On Saturday May 12th, Music Canada held its third annual international Music Cities summit The Mastering of a Music City during Canadian Music Week. City professionals, policy-makers, industry executives, and music community members all gathered to discuss topics related to the value of music, its economic impact, and its relationship to innovative city planning and creative entrepreneurship.Click here to view more recaps of panels from the summit.
The morning featured a panel entitled From Scratch: Imagining and Implementing New Programs and Partnerships, which discussed lessons imparted by successful music industry leaders on topics including identifying the needs in their communities, strategies to persuade partners and funders, and methods of benchmarking programs for sustainability.
The discussion was moderated by Gene Meneray of the The ELLA Project, and included panelists Elizabeth Cawein, Founder/Director of Music Export Memphis; Enzo Mazza, CEO of the Federation of Italian Music Industry (FIMI); Kelly Symes, Ontario Festival of Small Halls; Madalena Salazar, IMTour, Western States Arts Federation.
The panel kicked off with a conversation of the importance of engaging both the music and wider community when building up the programs. Kelly Symes discussed on how for an initiative like the Ontario Festival of Small Halls, securing community buy-in was an essential component of the process.
Elizabeth Cawein similarly touched on the role of audience development for a project like Music Export Memphis, which acts as an international export office to create opportunities for Memphis musicians to showcase outside the city.
Another major topic of discussion was the role of funding for non-profit initiatives, and strategies that can be utilized to help ensure proposed funding is robust enough for the program’s needs, and consistent enough to start building towards sustainability.
Madalena Salazar described how the US-based organization IMTour worked to diversify their funding sources to not only rely on the National Endowment for the Arts, but to also utilize fundraising and other strategies.
The panelists also touched on the positive impact that fostering strategic partnerships can have on a growing organization. Enzo Mazza discussed the important role that local political support had on the organization FIMI in its early stages, and how this attracted the interests of other prominent companies. Mazza highlighted how media organizations in particular were crucial to FIMI’s success, as the support of companies like VH1 helped lead to sponsorships by other major companies.
Watch a video of the full discussion below, and stay tuned next week for a recap of another exciting panel.
Canadian Music Week (CMW) and C.A.A.M.A. (Canadian Association for the Advancement of Music & the Arts) have announced they will be creating the CMW Music Industry Market Report & Directory, transcribed by Canadian music writer Martin Melhuish.
The report was derived from CMW international delegates responses hoping for a Canadian market report to help with exporting artists. The CMW Music Industry Market Report & Directory will analyze all parts of the Canadian music industry, which includes hundreds of verified market facts and contacts within venues, live event services, promoters, publishers, recording services, studios, associations, organizations, festivals, events, media, consultants and more.
“After more than a decade of hosting international buyers and working closely on export development, we are finally bridging the gap across all music sectors to deliver a market report and directory that focuses on Canada,” said Canadian Music Week President Neill Dixon in a release. “CMW has held numerous Spotlights and Focuses, as well as an annual International Market place, to help narrow in on important international markets that should do business with Canadians. Now we can give everyone what they’ve been asking for… a guide that will support internationals executing business in Canada with up to date resources and contacts.”
Martin Melhuish, better known to many as Canada’s Literary Music Man, will be a key contributor to the CMW Music Industry Market Report & Directory. Melhuish has written several books about Canadian music over his 40 year writing career, including a history of Canadian country music, a definitive biography of Bachman-Turner Overdrive, and the JUNO Awards series, Oh What A Feeling: A Vital History Of Canadian Music.
More updates are excepted leading up to CMW’s 36th year, happening May 7-13, 2018 in Toronto, ON.
On April 20, 2017, JUNO and Polaris Prize winning experimental vocalist Tanya Tagaq delivered a brilliant and emotional keynote during the 2017 Global Forum at Canadian Music Week. Following her keynote, Tanya joined acclaimed Canadian musicians Susan Aglukark and Bear Witness of A Tribe Called Red, as well as Mike Downie, co-founder of the Secret Path project and the Gord Downie and Chanie Wenjack Fund, for a panel discussion moderated by John Kim Bell. The profound, honest, and moving discussion covered a wide range of topics such as culture, identity, residential schools, reconciliation, and the responsibility and pressure Indigenous artists feel to assume activist roles.
Before Tanya’s keynote, the Global Forum began with a stunning performance by Hamilton-based experimental trip-hop artist IsKwé, a welcome from Music Canada’s President and CEO Graham Henderson, and opening remarks from Arif Virani, Parliamentary Secretary to the Minister of Canadian Heritage (Multiculturalism) and Member of Parliament for Parkdale-High Park.
