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Music Canada and DIMA issue joint letter to CRTC following Canadian content audio workshops

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Today, Music Canada and the Digital Media Association (DIMA) have jointly filed the below letter to the CRTC following their recent engagement sessions on Canadian content for audio services. 

Re: Engagement sessions on Canadian content 

We are writing to you today as part of the recent engagement sessions on Canadian content held by the CRTC from Sept 11-18. Collectively, our organizations and their members took part in the meetings held on September 11, 12, and 17. 

At the end of each session we were encouraged to write to the CRTC with further thoughts or clarifications on the sessions. With this in mind, we write to you today to reinforce an important message shared throughout the consultations: radio and audio streaming are not the same. 

Out of context, it might seem odd for the largest streaming services and major music labels in Canada to write to a regulator asserting a truism, but we believe that the recent workshops have made this necessary. From the discussion guide to the moderated questions, there was a clear attempt to place the continuation of radio regulations on audio streaming services as an obvious next step. 

We do not agree. 

Today’s radio regulations were carefully crafted for Canada’s radio environment. One that is shaped by our vast geography, linguistic duality, and a willingness in an analogue system to make decisions about what is available to Canadian listeners. They also reflect the limitations of the medium: a finite number of hours, increasingly centralized programming, and a live broadcast format, and relatively small number of recordings that radio broadcasts. 

Streaming is none of these things. Being driven in terms of each consumer’s individual interest and activity, it represents nearly infinite hours of listening, a vast catalogue of recordings, a plethora of languages, and has broken down not just physical geography but international borders as well. Three of the top 10 songs streamed in India in 2022 were by Canadian artists –  a fact that would be inconceivable to the founders of our terrestrial broadcasting system. 

Not only has streaming allowed Canadians to reach the world in ways previously unimaginable, streaming has allowed Canadian artists with no home in the traditional radio system to be found by their Canadian and international fans. This has led to higher levels of play on streaming for women and racially diverse artists compared to Canadian radio. 

We ask that as you move forward implementing the Online Streaming Act, you think of the streaming services and their interactions with Canadians for what they are today and not as a proxy to the broadcasting system of the 1900s. 

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About Music Canada
Music Canada is the trade association representing Canada’s major record labels: Sony Music Entertainment Canada, Universal Music Canada and Warner Music Canada. Like its members, Music Canada is a partner to the industry, working with artists, independent labels, publishers, platforms, associations and others, in advancing forward-looking policies to ensure a dynamic and successful Canadian music ecosystem which returns value to music creators.

For further information: Regan Reid, Music Canada, rreid@musiccanada.com, (416) 462-1485

About DIMA

DIMA represents the world’s leading audio streaming companies and streaming innovators. Our mission is to promote and protect the ability of music fans to legally engage with creative content whenever and wherever they want it, and for artists to more easily reach longtime fans and make new ones.

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Canada needed a reimagined broadcasting system. The CRTC’s contribution decision offers more of the same while risking the important role played by licensed streaming in building the careers of artists.

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Today, following weeks of consideration and consultation with members of the music community, Music Canada CEO Patrick Rogers released the following statement in response to the CRTC’s Phase 1 decision on initial base contributions.

Earlier this summer, Canada’s broadcast regulator, the CRTC, announced that music streaming services will need to pay an unprecedented 5% of their Canadian revenues to support the legacy broadcasting system. And almost half of that money will be used to prop up traditional radio. If that sounds like outdated thinking, it’s because it is.  

When the CRTC launched their process to implement the Online Streaming Act (Bill C-11), they promised a “blank sheet of paper” approach that would help them re-imagine the Canadian broadcasting system. Music Canada encouraged them to “turn over every stone”. If our broadcasting regulations were going to be extended to streaming, then we had to treat it as the once-in-a-generation regulatory process that it was. The framework needed to reflect the power and competitiveness of streaming if it was going to create new and meaningful opportunities for Canadian and Indigenous artists in the global streaming environment. 

So it was with a mix of surprise, disappointment, and confusion that we read the CRTC’s decision. If the CRTC had truly set out with a blank page, it had the old regulatory rules written on the back. At some point in the process, faced with the immensity of the task at hand, it seems they simply turned the page over.

