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Posts by Quentin Burgess (156)


London City Council to consider two motions aimed at making the Forest City more music-friendly

Next week, City Council in London, Ontario, will consider two motions aimed at encouraging more music in the downtown core. The motions support the development of the London Music Strategy, which was unanimously supported by Council in 2014 with the goal of building London as a live music city and music tourist attraction. The Strategy has made major strides in recent years with the hiring of Cory Crossman, London’s first Music Industry Development Officer, and the subsequent launch of the London Music Office. The Office recently launched the London Music Census, which will assess London’s music assets as well as barriers to growth.

The first music motion before council would allow a temporary exemption of a by-law contained in the City of London Special Events and Procedures – Section 13, which states that amplified music cannot go later than 11pm, with a 15 minute grace period. The motion, put forward by Tourism London, asks Council to allow shows on September 8, 9, and 10, to go later than 11pm but no later than 1am. This would permit outdoor events during Country Music Week and the Canadian Country Music Association Awards, which London will host for the first time this fall. The pair of events are expected to directly benefit the local economy with the booking of approximately 2,000 hotel room nights and an anticipated economic impact of $6-8 million dollars. The motion was supported by London’s Community and Protective Services Committee on July 18th.

The second music motion before council is File Z-8625, a pilot project which temporarily amends Zoning By-law Z-1 to permit amplified music and dancing on existing patios in the Downtown Business Improvement Area and the Old East Village. The temporary amendment would run from August 1 to September 30, 2016. The motion was brought forward by the London Music Office, via the Culture Office, and was supported by the London Planning and Environment Committee last month.

“London is a diverse and eclectic music community that houses many great venues. Current by-law restricts amplified entertainment on commercial patios whether that is a radio, TV or musician singing,” said Cory Crossman, London’s Music Industry Development Officer. “To best serve the community, the Music Office wishes to launch a pilot project focused on establishing best practices to work forward from. This project is temporary and focused on creating practical solutions for amplified music on patios at restaurants, bars and dedicated venues.”

Music Canada research has shown that seemingly minor adjustments to municipal policies can paid major dividends in the growth of a city’s music scene. The Mastering of a Music City, which identifies best practices for growing a city’s music scene, cites an example from the State of New South Wales, which eliminated a special license needed by venues to host live music in 2009. Music-friendly policies allow music and culture to flourish in downtown areas. Creating a vibrant music scene not only brings economic benefits in the form of business activity and tourism, it adds a ‘cool’ factor to a city that can accelerate other benefits such as attracting and retaining investment and talent. For example, Montreal has invested heavily in its cultural district, the Quartier des Spectacles, which hosts over 30 venues and even more festivals, which, according to officials with the city of Montreal’s cultural office, has increased the quality of life for those living and working there.

The two motions before Council are indicative of the continued growth of the London Music Strategy, and a sign that the London Music Office, Tourism London, and the London Arts Council are committed ensuring the Forest City is a music-friendly city.


CONNECT Music Licensing achieves efficiency in royalty distribution

CONNECT Music Licensing has announced their decision to have their nearly 2,700 members receive public performance and private copying royalties directly from Re:Sound. The move marks a new level of efficiency in royalty distribution, making the distribution process simpler and more effective. Going forward, CONNECT’s members will receive public performance and private copying royalties directly from Re:Sound, eliminating duplication in the royalty distribution process and making it simpler and more cost effective. Per the release, the change will cut overall distribution costs by about one-third.

“CONNECT continuously strives to work as efficiently as possible. To this end, we saw a way to save time and money for our nearly 2,700 rights holders by having Re:Sound, a trusted partner of CONNECT, pay public performance and private copying royalties directly to our members. This will allow CONNECT to focus on reproduction royalties and will mean greater royalty payments to record labels and artists, faster,” said Graham Henderson, President of CONNECT Music Licensing.

