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Music Canada’s Graham Henderson will discuss Music Cities at Amped Up in San Antonio

Amped UpOn September 6, Music Canada’s President & CEO, Graham Henderson, will be discussing Music Cities at Amped Up, presented by Centro San Antonio. The music-focused event will dig into what makes San Antonio’s musical landscape unique, and in addition to Graham’s keynote address, will feature music leaders from local venues, non-profits and, of course, musicians, breaking down San Antonio’s music economy and community. There will also be live performances, including a collaboration between city leaders and artists. Amped Up is happening at the Juarez Plaza, La Villita from 6-9pm.

What can a business development association do to help local music businesses and musicians? What can the community do to help the music economy flourish? These are the questions Graham will explore as he speaks to findings from Music Canada and IFPI’s report The Mastering of a Music City, an award-winning roadmap for communities of all sizes who are trying to realize the full potential of their music economy.

Centro San Antonio is committed to fostering a vibrant and prosperous downtown that benefits the entire San Antonio community. Their mission is “to be an advocate for downtown businesses and property owners, a catalyst for economic improvement in the inner core and a thought leader on important community issues.”

Tickets can be purchased here.

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The Rambler by Graham Henderson: Thoughts on Minister Melanie Joly’s speech to the Economic Club of Canada

Graham_headphones3Blog ThumbnailThe Rambler is a column by Graham Henderson, President of Music Canada. Graham writes from time to time about developments in the music industry, new trends or just about music! Let’s face it, Graham has been around for a long time and has a lot to ramble on about.

This article was originally published on www.grahamhenderson.ca

On 9 June 2016, Minister of Heritage, Melanie Joly addressed the Economic Club of Canada on the topic of “Canada’s Culture Dividend: The Creative Sector As Economic Driver.”  I believe this was her first public, policy-oriented speech and it is significant that she chose the Economic Club as the venue.  As a sponsor of the event, Music Canada was afforded a podium opportunity to thank the Minister and reflect on her remarks.  Before we get to what I said then, I will draw attention to a few important aspects of her speech. Unfortunately, and for reasons I do not understand, this important speech has not yet been published by the Minister’s office, so I cannot link to it.  An official request has been made by Music Canada.

MJ

The Minister put on a bravura display which showcased an extraordinary grasp of a complex topic.  Clearly much thought had gone into what she said.  She was conversant with all of the facts and figures and conveyed the important message that culture is big business in Canada.  She noted that government support for the arts should not just be about funding – that funding was only part of the answer.  She bluntly stated that cultural policy in Canada needed a “new toolbox.” and pledged to create it.  This is one of the most prescient and important undertakings that any Heritage Minister in memory has made, and with a mandated review of the Copyright Act coming in 2017, it will be very interesting to see how the Minister intends to put her words into meaningful action.

There was one interesting moment in the event that actually took place during my remarks.  I was in the process of discussing the music industries transition from an analogue to digital economy. I had pointed out the extent to which we had embraced this evolution but then remarked that the Government needed to work together with the creative community “to ensure one critical result: appropriate remuneration of artists for their work.” This drew a veritable storm of sustained applause that even surprised me – I hope this is something the Minister and her staff noticed.

For all of the positives in her speech, there were some very surprisingly sour notes. The entire literary world was completely ignored; a fact that drew a measured but forceful rebuke from a member of the audience during the question and answer period. A question from a member of the fashion industry about whether or not the Minister considered fashion design to be a part of Canada’s cultural mosaic was met with what amounted to a flat out “no”. It is hard to understand why, say, videos games are considered to be “cultural” products but fashion designs are not. A question about just how substantive the government intended its mandated 2017 copyright review to be was met with a surprisingly inchoate response.  I would have thought that a Minister of a government in search of a new “toolbox” would have responded to that question with an emphatic “We intend our review to be VERY substantive.”

Overall it was a very satisfying speech which introduced the cultural community to a Minister with vision and passion who clearly desires to cast herself in the role of a champion.

Now, as to my speech, I spoke extemporaneously from bullet points and notes scribbled during the Minister’s speech.  What follows is the transcribed text of my remarks with a few amendments to clarify grammar!