Bill C-11 was designed to require audio streaming services to pay into the Canadian broadcasting system – but a 5% contribution rate is staggering. For context, it’s roughly 10 times what radio broadcasters are required to pay. And when you look at how that 5% is divided up, you see that 40% of it goes to funding the radio industry. It is truly confounding that such a large sum of money from streaming services like Spotify, Amazon Music and Apple Music will be used to subsidize our radio industry.

Our hope was that the CRTC would leverage this opportunity to modernize our system and find innovative ways to help artists find success in the global streaming market. Canadian and Indigenous artists have catapulted themselves to global stardom through the universality of their music and the reach of licensed streaming – and the CRTC had the chance to build on that success by putting artists, not domestic industrial policy, at the heart of its framework. Instead, the decision focuses on protecting legacy domestic institutions. This is not what artists need to succeed in today’s highly competitive, on-demand, streaming-driven music marketplace.

We asked the CRTC to carefully consider the existing investments made by the music streaming services in Canada and not impose requirements that could jeopardize them. The music platforms’ local teams curate playlists featuring Canadian and Indigenous artists, which introduce Canadians and global audiences to new voices; they educate artists and label teams on the best ways to leverage their platforms; they host industry events and seminars. Simply put, these local teams – these investments – are integral to the growth of the Canadian music industry and the success of its artists.

The decision ignores the role that licensed streaming plays in the growth of the industry and furthering the careers of our artists. Paid subscription streaming services that pay royalties when music is played are what allow all music companies, big and small, to reinvest in the next generation of Canadian and Indigenous talent.

It’s too early to know for sure what the consequences of this decision will be for Canada’s music industry. It’s easy to predict that the new costs will be passed on to consumers, which could threaten Canadians’ participation in the licensed, legal music economy that sees artists paid when their music is played.

But it could also trigger a reduction in streaming services’ investments in our country – or worse, an exodus. If that happens, the CRTC’s decision won’t just be a missed opportunity, it will be a cultural policy disaster.

As we work towards the next phase of CRTC regulations, Music Canada will continue to advocate for the best regulatory system that reflects how music is made and listened to today and creates the greatest opportunities for Canadian and Indigenous artists. We recognize more than ever the need to turn over a new page – and the resistance toward doing so.

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

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Report details where and how Canadian artists are reaching fans today

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

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

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

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

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

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

Read the full report here. 

 

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IFPI releases Global Music Report 2024, highlighting growth in subscription streaming globally

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Toronto, 21 March, 2024: Global recorded music revenues reached US$28.6 billion in 2023, an increase of 10.2% year-over-year and the ninth consecutive year of growth, according to the IFPI’s Global Music Report 2024. The report provides a comprehensive annual review of the global recorded music market and analyzes issues and trends facing the industry today.

Global revenue growth was largely driven by streaming revenues, with subscription streaming increasing by 11.2% and accounting for nearly half (48.9%) of the global market. In 2023, the number of paid subscriptions to music streaming services surpassed 500 million for the first time, with 667 million users of paid subscription accounts globally.

In Canada, the music market grew by 12.19% in 2023 to a total of US$659.6 million, ensuring Canada maintained its place as the 8th largest music market in the world. This growth was largely due to streaming revenues, which saw an 8.6% increase to US$506.8 million. Subscription streaming accounts for the bulk of those revenues, with US$404.2 million, up 10.1% year-over-year. Ad-supported audio streaming was up 4.6% to US$59.1 million, while ad-supported video streaming increased slightly to US$43.5 million in 2023.

“As Canada modernizes the Broadcasting Act and works to bring streaming services into the fold, this report serves as a reminder of the value of these platforms to Canadians. We’re pleased to see more and more Canadians turning to licensed sources to support the artists they love most. We will continue our work to ensure Canadian regulatory frameworks don’t push Canadians to unlicensed listening,” said Patrick Rogers, CEO of Music Canada.

Mirroring a global trend, Canada saw strong growth in other formats too. Physical revenues in Canada jumped nearly 20% (19.9%) year-over-year to US$78.7 million in 2023, with a 30.2% spike in vinyl revenues (to US$56.5 million) accounting for the bulk of that growth.

