toronto, people reported observing the same thing during Panamania events this summer.

Finally, symbolic capital is the value of being known or recognized. This can apply to individuals as well as regions, cities, and venues. In The Mastering of a Music City, we reference the ways in which a music scene contributes to a city’s brand or identity.

Putting an Economic Value on Live Music Capital

Tina Harrod_Marble BarThe commercial benefits were valued at $AU2.1B. This is a combination of profits achieved by producers of live music after the net costs are subtracted; a productivity calculation for those businesses, and an additional productivity calculation for those consuming music – essentially, the degree to which live music consumption made them more productive at work.

Civic benefits include the number of jobs generated by live music in Australia. This study estimates that 65,000 full-time and part-time jobs have been created, valued at $AU2.2B, as well as the taxation revenue of $AU950.6M. The job calculation is based on consumer spending modelling and the authors note it is very conservative which will explain why it differs from other studies in Australia.

The individual benefits are calculated to include both the actual spending by consumers, as well as what they would have been willing to pay. The actual market value of what consumers spent on live music was estimated at $AU5B with an additional surplus value of $AU5.4B.

Live music delivers strong ROI

Tina Harrod_Marble Bar2In order to assess the true meaning or value of live music, the researchers compare this net benefit ($15.7Billion) to the cost of inputs ($AU5B) in order to come up with the benefit-cost equation of 3:1 –for every dollar invested in live music, more than three are returned.

This report is the most comprehensive valuation of live music I have come across. So often we speak generally about the social and cultural benefits of live music but seldom do we assign them an economic value. In trying to do this, the researchers bring a greater understanding to the multitude of benefits of live music and provide a strong argument for continued government investment in Australia. The Live Music Office in Australia was also a valuable contributor to The Mastering of a Music City.

Later this year, I will be speaking about our report at the Melbourne Music Symposium, an invitation-only event, along with Robert Kronenburg, Roscoe Chair of Architecture at the University of Liverpool, and Producer and Musician James Black.


Music Cities: Mannheim Music Model

There are Music Cities dotting the globe – from Toronto to Melbourne to Liverpool. Music Canada has spent the last year researching best practices from 22 of them. From musician-friendly practices, to the creation of designated cultural districts, to affordable housing incentives, there are many ways that we can encourage music in the heart of the city. In this series, we’ll be profiling countless cities around the globe and what they’re doing that’s unique to foster the principles found in our report. In our last post, we visited Pemberton, BC. In this edition, we’re thrilled to highlight our friends from Mannheim, Germany!

Mannheim, a city of 320,000 in the southwest region of Germany, has embraced the creative economy, putting it on equal footing with the city’s traditional manufacturing sector. A top-down strategy, initiated by city officials, has identified 11 sub-sectors of the creative economy. Music is one of the largest and according to Matthias Rauch, the city’s music cluster manager, the strategy has succeeded in positioning Mannheim as a centre for competency and knowledge in the music sector.

Rauch recently visited Music Canada and we arranged for a meeting with a number of Toronto city officials, community leaders and members of the Toronto Music Advisory Council where he described the Mannheim Music Model. The model combines infrastructure investment and programming support. As a top-down strategy, it has been heavily influenced by the Lord Mayor Dr. Peter Kurz, who was recently reelected to a second term, boding well for its continuation.

Toller Austausch zu den Themen Clustering, Music City und Startup- Förderung mit den großartigen KollegInnen von Music…

Posted by Clustermanagement Musikwirtschaft on Thursday, July 30, 2015


Main Pillars: Young Talent and Culture Support; Education; Start-up Support; and Cluster Management

The first pillar is managed by the culture office at the city and includes funding for individuals and bands as well as a two year coaching program for artists selected by a jury. The office also has a tour bus available for rent at lower than market value.

The main thrust of the education pillar is the Popakademie which is a public/private partnership that provides both bachelor and master programs on pop culture and the music business. This institution complements the existing music education programming available in Mannheim, including the University of Music & Performing Arts.

The third pillar consists of the business start-up centre comprised of two buildings (Music Park 1 and 2) which currently house 250 employees in 80 enterprises. 6000 square feet is available for rent and co-working space. As a start-up centre, companies are limited to eight years in residence and the music parks also create the opportunity for interaction among the companies through a café and other social spaces.