For more than a decade Music Canada has been proud to sponsor the Global Forum at Canadian Music Week, which brings together Canadian music professionals and international delegates for a networking breakfast and discussion. Over the last few years the Global Forum’s theme has been “music can help,” and in 2017 the focus shifted from a global outlook to an inward exploration of the role music has played for Indigenous musicians in Canada, bridging cultural divides and bringing national attention to Indigenous issues.
Watch the full video of the Global Forum panel discussion below.
Susan Aglukark on the role music has played in her life:
The thing that music and art has done for me over the last twenty five years; it’s opened up this place and space where all opinions, thoughts, cultures, everything matters. Everything is a part of recovering and building bridges.
Bear Witness on visibility of Indigenous artists in mainstream culture:
We always get asked all these things about Indigenous issues, and it’s such a broad thing in trying to figure out what to talk about, and I kind of decided that in the kind of work I’m doing, the thing I can affect most is visibility and how I present myself to the world and how I want to be seen. And that’s something that goes back to how I grew up. We were actually talking before we came out about seeing a poster of you (John Kim Bell) that was up in a high school guidance office, or something like that. Seeing that poster was a huge inspiration for me. Because it was that idea of seeing an Indigenous person who was visible, who was getting recognition for excellence in their craft. I come from a long line of Indigenous artists and I’m probably the most visible out of any of them. By far not the most talented. So that idea that there’s been all of these talented Indigenous artists, generations of them, that have gone unnoticed, and to be noticed meant to give up your Indigeneity often. It’s a really new thing for us to be up here, representing the way that we all are.
Tanya Tagaq on identity in her music:
There shouldn’t be pressure culturally for us to get out of a box, stay in a box, or anything. We’re allowed to be what we want to be – cultural freedom – that’s what I want. And I don’t expect people to comprehend or even enjoy my music, because I was born and raised up there, but yeah I went to residential school for high school, and since we started touring I’m really into going to contemporary art galleries and I like applying concept to pieces. I like contemporary music. I like noise music. I love Cindy Sherman. Anish Kapoor is one of my favourite artists. So why is it that, because I’m an Inuk, what I’m doing in a contemporary sense is applied to this pan-Inuit concept? I think it’s total bullshit, and that I’m allowed to be free and do what I want and not bear the burden of people saying I’m a traditional artist, cause I’m not.
Mike Downie on Secret Path and using the platform music and fame provides to draw attention to social and political issues:
Our feeling was – maybe this can be an on-ramp for people to learn more, because the stories keep coming and they get a lot darker than a little boy by himself on the tracks. And so, I think we did feel like there was an opportunity to use this story to get it out to not just Gord’s fans, but to the country, and also I think, just come with a message too that if you’re coming to this now, it’s OK, but keep coming, don’t turn away, and keep following that path.
Bear Witness on the sense of responsibility Indigenous artists feel:
As Indigenous artists we take on a lot of responsibility to represent and speak about Indigenous issues, especially when we’re using our culture in our work. And one of the things you (John Kim Bell) said right away was that feeling of responsibility, that this isn’t a choice, this is something that we have to do. That filled me with so much confidence and so much happiness to hear you say that, because I say that all the time, to feel that there’s other artists who’ve gone through those same feelings.”
Tanya Tagaq on the way art affects collective consciousness and politics:
Our cultural climate is dictated by the individual and then by the school of fish that we are, so there’s a collective social consciousness that’s being affected by art right now, by people waking up, so I think that the way the government is going to change is by every single one of us taking the opportunity to learn and understand and cry out. I remember growing up it was still bad to be gay, and now you’re an idiot if you’re a homophobe, right? So I’m hoping that with all of us working together we’ll force the hand of the government into making it easier for us and I think it’s up to the youth to pick up the mantle and it’s up to every single one of us to bear some of the weight because it’s a little bit unfair for the people that are already hurting to have to bear the additional pressure, and that’s why I’m so appreciative of what you (Mike and Gord Downie) have done in your work.
On April 21, 2017, Music Canada President and CEO Graham Henderson delivered the opening keynote at Canadian Music Week‘s Global Creators Summit, highlighting the growing issue of the Value Gap for music creators. In “The Broken Promise of a Golden Age,” Graham urges artists and creators to stand up for what’s theirs, and use the power of democracy to generate positive change for the creative community.