“The sustained growth of the music market in Canada is due in large part to the efforts of the record companies, whose continued investment in and passion for their artists is propelling them to new heights,” said Rogers.

Commenting on the release of the Global Music Report, IFPI’s Chief Financial Officer and Interim Joint Head of IFPI, John Nolan, said: “The figures in this year’s report reflect a truly global and diverse industry, with revenues growing in every market, every region and across virtually every recorded music format. For the third year in succession, both physical and digital formats grew with a strong rise in the users of paid streaming subscribers – as well as price increases – contributing significantly to total revenue growth.”

While the global growth in licensed music revenues is heartening, the report also highlights the challenges facing the industry – namely, streaming fraud and the abuse of generative AI.

“Music fans greatly value authenticity and our industry has a strong track record of licensing music and supporting the development of new services that create these experiences for fans. That said, we still need effective tools and the support of authorities to tackle unauthorised uses and to ensure the music ecosystem remains one that is sustainable for the long-term,” said IFPI’s Chief Legal Officer and Interim Joint Head of IFPI, Lauri Rechardt.

Music Canada, alongside IFPI, recently worked to shutter a group of nine streaming fraud websites operating in Canada – an example of Music Canada’s continued efforts to protect rightsholders and the integrity of the Canadian streaming marketplace. And as governments around the world consider the implications of generative AI, Music Canada continues to work to ensure human artistry is protected and valued.

“Our industry is excited by the value offered by artificial intelligence, but only when this tool is used responsibly. Fundamentally, we believe that generative AI systems that ingest copyrighted works without authorization are stealing, and Music Canada will continue to push for strengthened policies and frameworks to protect against this,” said Rogers.

The free Global Music Report 2024 – State of the Industry report is now available here.

ENDS

Notes to editors:

About Music Canada 

Music Canada is the trade association representing Canada’s major record labels: Sony Music Entertainment Canada, Universal Music Canada and Warner Music Canada. Like its members, Music Canada is a partner to the industry, working with artists, independent labels, publishers, platforms, associations and others, in advancing forward-looking policies to ensure a dynamic and successful Canadian music ecosystem which returns value to music creators.

For further information: Regan Reid, Music Canada, rreid@musiccanada.com, (416) 462-1485

About IFPI

IFPI is the voice of the recording industry worldwide, representing over 8,000 record company members across the globe. We work to promote the value of recorded music, campaign for the rights of record producers and expand the commercial uses of recorded music around the world.

For further information please contact: press@ifpi.org | +44 (0) 20 7878 7979 

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Record companies successfully act against nine streaming manipulation sites in Canada

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 Campaign continues against streaming manipulation services that jeopardise revenues returning to artists ~

London, 14th March 2024 – IFPI, the organisation that represents the recording industry worldwide, and Music Canada, the trade association representing Canada’s major record labels – Sony Music Entertainment Canada, Universal Music Canada and Warner Music Canada – have announced that, following a successful legal complaint, a group of prominent Canada-based streaming manipulation sites have been taken offline.

IFPI together with Music Canada filed a complaint with the Canadian Competition Bureau regarding a group of nine connected consumer-facing streaming manipulation services based in Canada, the most popular of them operating via the domain MRINSTA.com. As a result of the complaint all nine sites (and their sub-domains) were taken offline.

The sites were engaged in music streaming manipulation services by selling artificial ‘plays’, ‘views’ or ‘streams’ on DSPs that did not represent genuine listening.  The complaint alleged that the group of sites contravened the Canadian Competition Act by, among other things, misleading Canadian consumers and distorting their impression of what content merits their attention, undermining the accuracy of the music industry charts and distracting from the effective functioning of streaming services by manipulating the algorithms on which they rely.

Lauri Rechardt, Chief Legal Officer, IFPI said: “Streaming manipulation has no place in music. Perpetrators and enablers of streaming manipulation cannot be allowed to continue to divert revenue away from the artists who create the music. The activity also harms consumers and distorts the fan experience. IFPI thanks the Bureau, and RCMP Federal Policing Cybercrime, for the time and resources that they have committed to addressing this serious issue and looks forward to future co-operation.”