I’m Graham Henderson. I’m from Music Canada, and it’s my honour to thank the Minister and offer some brief thoughts on her remarks.  I guess if I had been asked to do a formal review, I could do it in one word: “wow.” Minister Joly, you managed in a very short period of time to demonstrate your grasp of the importance of the cultural industries to our economy. I won’t go into all of the economic details – we are all familiar with them: for example the fact that culture represents 3% of our GDP. This amounts to a 55 billion dollar contribution to our nation’s GDP each year.  But beyond this, thanks to pioneering work being done by Music Canada, we now understand that culture’s contribution to our society is so much more complex.  Music for example has an enormous impact on the quality of life in our communities. And, as you recognize, government contributions to this sector represent an investment, and not just a financial outlay – there is an enormous return on that investment.  Additionally, as you have observed, culture is a key component of “Brand Canada.” In many respects culture is a gift to the people of Canada, and we are not doing enough to incorporate it into Brand Canada, and celebrate it around the world.

I was also very, very pleased to hear your call for more investment from business in the cultural sector. Also I was pleased by your references to and emphasis on the humanities.  The humanities underpin everything that we do, and actually, are under threat here and around the world. As you probably know, Republican governors across the United States are calling for the removal of state funding for students seeking an education in the humanities. Here in Canada the last Government financially supported an excellent STEM initiative called “Let’s Talk Science.” Well, in response to the comment that you made about the importance of the humanities, perhaps your government could introduce a program called “Let’s Talk Humanities;” a program geared to interest our young people in an education in that sector and turn STEM into STEAM!

This year is a good year for music. It’s the first year in almost two decades that there has been an uptick in our revenue picture. Global growth is up three percent. Music consumption is exploding, particularly through the streaming services. This is great news and it reflects an industry that is adapting to the rapid transformation of technology.  However, it requires us to continue to work together to ensure one critical result: appropriate remuneration of artists for their work.

I think everyone in this room looks forward to working with you in the coming months on the legislative review of the Copyright Act. This must not be a pro forma review. This needs to be meaningful. We have fourteen years of experience to guide us.

Now, in concluding, I am going to do something I always try to do whenever I’m speaking in public! I try to work in some of the ideas of my favourite poet, Percy Bysshe Shelley, which I’m going to do now. In this case, given some of the things the Minister has said, I think it’s exceedingly appropriate.

Shelley

Sketch of Shelley drawn by Edward Ellerker Williams. 1821-22. In my view the only extant image that captures the man.

Shelley wrote a defence of creativity almost two hundred years ago to which he gave the title “A Defence of Poetry.” When Shelley wrote this, he was responding to a pointed attack on poetry itself, but I like think of the essay as a defense of creativity in general.  In it, Shelley lists some of the important contributions of science and economics, but he then goes on to say,

“…it exceeds all imagination to conceive what would have been the moral condition of the world if neither Dante, Petrarch, Boccaccio, Chaucer, Shakespeare, Calderon, Lord Bacon, nor Milton, had ever existed; if Raphael and Michael Angelo had never been born.”

And this feeds in directly to his conclusions.  Shelley writes:

“Poets are the hierophants of an unapprehended inspiration; the mirrors of the gigantic shadows which futurity casts upon the present; the words which express what they understand not; the trumpets which sing to battle, and feel not what they inspire; the influence which is moved not, but moves. Poets are the unacknowledged legislators of the world.”

When Shelley speaks of “poets,” I believe here he means creators; and when he says they are legislators, he doesn’t mean they’re lawyers, he doesn’t mean they’re necessarily politicians. What I think he is saying is that creators predict our future, they underpin our future, and they create a framework for our future. And this is why I am excited about what Minister Joly has said.  The Minister intuitively understands this. The Minister sees that creators are deserving of our respect and protection.  I am so glad to see that we actually have with us an elected legislator who sees that it is our poets who are the true legislators of the world.

Thank you.

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Music Canada voted onto IFPI’s Main Board

Graham_headphones3

Graham Henderson, President & CEO of Music Canada

Graham Henderson, President & CEO of Music Canada, has been voted onto the Main Board of IFPI, the organization that represents the recording industry worldwide. This marks the first time a representative from Canada has held a position on the Main Board. In addition, Music Canada now has a seat on IFPI’s ILC (International Legal Committee), a group of leading legal experts from IFPI and its member organizations.