Following CMW, the speech was featured on FYI Music News, and the full recording, initially live-streamed on Music Canada’s Facebook page, can be viewed below.
Canadian creators are encouraged to join the Focus On Creators initiative and sign the letter to The Honourable Mélanie Joly, Minister of Canadian Heritage, urging government to put creators at the heart of future policy.
Eligible voters will have the opportunity to cast their ballots in dozens of categories for venues, labels, retail outlets, streaming services, and many more areas within Canada’s music industry. Several honourary award recipients have already been announced including legendary rock trio Rush for the 2017 Allan Slaight Humanitarian Spirit Award, Jann Arden and Live Nation’s Arthur Fogel for their Canadian Music Industry Hall Of Fame inductions, and media personality Marilyn Denis, who will become the first woman to accept the Allan Waters Broadcast Lifetime Achievement Award.
Music Canada Live and Canadian Music Week (CMW) have announced the second annual Live Music Industry Awards, presented by El Mocambo, will be taking place Wednesday, April 19, 2017, from 4-6pm at the Sheraton Centre Toronto Hotel. The Awards will be held during CMW 2017 and will recognize and celebrate the best of the live music business sector.
Nominations are now open until January 27, 2017. Live Music Industry Awards are presented in the following categories:
Family Program of the Year
Small Festival of the Year (6,000 and under)
Medium Festival of the Year (6,001 – 15,000)
Major Festival of the Year (15,001+)
Not-For-Profit Festival of the Year
Green Operations Festival of the Year
Best Teamwork in an Arena
Best Teamwork in a Soft Seat Theatre / Performing Arts Centre
Best Teamwork in a Major Club (1,000+ Capacity)
Best Teamwork in a Medium Club (300 to 999 Capacity)
Best Teamwork in a Small Club (less than 300 Capacity)
General Live Music Awards
Agent of the Year (Canada)
Agent of the Year (International)
Manager of the Year
Road Warrior of the Year (Tour Manager)
Production Manager of the Year (Festival/Concert)
Concert/Club Talent Buyer of the Year
Festival Buyer of the Year
A/V Production Company of the Year
Brand/Music Program of the Year
Sponsorship Activation of the Year
New Touring Artist of the Year
Legends of Live
Music City of the Year Canadian
“Last year the first-ever LMIA’s proved beyond a doubt that we have much to celebrate, by acknowledging lives’ incredible contributions to the industry. This year, we continue to shine a spotlight on this passionate and dedicated community – one that works tirelessly to put artists and fans together. This effort is at the heart of what Music Canada Live is about, and we are thrilled to co-present the second annual LMIA’s in 2017 with CMW on behalf of our members and Canada’s live music industry,” said Erin Benjamin, Executive Director of Music Canada Live.
In addition to the Live Music Industry Awards, Canada’s live sector will be in greater focus during CMW 2017 with an expanded, 2-day Live Music Summit, running from April 19-20.
Canadian Music Week 2017 will take over Toronto from April 18 – 22. The four-night festival will host over 800 showcasing bands at more than 40 venues in the city’s downtown. 2017’s convention will be held at the Sheraton Centre Toronto Hotel, 123 Queen Street West.
At CMW 2016, global city planners and the music industry met for The Mastering Of A Music City, a one-day international creative economy summit, which was inspired by Music Canada’s report of the same name. Austin was a focal point of the conference, and the report, because of its incredible music economy, where music tourism accounts for almost half of their US$1.6 billion economic output.
Neill Dixon (right), CEO Canadian Music Week and Don Pitts (left), Music & Entertainment Division Manager – ATX Music & Entertainment Division, City of Austin. Photo via CMW.
CMW 2017 will present the first Austin-Toronto showcase, featuring premier talent from both cities. The showcase is an outcome of the recent Austin-Toronto Alliance Summit, where industry leaders met in Toronto in June of 2016. The Music City Alliance between Toronto and Austin was formed in 2013 to promote mutual growth opportunities between governments and industry.
For more information on CMW 2017, head over to their website at www.cmw.net
Quebec music industry veterans André Ménard and Alain Simard have been announced by Canadian Music Week as the next 2016 inductees into the Canadian Music Industry Hall Of Fame. They will join previously announced 2016 inductees Andy Kim and Rob Steele at the Canadian Music & Broadcast Industry Awards Gala at the Sheraton Centre in Toronto, ON, on Thursday May 5, 2016.