“At Re:Sound, we are committed to maximizing public performance royalties for artists and record labels and ensuring that royalties are distributed as efficiently, and at as low cost, as possible. CONNECT’s move to bring their member labels to Re:Sound directly means more of every dollar will get into the hands of the labels themselves,” said Ian MacKay, President of Re:Sound.

The move was also applauded in CONNECT’s release by Mathieu Drouin, CONNECT Board Member and President of Crystal Math Music Group, Stuart Johnston, President of the Canadian Independent Music Association (CIMA), Shauna de Cartier, President of Six Shooter Records and Chair of CIMA, and Frances Moore, CEO, the International Federation of the Phonographic Industry (IFPI).


Creative BC announces Advisory Committee to support BC Music Fund

Creative BC has announced the appointment of a new Advisory Committee that will provide input in the administration of the BC Music Fund, which was announced earlier this year by Premier Christy Clark and the Government of British Columbia. The $15 million grant, which will be administered by Creative BC, aims to “support and promote various aspects of the industry, such as direct investment in BC’s music industry, enhancing live music opportunities, stimulating the creation and retention of jobs and promoting BC’s music on the national and global stage,” said the release.

The Advisory Committee will be chaired by Creative BC CEO Prem Gill, and is comprised of artists and representatives of various areas of the music sector.

“BC has a real opportunity to be an industry leader with the administration of the BC Music Fund,” said Gill in a release. “Creative BC has reviewed areas that are in most need of funding and is ready to work with the Committee to ensure we maximize the potential of this sector.”

Members of the Advisory Committee include:

  • Alex Cuba, Artist
  • Amy Terrill, Music Canada
  • Asha Bhat, Ministry of Jobs, Tourism and Skills Training
  • Bruce Allen, Bruce Allen Talent
  • Bryan Adams, Artist
  • Catherine Runnals, Brand Live
  • Nick Blasko, Amelia Artists Inc., Atomique Productions Ltd.
  • Patrick Aldous, Music BC
  • Prem Gill, Creative BC (Chair)
  • Sarah Fenton, Watchdog Management

“Seeing our Province make such a significant investment really speaks to the value of music to our economy and culture,” says Blasko, who manages JUNO winners Tegan and Sara. “The BC Music Fund will help the province compete on a national and international level.”

The BC Music Fund will allocated through four main streams:

  • Music company development;
  • Live music performance;
  • Tour support for BC artists travelling within and outside Canada; and
  • Industry development.

The release notes that Creative BC will launch a funding program in support of the sound recording sector over the next few weeks as a pilot. Additional grant programs aligned with the Fund’s objectives will be developed over the summer and fall of 2016.

“This advisory committee will give insight to Creative BC on how to develop and administer the BC Music Fund, and continue to produce, promote, and support some of the world’s top musical talent,” said Premier Clark. “The success people like Bryan Adams and Nick Blasko have enjoyed is a major asset for BC, and the artists who will benefit from their experience.”

For more information on the BC Music Fund, visit and join their email newsletter for updates on the program.


Ben Purkiss Design wins Gold at 2016 Muse Creative Awards for ‘Mastering of a Music City’ report

Congratulations to Ben Purkiss Design, who won Gold in the Muse Creative Awards’ Annual Report category for his design of Music Canada & IFPI’s The Mastering of a Music City report. The announcement was made this past weekend by the Muse Creative Awards, which is an international competition for creative professionals who “inspire through concept, writing or design, whether through traditional or electronic media.” The 2016 Awards featured more than 1,200 submissions from 33 countries around the world.Gold Award Site Big

Purkiss designed the cover art, layout, and infographics for The Mastering of a Music City from scratch, creating a cohesive look for the 100+ page report. The report presents a roadmap to help local authorities, businesses, community groups, and the creative sector capitalize on the potential of music to build, grow and strengthen their cities.

“I had the incredible opportunity to work with IFPI and Music Canada on their publication Mastering of a Music City: Key Elements, Effective Strategies and Why It’s Worth Pursuing,” said Purkiss. “IFPI and Music Canada are those clients every designer dreams about; they EXPECT you to push your creative boundaries. It’s a very challenging, yet incredible experience that I am very grateful to have had.