The cluster management office is the fourth pillar. It is the contact agency for all professionals in the music industry whom it brings together through a series of working groups based on genre, as well as the Entrepreneurship Club. This club puts creative innovators together with potential investors.

How does it measure up?

All of this activity is focused in an area of Mannheim which was once known more for crime and drug use. The Popakademie and Music Park buildings, as well as other creative centres, have remodeled the Jungbusch area into a hub for the creative industries. Live events take place in the area including the city’s largest festival, Time Warp. The city has now set its sights on the Taylor Barracks, a former military barracks, for a new creative hub with production studios, clubs, and affordable housing.

The strategy has received a great deal of support from outside Mannheim. In the last 12 years, €42 million has been invested into the creative industries program, with a portion of that funding coming from the European Union. It was this strategy that led in large part to Mannheim receiving the UNESCO City of Music designation.

Measured against our research, Mannheim certainly is a “music-friendly” and “musician-friendly” city. Rauch says that the strategy has improved the atmosphere for music in the city and led to increased activity overall, although he points out that there remain some gaps including a few of the rungs of the “venue ladder” that is needed to provide artists with performance spaces at each stage of their career. He also admits that Mannheim has yet to adequately leverage its music program for tourism.

For other cities, Mannheim provides some tangible examples of creative hubs and accelerators, and an interesting model for a post-secondary education institution dedicated to pop music and the music business.

Mannheim’s success reinforces a number of the themes that appear in The Mastering of a Music City – the single point of contact, for instance, for music, and focus on training for musicians and music professionals have all been instrumental in making the city grow. If you haven’t had a chance to read our full report, you can find it here. Want to share your story of how your organization is helping to foster a music city? Contact us – we’d love to hear from you!


Discussing Building a Scene / Maintaining a Music City at the Summit at Pemberton Music Festival

There are music cities dotting the globe – from Toronto to Melbourne to Liverpool. Music Canada has spent the last year researching best practices from 22 of them on how to foster a music city. From musician-friendly practices, to the creation of designated cultural districts, to affordable housing incentives, there are many ways that we can encourage music in the heart of the city. In this series, we’ll be profiling our travels to various music cities worldwide to present our report, The Mastering of a Music City. We’ll also be featuring countless cities around the globe and what they’re doing that’s unique to foster the principles found in our report.IMG_0830

First stop: The Summit – a gathering of leaders from various music cities at the Pemberton Music Festival in British Columbia!

Squamish Lil’Wat Cultural Centre

In the Squamish Lil’Wat Cultural Centre, an inspiring museum dedicated to telling the stories of the Squamish and Lil’Wat First Nations, about 200 people gathered to hear presentations by music leaders from Washington, New York City, Los Angeles, Adelaide, Vancouver and Toronto. We delivered our stories in the Japanese Pecha Kucha style: 20 slides, 20 seconds per slide. They were both personal and analytical. I was privileged to provide highlights of The Mastering of a Music City.

Drawn from their personal experience, the presentation by Katrina Jones and Adam Nanji of The Belle Game was a definite highlight. With a clear sense of responsibility, Kat and Adam, chronicled the challenges facing musicians in BC’s largest city – boiling it down to money and space. Finding affordable living space and rehearsal space is a definite challenge for artists.

Vancouver is not alone. In The Mastering of a Music City we contrast the critical importance of creating an environment that attracts and retains artists and musicians who are the heart of a music city, with the tendency for living costs to rise as inner cities become more attractive, often as a result of the level of creativity occurring there. Affordable housing, like that found in Nashville, is a key way to address this challenge. Kat and Adam contrast Vancouver with Montreal and indeed, our report points out that the lower cost of living in Montreal has been a key factor in its ongoing attractiveness for the creative community.

The Future of Music Coalition’s Casey Rae identified affordability as a key concern in the US as well. Rae suggests that cities can find solutions in adaptive reuse – repurposing empty buildings for creative activities without a large arts or infrastructure budget commitment.

Adaptive reuse is the goal behind a project in Marrickville, an area in Sydney, Australia, where the Marrickville/Sydenham Industrial Lands have been identified for development as a creative industries hub. Development proposals will only be considered that plan to use the business and industrial spaces for creative industries.