Patrick Rogers, CEO of Music Canada, said: “Alongside IFPI, we’re committed to taking action against streaming manipulation sites and the bad actors who deliberately steal from artists and rightsholders. This is an important regulatory precedent that can be followed in other markets to protect rightsholders and the integrity of the streaming marketplace.” 

This is the latest in a series of actions being taken globally against manipulation services. IFPI is working with government agencies and intermediaries in various countries to disrupt the operation of such services.

ENDS

Notes to editors:

About IFPI

IFPI is the voice of the recording industry worldwide, representing over 8,000 record company members across the globe. We work to promote the value of recorded music, campaign for the rights of record producers and expand the commercial uses of recorded music around the world.

For further information please contact: press@ifpi.org | +44 (0) 20 7878 7979 

About Music Canada 

Music Canada is the trade association representing Canada’s major record labels: Sony Music Entertainment Canada, Universal Music Canada and Warner Music Canada. Like its members, Music Canada is a partner to the industry, working with artists, independent labels, publishers, platforms, associations and others, in advancing forward-looking policies to ensure a dynamic and successful Canadian music ecosystem which returns value to music creators.

For further information: Regan Reid, Music Canada, rreid@musiccanada.com, (416) 462-1485

 

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IFPI global report finds we’re listening to more music in more ways than ever before

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Today, IFPI, the organization representing the recording industry worldwide, released Engaging with Music 2023, its global report examining how people around the world discover, listen to and feel about music. Based on the responses of more than 43,000 people across 26 countries including Canada, the report serves as a snapshot of the importance of music in our lives today. 

What’s clear from the results is that people are listening to more music than ever and they’re engaging with that music in new ways. On average, people around the world listen to 20.7 hours of music a week, with the IFPI also reporting a 7% increase in time spent listening to music on paid subscription services. 

Fans are also taking advantage of a growing number of ways to engage with music. Globally, 80% of gamers listen to music while they play, while the survey also found that music is central to 54% of all time spent watching videos on short-form video apps. Looking at 16-24 year-olds, 82% of respondents said short-form video is the top way they engage with music, followed by audio streaming (72%).

Audio streaming continues to grow in popularity across all age groups, with 73% of all respondents saying they listen to music through subscription or ad-supported streaming services. Despite this growth,  the survey results indicate that unlicensed music is still an issue. Globally, 29% of people use unlicensed or illegal ways to listen to or obtain music. In Canada, that figure is slightly lower (26%), but still worrying.

“While it’s clear that more and more Canadians are turning to licensed streaming services to access music, these results indicate Canadians still can and will access unlicensed or illegal content. We need to make sure that our regulatory environment pushes Canadians to licensed services, not away from them,” says Music Canada CEO, Patrick Rogers. 

As teased last week, for the first time this year the report includes a section dedicated to artificial intelligence (AI). The results clearly indicate that fans around the world deeply value authenticity – in fact, nearly eight-in-10 music fans (79%) feel human creativity remains essential to the creation of music. Looking at the Canada-specific results, 79% of Canadians with an awareness of AI’s capabilities think an artist’s music or vocals should not be used or ingested by AI without permission. Moreover, 76% agree that AI should not be used to clone or impersonate music artists without authorization. 

Other findings of note:  

  • Pop is still the most popular genre in the world, but on the whole respondents listened to more than 700 music genres. Local genres are more and more in demand.
      • 57% of Canadians say it’s important to them that they can access music that comes from anywhere in the world
      • On average, fans worldwide listened to more than 8 different genres of music. 
  • Music is hugely important for our mental health and well-being.
  • 75% of Canadians say music is important to their mental health 

 

Download the full report here.

Download infographic here.

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

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

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

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

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

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

The survey also found: 

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

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

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

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

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Music Canada appears before the CRTC in Phase 1 of its Online Streaming Act consultations

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Today, Music Canada CEO Patrick Rogers appeared before the Canadian Radio-Television and Telecommunications Commission (CRTC) as part of multi-phase consultations to implement the Online Streaming Act. 

The focus of this Phase 1 hearing, which began November 20 and is scheduled to run for three weeks, is to consider what financial contributions online music and AV streaming services – such as Spotify, Netflix, YouTube and Amazon Music – should contribute to Canada’s broadcasting framework which aims to support Canadian and Indigenous content. 