“When I started the initial research ‘phase’ of this project, I looked for inspiration wherever I could find it; from movie intros, online ads and the far reaching depths of online portfolios,” he continued. “I wanted to create a visual masterpiece that challenged who I was as a designer and my abilities to use the software I work with every day. It certainly did not disappoint.

“I quickly discovered what was to be my main source of inspiration – clouds. Clouds are ever changing and evolving – they can hide something beautiful, or in this case, elements within a design. I took that idea to create layer upon layer of design elements – mixing colours and objects to create the overall visual cues. This was unbelievably challenging yet incredibly rewarding.”

The stunning design is a big part of the reason that the report has been so well received around the world, said Amy Terrill, Music Canada’s Executive Vice President, and lead author of the report. Since its release in June 2015, The Mastering of a Music City has been cited by an array of cities around the globe, including Sheffield, United Kingdom, Sydney, Australia, and Bogota, Columbia. To date, more than 800 printed reports have been distributed at more than thirty presentations to conferences and business association meetings in locations such as Pemberton, British Columbia, Columbus, Ohio, Aarhus, Denmark, and Brighton, United Kingdom.

“Winning a Muse Award was completely unexpected for me,” said Purkiss. “I don’t think it has fully sunk in yet, but it’s a gratifying experience knowing my work is truly recognized and rewarded.  I’ve never given myself much credit (let’s face it, most people are their own worst critics) but this is really showing that hard work can, and does, pay off – especially when you are given creative liberties from clients like IFPI and Music Canada who value the work of all artists.”

The Muse Creative Awards is administered by International Awards Associate Inc., and judged by a panel of internationally-recognized creative professionals. The panelists identified “the most innovative and creative concepts, the strongest executions, and the highest quality in messaging,” said an MCA release.

Photos of Ben’s design are available on his Behance page, and the full report is available for download in our Resources section.


Discoverability Summit examines ‘Content in the Age of Abundance’

The Discoverability Summit, presented by the Canadian Radio-television and Telecommunications Commission (CRTC) and the National Film Board of Canada, kicks off today in Toronto. The Summit examines “Content in the Age of Abundance,” as participants discuss strategies, tools and ways to improve the discoverability of content in various fields.

Discoverability Summit logoViewers can tune into the livestream in English or French, and the recording and transcripts of the event will be available in the weeks following the Summit.

Tomorrow at 10:35 AM, the Summit will discuss ‘Music and the New Accepted Normal’, with panelists:

The description of the panel reads: “The record label structure has drastically changed over the last 20 years. From its sole purpose of selling albums, what is the new structure and formulation of music in 2016? How are writers, artists and producers succeeding and making money through new techniques of business and placement of their music? Do streaming services actually provide a sustainable structure?”


Laura Hassler, Founder and Director, Musicians without Borders – CMW Global Forum Keynote

On Friday, May 6, 2016, Laura Hassler, Founder and Director, Musicians without Borders, delivered a terrific keynote presentation at the Global Forum: International Networking Breakfast at Canadian Music Week, presented by Music Canada. Her topic was “War Divides, Music Connects: Using Rock for Reconciliation,” and she has graciously allowed us to share the text of her speech here.

Laura Hassler

Global Forum: International Networking Breakfast
Canadian Music Week
Keynote: War Divides, Music Connects: Using Rock for Reconciliation
Laura Hassler, Founder and Director, Musicians without Borders
May 6, 2016

This morning’s theme is: Music as a powerful tool for good.

Everyone here today knows that music is powerful. And that music connects.

Whether it’s about a kid singing his heart out for his first love, a composer reaching into her imagination to pull out the notes that will move and inspire, or a producer or manager, promoting a band, organizing a festival or running a theater: we all know that we are in a special space here, like no other. Whatever our professional connections to music, we are all working, one way or another, with the deepest levels of human experience and connection.