Daniel Seligman of Pop Montreal provided a very positive overview of his Music City, including describing the city’s alternative spaces that are available for occupation permits – places like the space underneath the city’s bridges that have been used for Bridge Burner parties. Montreal is featured in The Mastering of a Music City for a number of its best practices including the single office at the city that handles special events including music, making navigating City Hall an easy undertaking. Seligman confirms that Montreal is a very music-friendly city.

IMG_0908The balance of presenters shared positive elements of their Music Cities – great spaces and places for performance, favourite haunts of musicians and the industry professionals who support them, memorable moments in the cities’ musical past, and iconic bands and artists who have put their cities on the map.

The only thing left, after a day of sharing inspiring stories and discussing common challenges, was to spend time at one of BC’s terrific music festivals. More than 115,000 people attended the Pemberton Music Festival last weekend – some from nearby in parts of British Columbia while others travelled many miles to get there. The hotels and restaurants in nearby Whistler and Squamish were jammed. It’s a classic story of music tourism. The 2014 festival is estimated to have injected more than $40 million into the BC economy. Not bad. And a beautiful location for a music festival.

Each of these themes appears in The Mastering of a Music City. If you haven’t had a chance to read our full report, you can find it here. Want to share your story of how your organization is helping to foster a music city? Contact us – we’d love to hear from you!


Music Cities Exchange Event a Huge Success


Public and private representatives from six cities gathered on Friday, June 20th to talk about music strategies in an event hosted by Music Canada, 4479, and NXNE. It was a twist on a panel – featuring 19 people in a moderated roundtable discussion in front of an audience. Video is now available, and is embedded below.

The cities represented were: Austin, Chicago, Hamilton, Kitchener, Montreal and Toronto. Kicking off the event, a new animated video was launched that summarizes the Toronto music city campaign led by 4479, and points out some of the best practices contained in Austin, Texas.
The fast-flowing discussion that followed covered a broad range of topics including:

  • regulatory issues,
  • business licensing,
  • music tourism strategies,
  • artist support and promotion,
  • export,
  • music education, and
  • interactions between music and other creative industries.

Moderator Amy Terrill started by asking panelists (listed below) from each city to talk about common themes that appear in their music strategies. For instance, there is generally a strong recognition in each city about the economic value of music with highlights including job creation, tourism, and investment attraction. Many of the cities have established music offices in order to help music businesses and artists navigate city hall.

Support and promotion of artists is also a common theme with city strategies varying from grants in Chicago to a resource centre in Kitchener to live performance opportunities in Austin. Hamilton panelists discussed the value of hosting the 2015 JUNOs in terms of providing performance opportunities for local musicians and bands as part of the festival. Toronto musician Miranda Mulholland provided examples of challenges facing career musicians, urging communities to remember that it is the artists who are at the heart of every music community.

Music tourism was also discussed. Amanda Garcia of Austin described the coordinated effort to promote Austin music on the road and to conventions, including how they work with local agents in programming music at conventions in the city. Dan Seligman of Montreal pointed out that the city, tourism agency and festival presenters work in cooperation to attract music fans to the city and that millions has been invested in the downtown area to support large scale music events. Andrew Weir of Tourism Toronto confirmed that music is a big draw for Toronto.

In the audience were many members of the Toronto Music Industry Advisory Council and guests from each of the 6 cities, as well as Calgary and Banff, Alberta. There was overwhelming support for a repeat of the exchange with Kitchener’s City Councillor Berry Vrbanovic recommending a digital meet-up every quarter!
The panelists were as follows:

  • Stephanie Bergara, Austin Music Division
  • Amanda Garcia, Austin Convention & Visitor’s Bureau
  • Mike Shea, SXSW
  • Chris Brecht, Musician and Austin Independent Radio
  • Dylan Rice, Chicago Music Officer
  • Jacqueline Norton, Hamilton Music and Film Office
  • Tim Potocic, Sonic Unyon Records
  • Carol Kehoe, Hamilton Philharmonic Orchestra
  • Lou Molinaro, This Ain’t Hollywood
  • Councillor Berry Vrbanovic, Kitchener
  • William Muir, The Sound Distillery
  • Silvia Di Donato, Kitchener Manager of Arts & Culture
  • Alysha Brilla, Recording Artist
  • Daniel Seligman, Pop Montreal
  • Miranda Mulholland, Recording Artist
  • Councillor Mike Layton, Toronto
  • Mike Tanner, NXNE
  • Andrew Weir, Tourism Toronto
  • Zaib Shaikh, Toronto Film Commissioner & Director of Entertainment