As outlined in Music Canada’s initial submissions to the CRTC (which you can find here) and reiterated today by Rogers, Music Canada encouraged the Commission to keep Canadian and Indigenous artists at the centre of their policy decisions. Streaming is a global marketplace where these artists are competing not only for fans and engagement in Canada but across the world. The ultimate framework should encourage and incentivize platforms to grow their on-the-ground investments and teams in Canada who play an essential role in helping these artists break through in global markets. Artists should be able to choose to work with whatever talent and businesses they see as best poised to help them achieve their creative and career goals. 

Watch Rogers’ full remarks to the CRTC here, and you can read them below.  

You can follow the virtual public hearings here.  

Oral Remarks of Music Canada 

Presented by Patrick Rogers, Chief Executive Officer, Music Canada

November 22, 2023

Good afternoon everyone,

My name is Patrick Rogers and I am the CEO of Music Canada. We are the trade association for Canada’s major labels all of whom have offices in Toronto and Montreal full of Canadians dedicated to helping Canadian artists reach and connect with their fans at home and around the world.

I am excited to take part in this hearing because we recognize that this is a once-in-a-generation regulatory process. I hope that you will take the earnestness of this presentation as respect for CRTC’s influence on the day-to-day lives of Canadians and as a desire to help you get it right.

Today, I will share with you the three key principles that make up our core understanding of the topics at hand.

The first is that while our members, who partner with Canadian artists, are not being regulated directly, the decisions you make about the platforms will profoundly impact artists and how they connect with their fans. Fundamentally, we encourage you to keep Canadian and Indigenous ARTISTS at the heart of your policy.

As leaders in the Canadian music industry, our members work closely with the platforms and their teams on the ground here. That is why we have engaged throughout the legislative and now regulatory processes to ensure that decision makers like you have the clearest view into our world to make the best policy possible. 

Decisions made here will impact what Canadians listen to, who does business in this country, and the opportunities that flow to Canadian artists. For these reasons, Music Canada has submitted examples of how the platforms’ activities and investments in Canada positively impact the Canadian music industry. Financial contribution obligations must not jeopardize these investments. We believe strongly in the correlation between the platforms’ investments in people, marketing, and sponsorship in Canada and the doors that have opened for Canadian and Indigenous artists both here and abroad.

Access to markets abroad is critical, because the streaming services are global in nature. Every song by every artist in Canada is in competition with every song and every artist from around the world. Canadian artists should be given every advantage in the global streaming market, instead of being given a “Made in Canada” ceiling.

Which brings me to my second principle: We can all be proud of the accomplishments of the radio regulations created and successfully administered by the CRTC without feeling the need to port them over to the streaming age. Because the streaming space isn’t a little different from radio – it’s, in most cases, the opposite. 

There is a finite number of regulated radio hours each year, whereas the amount of potential listening on streaming is infinite. While radio is programmed, streaming is based on user choice. And while the best and rarest thing that can happen to you while listening to your favourite song on the radio is that another song you like will come on – the goal of streaming algorithms is to give you an endless stream of your favourites and new titles and new artists to add to your listening repertoire.

Ultimately, the success of your work will depend on whether or not the new frameworks and funding models and criteria that you create meet the drive, innovation and immense goals of the modern artist – not the industry of the past.

Importantly, today’s streaming platforms do not represent the end of history. In my lifetime the industry has moved from $20 physical CD sales, to overwhelming piracy that nearly eradicated artists’ livelihoods, to downloads, and now to streaming. This year, the streaming platforms have moved to change some of the core fundamentals of the streaming experience for both listeners and artists. We must be cognizant that the CRTC is entering into this space at neither the nascent beginning nor the tired end. 

The last principle is about timelessness.

In preparing for this once in a generation regulatory process I could not help but think of my  daughters Grace and Rose and their love of the Canadian children’s performers Splash and Boots. They are what my members call super fans. They stream, they go to concerts, they wear their merch. YouTube and Spotify play their favourites, while surfacing new tracks from the group and other artists that they are also likely to love. I can report to you that they are very happy customers.