I grew up in a community of musicians, artists and social activists and have felt the power of music all my life. I saw how singing together gave courage to people struggling for their rights in the American south and in apartheid South Africa. We used singing to keep morale high when being arrested for civil disobedience during the Vietnam war. I’ve known people in Sarajevo who stayed sane during years of war and siege by playing in an orchestra in a blacked-out theater, or singing in seven different choirs, one rehearsal every night of the week. Where I live, in the Netherlands, I have seen music-making lead to friendships between immigrants and Dutch people, creating new ways for people to define and experience community.

So it was only a small leap of faith to imagine that music could comfort and connect where war had broken and destroyed. And it did not surprise me that so many musicians joined, immediately understanding that what they, themselves, did with passion and dedication in the music school, the classroom or on a stage had tremendous potential in a refugee camp, a divided city or a torture recovery program.

Today, Musicians without Borders is one of the world’s pioneers in applying the power of music to reconciliation and healing the wounds of war. In the Balkans, the Middle East, Central Africa, and Western Europe, our projects empower, bring hope and re-connect people where war has damaged and divided their communities. We work with local musicians and local organizations to create grass-roots projects with children, youth and adults. We work at local ownership for sustainability. We bring music back to places where life is fragile and threatened, and where, often, music itself has been silenced.

Much of what we do is to train local musicians and talented youth to bring music to their own communities. There are many stories to tell, but this morning, I would like to share just one of these with you: a story about Europe’s most divided city, and about how rock music is bridging those divides. This is Mitrovica, in northern Kosovo, part of the former Yugoslavia and the scene of the last of the bloody Balkan wars.

Mitrovica was the final front of the Kosovo war in 1999. Since then, the city’s population has been divided by the river that runs through it, with Serbs on the north side and Albanians on the south. Before the war, neighborhoods were mixed, but the ethnic divisions that broke Yugoslavia apart also divided Kosovo, and nowhere more than in Mitrovica. After the war, international forces rebuilt the bridges connecting Serbian to Albanian neighborhoods, but today, the bridges are barricaded and few dare to climb over the rubble to cross to the other side.

Mitrovica was once a single-economy mining town. Since the war, it’s bankrupt, with a booming black market, a dysfunctional infrastructure and widespread corruption. Mitrovica is a crossroads for drugs, human trafficking and illegal trade of all sorts. Unemployment is estimated at between 60- 70%, education and health care are poor, alcohol and drug abuse are major, but unaddressed, problems. For Mitrovica’s youth, there are virtually no opportunities for talent development or for healthy use of free time: no cultural outlets, cinemas, activities or clubs. Unresolved war losses, regular flare-ups of violence and a lack of post-war economic improvement mean that suspicion and mistrust of the ‘other side’ not only remains with older generations, but gets passed on to younger ones, who have never known or even met their peers on the other side of the river.

But Mitrovica also has another history. Before the war, it was a rock music town: many of the great ex-Yugo rock musicians emerged from Mitrovica’s lively, interethnic music scene, with its garage bands, clubs and festivals.

During the Balkan wars, music, like everything else, was politicized. A new music genre, called ‘turbo-folk’, combined a fake folk culture with aggressive beats with hate-filled lyrics, spawning a nationalist, materialist, sexist music style that filled the trenches and dominated the airwaves. ‘Turbo-folk’ is credited with creating much of the hatred and aggression that fueled those wars.

Rock music, the free voice of youth, disappeared. Rock musicians were no longer hired for gigs or festivals, there were no more recording contracts or tours. Rock venues closed and became turbo-folk clubs. Jam sessions and other live music events were no longer organized. Instruments were sold or traded off for survival. When I first visited Mitrovica, a year after the war, there was only one club where rock music was  occasionally played — and nationalist bouncers came in regularly with lead pipes to beat up anyone with the audacity to come listen.

On that same visit, we met some of the city’s rock musicians. There were kids on both sides, they told us, who wanted to play rock music. They, the remaining local musicians, remembered Mitrovica’s music past and wanted to teach the new generation, but lacked everything they needed to do so: spaces, instruments, equipment.