See some of the discussion from the panel in the video below:


Music Canada deeply concerned regarding the uncertain future for the iconic sign from Sam the Record Man

The following is text from a letter sent to Toronto Mayor Rob Ford and the Chair of the Toronto and East York Community Council. On behalf of the members and partners of Music Canada, I wish to express our deep concern regarding the uncertain future for the iconic sign from Sam the Record Man.The sign, as the last remaining vestige of the Yonge Street store, holds significant historic and cultural value for Toronto. Sam’s was a destination for music lovers, musicians and artists from within Toronto and far beyond the city’s borders. It was a gathering place, a place for music discovery, and the original location of what would go on to become a symbolic Canadian retailer. Music is a key asset, economically, historically and culturally, for Toronto, and the Sam’s sign is a key component.

When the building was purchased, it was deemed important enough to warrant an agreement with Ryerson University for its restoration and reinstallation. Its value has not waned.

We encourage members of the Toronto City Council and the Economic Development Department to pursue a solution that will ensure the sign is properly restored, maintained and mounted so that it can be enjoyed by the public. The financial responsibility for these activities should be assumed by Ryerson University in accordance with the original agreement. If an alternate location must be found for the restored sign, the Toronto music community will be pleased to help identify an appropriate choice.


Amy Terrill

Vice President Public Affairs,
Music Canada


Media Advisory: The Next Big Bang, A New Direction for Music in Canada

Toronto, March 19, 2013: Music Canada President Graham Henderson will release a report presenting five key directions for the Canadian music industry during the State of the Industry address at Canadian Music Week on Thursday, March 21, 2013.

The music industry has undergone massive changes with the shift to digital technologies and platforms; all aspects of the industry have been disrupted. Yet many of the programs and supports designed to support this important cultural and economic sector were designed for the analog era.

With this in mind, Music Canada has, through months of research, interviews and expert submissions, developed seventeen policy recommendations in the following areas: music education, digital innovation, music tourism, export expansion and interconnected tax credits.

The Next Big Bang: A New Direction for Music in Canada
, will be released March 21st during a keynote address.

WHEN: Thursday, March 21, 2013 at Canadian Music Week, State of the Industry
WHO: Graham Henderson, President, Music Canada
WHAT: The Next Big Bang: A New Direction for Music in Canada
WHERE: Toronto Downtown Marriott Eaton Centre, Grand Ballroom C/D

One-on-one interviews can be arranged upon request. Also available for interviews will be the following contributors:

1. Jeff Leiper, Information and Communications Technology Council – Music Education
2. Darlene Tonelli – Digital Innovation
3. Nikki Rowling, Titan Music Group – Music Tourism
4. Peter Lyman, Nordicity – Tax Credits

– 30 –


Toronto City Council Makes Landmark Commitment to Arts Funding: Music Canada

Toronto, January 16, 2013: On behalf of our members and partners, Music Canada wishes to congratulate Mayor Rob Ford and the Members of City Council for their commitment to increase funding to the broad spectrum of arts in Toronto, including the city’s diverse and authentic music cluster.

“Toronto is by any measurement, one of the most successful music markets in the world, evidenced by the diverse and authentic live music offerings found throughout the city on any day of the week. The business of music employs thousands of people, attracts visitors from down the road and beyond our borders, and makes the city a desirable place to live, work and invest. With today’s decision, City Council demonstrates that it recognizes the importance of the music cluster and opens the door to a new level of communication and cooperation. We commend the leadership of Mayor Ford and Councillors Gary Crawford and Josh Colle, who were integral to making this happen,” says Graham Henderson, President of Music Canada.

The 2013 Capital and Operating Budgets include a boost in arts funding derived from the billboard tax. Among the priorities listed in the motion put forward to the Executive Committee by Councillor Gary Crawford was “support for Toronto’s music cluster.”

“As one of the country’s premier music festivals, North by Northeast would like to offer sincere thanks and congratulations to the Mayor and City Council for recognizing the tremendous economic, cultural, and civic value of music on Toronto. The City’s firm support of artists, venues, festivals, and fans will help grow our already vibrant music scene into a global phenomenon that will attract and inspire the world,” says Andy McLean, Managing Director/Co-founder, North by Northeast.