Together, right now, we could probably come up with a regulatory framework for Grace and Rose’s world today. But the challenge is infinitely larger for an entire country and, as my example shows, the framework needs to be timeless. Because my girls will need a soundtrack for their lives. We will need to go through the time-honoured traditions of not understanding the music that they like, laughing when they “discover” MY favourite artist and compromising on a roadtrip playlist. My goal is to make a future where my girls find and enjoy their favourite music on world class licensed services, that pay artists when their music is played, and that give them the best music that Canada and the world have to offer. And importantly, that we never have to have a conversation about VPN’s, piracy or geo hopping to get around Canadian rules to do it.

I thank you for your time and welcome any questions that you may have.

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Music Canada files submission with the CRTC in response to its contribution framework consultations to implement Bill C-11

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Today, Music Canada filed our submission to the Canadian Radio-Television and Telecommunications Commission (CRTC) for its “Call For Comments: The Path Forward – Working towards a modernized regulatory framework regarding contributions to support Canadian and Indigenous content.” 

For more than five decades, Canada’s commercial radio regulatory framework has been integral to the success of our music industry. But today, music fans overwhelmingly discover and listen to Canadian artists on streaming platforms. This new reality necessitates a new regulatory framework. With this call for comments, the CRTC requested that industry weigh in on this new framework for contributions – both financial and otherwise – that traditional and online broadcasters will be required to make to support Canadian and Indigenous content. 

As outlined in our submission, Music Canada, alongside our major label members – Universal Music Canada, Sony Music Entertainment Canada and Warner Music Canada – strongly believe this is a once-in-a-generation opportunity to leverage the power of streaming to create new and meaningful opportunities for Canadian artists and the businesses that invest in them. 

To do so, we offered the below guiding principles to the CRTC: 

  1. Policies for the promotion and discovery of music must not restrict user choice on streaming platforms. If this new regulatory framework impedes the listening experience, users will be driven to unlicensed music and VPNs. Infringing services don’t pay artists. If we drive listeners to illegitimate sources, that outcome will fly in the face of everything that the Broadcasting Act sets out to achieve. 
  2. Contribution requirements must not drive out industry investments by platforms. In recent years, the largest music streaming platforms have increased their presence and investments in Canada, creating meaningful impacts on artists and domestic music companies. Financial contribution obligations must not disincentivize and potentially jeopardize these investments. Instead, we have an opportunity here to help grow investments. 
  3. This new framework offers an opportunity to examine our funding programs and how to best support and grow our domestic marketplace. A review of existing funds along with consideration of independent new funds for music (with new eligibility and criteria) will help ensure that we not only build measurable commercial success and export opportunities for Canadian artists, but that we also support diverse voices and emerging talent. 

To read Music Canada’s entire submission, click here.

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Music Canada to present key panels at Canadian Music Week 2023

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Join Music Canada next week at Canadian Music Week (CMW), live and in-person in Toronto at the Westin Harbour Castle on June 8. 

We’ve prepared a full morning of programming, with experts from across the industry discussing the biggest topics of the day – Artificial Intelligence and Streaming Manipulation. 

Music Canada’s panels kick off June 8 at 10am with a State of the Industry address from our CEO, Patrick Rogers, who will share Music Canada’s vision and work in the shifting digital marketplace. 

Those opening remarks will be immediately followed by our panel, “Artificial Intelligence and Safeguarding Human Artistry” at 10:15am. In a wide-ranging and informative discussion moderated by Music Canada’s Creative Culture Advisor Miranda Mulholland, you’ll hear from Dr. Jeff Lupker, CEO and co-Founder of AI startup Staccato; Erin Reilly, Founding Director of the Texas Immersive Institute, Moody College of Communication; and Kiki Jaspal, Chief Revenue Officer of Renaissance.

Next up, at 11am, Music Canada will host streaming manipulation experts Morgan Hayduk, co-CEO and co-Founder of Beatdapp, and Will Page, former Chief Economist at Spotify, for a discussion titled, “Streaming Manipulation 101.” Moderated by Music Canada’s Associate Counsel, Annesta Duodu, this important discussion will explain the ins and outs of streaming fraud, its impacts on artists and the industry and what can be done going forward.   

You can register to attend CMW here. 

We hope to see you there!

 

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