Here, in Europe’s most divided city, was the legacy of a center of free rock music, and local musicians yearning to pass on their skills to the youth on both sides. We heard their desire to use music as a tool for good.

It took us a while to figure out how to support them. We met with local organizations and musicians, got a feeling for the realities of the city, forged partnerships. We brought in a Dutch music conservatory specialized in rock music, to help the local teachers create the curriculum they would need. At first, we tried for a single facility, near the main bridge, in ‘neutral territory’. But when violence broke out, UN forces commandeered the building for their troops. And no one wanted their kids crossing that bridge, anyway. Tensions were too high, and people were too scared.

Finally, we decided to try another way: in the summer of 2008, we announced a one-week-long ‘Rock School in Exile’ in neighboring Macedonia. The rock musicians from north and south Mitrovica would teach alongside Dutch rock music teachers. They recruited about 25 aspiring teenaged musicians from the two sides of the city and we brought them by bus to Skopje.

Without ever once referring to their ethnicities, we created six mixed rock bands, who got over their fear as their images of ‘enemies’ were replaced by the reality of fellow guitar players, drummers and singers.

They worked day and night to prepare songs together, and a week later stood together on an open stage, performing in their new bands– finally, for a night, the rock stars they had dreamed of becoming. When they returned to Mitrovica, the kids demanded their own rock school– and we scrambled to raise a little money, rent some modest space, and enroll teachers and students. In October, we opened two very small facilities– called them the north and south branches– and the Mitrovica Rock School was born.

Since then, more than 800 young people have come through the school. Some have gone on to become successful musicians in some of Kosovo’s best bands. Some have trained within the school and become its new teachers. One has become a skilled recording engineer, and now runs the Rock School’s studio. The Rock School offers its students a fluid system, where they can move up to become teachers, organizers, technicians, or managers.

Until last year, we could only mix the Serb and Albanian kids by bringing them out of Kosovo– usually to neighboring Skopje, in what became the annual Summer School. Then we added a winter school, and extra projects to rehearse or record with promising new mixed bands.

We started an ‘A-team’ band, inviting the best young musicians from both sides to work together long-term, giving them extra coaching in song writing, arranging, recording and performing. We turned that into an ‘Ambassador band program’ for all senior students, and then expanded to give kids of all musical levels the chance to play with kids from the other side. As more and more rock school students made musical connections across town, it became normal to play together, even sought-after, because playing in mixed bands was coupled with intensive, high quality music-making.

Meanwhile, we had moved into larger quarters, with lesson rooms, stages and rock cafés and started youth center activities, run by students who brought bands from outside town to play and give master classes. We found ways to bring our own ethnically mixed bands out to perform in the region or to tour in Italy, Holland or Germany.

The situation in Mitrovica has not improved very much. There are still riots and attacks, the bridges are still barricaded, the city is still bankrupt and the old conflict still dominates almost every aspect of people’s lives. But, where kids used to be afraid of meeting anyone from the other side, some of them are now sneaking across the bridge to stay overnight at their new friends’ houses.  Some have openly declared their friendships on social media. Since this past November, all of our mixed bands have started rehearsing together, in secure locations in Mitrovica, itself. They all write and arrange their own songs, and most of the kids not only still want to be rock stars, but know they have a chance at becoming professional musicians, and are willing to work like crazy for that chance.

In a city whose identity is still based its ethnic divide, the Mitrovica Rock School has become an accepted, even admired part of the landscape. Everyone knows that we work inter-ethnically, so we break the city’s main taboo. But everyone also knows that the finest young people in the city are part of the school, that they thrive and grow there, and that the Rock School is bringing back Mitrovica’s older, prouder heritage as a center of music. So we walk a fine line, protecting our students from risk, but constantly testing the waters to push the process further, taking every cue from them that they are willing to take the next step.