“Toronto’s music community is one of the most vibrant and vital in all of North America, and we are both grateful for the City’s commitment to its health and excited about the possibilities it opens up for the continued growth of the sector. This announcement represents an investment in economic development, social health, and cultural heritage, all of which will return great dividends to the people of Toronto,” says Jesse Kumagai, Director of Programming for The Corporation of Massey Hall and Roy Thomson Hall.

Music Canada has published a report identifying opportunities for greater growth and promotion of the music industry in Toronto and is working with a coalition whose members include live music venues, festivals, concert promoters, music labels, recording studios, managers and artists.

– 30 –

For more information:

Amy Terrill – Vice President Public Affairs, Music Canada 647-963-6044

Music Canada is a non-profit trade organization that represents the major record companies in Canada, namely Sony Music Entertainment Canada, Universal Music Canada and Warner Music Canada. Music Canada also works with some of the leading independent record labels and distributors, recording studios, live music venues, concert promoters, managers and artists in the promotion and development of the music cluster.


Music Canada Congratulates Toronto’s Executive Committee on Support of Toronto’s Music Cluster

Toronto, January 11, 2013: Music Canada congratulates Mayor Rob Ford and the Executive Committee Members for their forward-thinking decision to approve a multi-year funding strategy which will increase the per capita funding of arts and culture; prioritize key initiatives including support for Toronto’s music cluster; and implement the Creative Capital Gains Report.

“This decision will lead to a stronger economic future for the City of Toronto,” says Graham Henderson, President of Music Canada. “It is through the leadership of Mayor Rob Ford, Councillor Gary Crawford who framed the motion, as well as all members, past and present, of the Executive and Economic Development Committees, that we will succeed in leveraging Toronto’s vibrant music cluster in order to stimulate employment, develop Toronto’s international brand as a music city, and attract further investment. We have developed a music strategy where everybody wins and are thrilled to have overwhelming support at City Hall.”

Among the recommendations in the Creative Capital Gains report was to develop a strategy to promote and foster Toronto’s music cluster. In February 2012 Music Canada presented research to support this initiative to the Economic Development Committee which passed a motion instructing staff to work with Music Canada and other music industry representatives to develop a plan.

“The progress made today would not have been possible without the enlightened decision-making by Economic Development Committee Chair Michael Thompson and Councillors Josh Colle and Shelley Carroll, as well as the bold initiative taken by Councillor Mike Layton who seized on the music opportunity created by the Creative Capital Gains report. This is an exciting step forward and we look forward to the support of City Council next week,” says Henderson.

  –  30  –

For more information:

Amy Terrill – Vice President Public Affairs, Music Canada 647-963-6044

Music Canada is a non-profit trade organization that represents the major record companies in Canada, namely Sony Music Entertainment Canada, Universal Music Canada and Warner Music Canada. Music Canada also works with some of the leading independent record labels and distributors, recording studios, live music venues, concert promoters, managers and artists in the promotion and development of the music cluster.


Music Canada Supports Referral of C-11 to Committee

Toronto, February 8, 2012: Music Canada is pleased to see 2nd reading on Bill C-11, The Copyright Modernization Act, drawing to a close so that the Bill can proceed to a Legislative Committee for review.

“Copyright reform has been discussed for well over a decade in Canada, with draft legislation put forward by not one, but two governments. The discussion has featured mammoth and unprecedented public consultations, town halls, round tables, submissions and testimony by hundreds of witnesses, many representing thousands of Canadians. And in this Parliamentary session we have heard from dozens of speakers. All this while jobs are lost and careers are damaged, some beyond repair. It is time to deal with this issue in committee where the important work will take place to refine the Bill in order to ensure it meets the government’s objectives of protecting creative industries, combating piracy and encouraging productivity and innovation in Canada’s vital creative sector,” says Graham Henderson, President of Music Canada. “We look forward to a post enactment world, when the creative community can focus on rebuilding the marketplace, and when it will become clear that reports of the impending death of the internet were greatly exaggerated.”

Music Canada, formerly known as the Canadian Recording Industry Association, appeared before the legislative committee reviewing Bill C-32 along with artists Loreena McKennitt and Maia Davies and representatives of the Canadian Independent Music Association and the Canadian Council of Music Industry Associations.


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