I have chosen to tell you the story of the Mitrovica Rock School for a reason. In a world full of wars, the war in Kosovo seems like a long time ago. As international attention moves to hotter spots around the world, it becomes increasingly difficult to fund a project like this, no matter how desperately it is still needed by the young people it serves. Our traditional sources of support are drying up, so we are looking to successful musicians and the music industry around the world to help the school keep its doors open, and keep the music playing.

Please contact me, if you think you can help make this happen.

Just a closing remark: this evening I will fly to New York, where I will meet up with our first mixed band, the Artchitects. They flew in a few days ago, at the invitation of the New York music agency, Pop2Life. During that first ‘rock school in exile’, they were among the young teenagers dreaming their first dreams of being rock stars. All are now teachers, band coaches, and performers, inspiring the next generation. This week, they are ambassadors, representing their Mitrovica Rock School: a force for good, through music.


Laura Hassler:
Musicians without Borders:
Mitrovica Rock School:
Facebook Mitrovica Rock School:

‘Value gap’ growing, according to new UK figures

New figures released yesterday at Canadian Music Week by the BPI – the record labels’ organization that promotes British music – highlight the growing “Value Gap” that exists between consumption of music in the UK and the amount that record labels and artists receive in revenues from video streaming platforms.

Geoff Taylor, BPI Chief Executive, told delegates that the number of people streaming music in the UK doubled in 2015, resulting in a 70 per cent increase in payments from services such as Spotify and Apple to record labels, helping to propel the market to overall growth.

However, while UK streams of music videos almost doubled during the same 12 month period, the revenues paid to labels for those streams flat-lined, rising by less than half of one per cent. This disparity neatly encapsulates the market distortion characterised by the IFPI as the “Value Gap”.

Taylor added: “The rising flow of royalties that should be nurturing artists and labels has slowed to a trickle, as platforms that rely on safe harbours use consumer demand for our music to grow their own businesses at the expense of creators.”

Frances Moore, CEO, IFPI, gave the keynote speech on the ‘State of the Global Music Industry’ in which she referred to the findings of IFPI’s recently released Global Music Report, which showed that the music industry grew in 2015 for the first time in almost two decades, with digital revenues overtaking physical revenues for the first time.

Addressing the conference, Moore said: “We are at an extraordinary moment in our global business. Music is being consumed at unprecedented levels. Measurable growth is being achieved for the first time in nearly two decades.

“Yet the job of turning around the global music industry is really only just beginning and the scale of the anomaly to be fixed is huge. Music is driving economic activity and digital commerce. Yet, in terms of the value being returned to its creators and investors, music is massively undervalued.”

Cary Sherman, Chairman and CEO, RIAA, said: “DMCA reform has become an international phenomenon. Thousands of artists, dozens of music organizations and managers are speaking out and it’s beginning to make a difference. The fundamental unfairness of our existing laws, the stature of artists and power of music, is breaking through like never before.”

Graham Henderson, President and CEO, Music Canada, said: “The value gap is a striking example of how wealth has shifted from those who create content – our artists and their partners – to the large companies that build their platforms on that content. Creators are worse off today than they were when digital came into their lives. This is disturbing and was avoidable. Policy makers now have the opportunity to rebalance the framework in such a way that creators are fairly compensated.”

Dan Rosen, Chief Executive, ARIA, said: “The local Australian music business has done a great job in embracing new digital platforms, giving fans unprecedented access to the music they love. However, we need to ensure that the policy environment reflects the true value that music provides to digital services and allow money to flow back to the artists and labels to sustain a healthy ecosystem of creativity.”


Musicians without Borders’ Laura Hassler to keynote CMW Global Forum

Canadian Music Week (CMW) has announced that Laura Hassler, Founder and Director of Musicians without Borders, will be the keynote speaker at this year’s Global Forum Networking Breakfast. Musicians without Borders is a global organization that uses music to “bridge divides, connect communities, and heal the wounds of war.” The organization is currently working on projects in Palestine, Kosovo, Northern Ireland, Tanzania, Rwanda, and Bosnia and Herzegovina.

Music Canada is proud to return as sponsor of the 2016 Global Forum, which will celebrate and recognize individuals and organizations in the music community who are using music to make the world a better place. The invitation-only event takes place May 6th at the Sheraton Centre in Toronto.

“As the music community continues to focus on adapting to an evolving digital environment, this year’s Global Forum will take stock of the amazing power of music to unite us all and be a force for good,” said Graham Henderson, President and CEO of Music Canada, in the CMW release. “Laura Hassler and the panelists at this year’s Global Forum demonstrate every day that music has the ability to heal, console, inspire, ignite and connect.”

“We’re thrilled to have Laura Hassler at this year’s Global Forum,” added CMW President Neill Dixon. “The work that she and her organization is doing is of great importance to the global community.”

Following Hassler’s keynote, she will join a panel discussion with representatives of three other organizations using music to make the world a better place. The panel, moderated by journalist Nancy Wilson, will also include:

  • Andre Le Roux, Managing Director of South Africa’s SAMRO Foundation, the largest private contributor to music development in the Southern African region, supporting almost 50 community-based music schools and providing scholarships for music studies overseas;
  • Andrew Mosker, President and CEO of the National Music Centre in Calgary, which reaches music lovers through education, exhibitions, incubation and performance; and
  • Lee Whitmore, Vice President, Education Outreach and Social Entrepreneurship at Boston’s Berklee College of Music, where he leads Berklee City Music, a program that enables youth from underserved communities to develop musically, academically, socially and emotionally through the study of contemporary music.



MEGAPHONO 2016 – ‘In Search of the Music City’ panel video posted

Ottawa-based music organization MEGAPHONO has posted a video of their In Search Of The Music City: What Does Local Business Have To Gain? panel, which it co-presented in February 2016 alongside the Ontario Music Industry Coalition (OMIC).

The discussion was moderated by Music Canada Live‘s Erin Benjamin and featured panelists Mark Garner (Downtown Yonge BIA), Councillor Jeff Leiper (City of Ottawa), Amy Terrill (Music Canada) and Tim Potocic (Sonic Unyon / Supercrawl). The panelists shared how music has changed their communities, and how they are working businesses to foster a better environment for artists and artist entrepreneurs.

The full video is available at, and is embedded below.


Province announces 2016 Ontario Music Fund recipients

Yesterday afternoon at the Rivoli, the Hon. Premier Kathleen Wynne announced the 2016 Ontario Music Fund (OMF) grant recipients, with 151 recipients receiving $14 million in grants in the third year of the program. The fund, which is administered by the Ontario Media Development Corporation (OMDC), supports music entrepreneurs, record labels, managers, agents, industry trade associations, and training institutions across Ontario.

Per the release, the OMF, which was made permanent in the 2015 Ontario budget, has now supported 244 applications from 220 companies in its first three years, resulting in 1,274 full-time equivalent positions for Ontario’s music industry. More than 1.6 million people have attended events supported by the fund in its first two years, which featured performances by more than 1900 Ontario artists.

“Ontario is home to the largest music industry in Canada and one of the most diverse anywhere in the world,” said Wynne in the release. “Through the Ontario Music Fund, our government is supporting a dynamic and important cultural sector, helping to create good jobs here in Ontario while exporting our sound to the world.”

“By investing in the music industry through the Ontario Music Fund, our government has ensured that Ontario continues to be the best place in Canada for recording and performing music,” added the Hon. Michael Coteau, Minister of Tourism, Culture and Sport. “I’m proud that through this newly permanent fund, our government will continue to create opportunities that showcase our talented artists and producers, and attract visitors from around the world.”

Success stories highlighted by the Ministry of Tourism, Culture, and Sport include A Tribe Called Red, the Guelph Jazz Festival, Dine Alone Records, CP Music Group, and Phem Phat Entertainment Group. The release also notes that artists supported by the OMF have sold almost four million recordings domestically and five million internationally.


This website made possible with the support of the Ontario Media Development Corporation.