IFPI (International Federation for the Phonographic Industry) represents the interests of the recording industry worldwide. IFPI’s mission is to promote the value of recorded music, campaign for record producer rights and expand the commercial uses of recorded music in all its member markets. Its membership comprises around 1,300 major and independent music companies in 62 countries.

The Main Board provides direction and guidance from leading global organizations, markets and music companies to steer IFPI’s priorities. Currently, the Main Board is comprised of representatives from major and independent labels, as well as regional and national trade associations.

“I am honoured that Music Canada will have the opportunity to represent Canada’s music labels on an international level,” says Graham Henderson. “As the music industry continues to adapt alongside new technology, I am proud that Music Canada will be able to collaborate with international colleagues on issues of crucial importance to artists and rights holders worldwide.”

According to Canada’s Department of Heritage, Canada is the third largest exporter of musical talent in the world.

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Canadian music companies successfully settle legal action against isoHunt

MC smallIFPI Small

FOR IMMEDIATE RELEASE

Vancouver, 25 July 2016:  Canadian and international music companies have settled litigation against isoHunt Web Technologies Inc. (“isoHunt”) and its founder Gary Fung (“Fung”) with the entering of orders by consent against isoHunt and Fung.  The settlement ends a lawsuit filed in 2010 alleging substantial copyright infringement of music on the isoHunt site, as well as an opposing action filed by isoHunt and Fung.

isoHunt and Fung agreed to a court order finding them liable for infringing the music companies’ rights in their recordings, which were made available for BitTorrent file-sharing through isoHunt’s websites. Fung and isoHunt further agreed not to be associated with any service that makes the music companies’ recordings available without authorization, including by BitTorrent or any other file-sharing technology.

“Music companies in Canada stand shoulder-to-shoulder in the fight against illegitimate sites that distribute massive volumes of creative works without compensation to creators,” said Graham Henderson, President & CEO of Music Canada. “Thousands of Canadian creators, our creative industries, and their employees are directly harmed by these activities. This settlement is a step forward towards providing consumers with a marketplace in which legitimate online music services can thrive.”

isoHunt was one of the largest unauthorized BitTorrent sites in the world, offering access to a vast array of music and films for instant download by millions of users. It operated out of Vancouver with worldwide reach.

“Courts all over the world have confirmed that websites such as isoHunt infringe rights”, said Frances Moore, Chief Executive Officer of IFPI. “Artists, creators and record companies pay a heavy price for that infringement, in lost revenues, lost jobs and lost investment. This settlement sends a strong message that anyone who builds a business by encouraging and enabling copyright infringement faces legal consequences for these actions.”

A timeline of legal activities involving isoHunt:

  • 2008 – isoHunt files a petition in British Columbia Supreme Court against Canadian music companies, seeking to have its BitTorrent file-sharing site declared legal under the Canadian Copyright Act;
  • 2009 – The British Columbia Supreme Court rejects isoHunt’s application, and grants the Canadian music companies’ application to have the petition proceed by way of an action or full trial. isoHunt files such an action;
  • 2009 – A US federal district court finds isoHunt liable for copyright infringement in a case brought by the Motion Picture Association of America (MPAA), citing unchallenged evidence that 95% of the files traded through isoHunt’s sites were likely infringing;
  • 2010 – Two dozen Canadian and international music companies file a lawsuit against isoHunt and Fung in British Columbia Supreme Court, alleging massive copyright infringement and seeking damages;
  • 2012 – The Canadian government passes The Copyright Modernization Act (Bill C-11), which ensures that businesses that enable infringement can be held liable for the activities they facilitate. In public statements, government representatives identify isoHunt as the type of “enabler” that the law is intended to target;
  • 2013 – A US federal court of appeals unanimously upholds the US district court’s decision;
  • 2013 – isoHunt and Fung agree to halt all operations worldwide and are deemed liable for a judgment of US$110 million in the US proceedings;
  • 2016 – by way of a consent order filed in the Canadian proceedings in British Columbia Supreme Court, isoHunt and Fung are liable for CAD$55 million in damages and an additional CAD$10 million in punitive damages.  isoHunt and Fung further agree not to be associated with any service that makes the music companies’ recordings available without authorization.

Despite these successful legal actions, piracy remains a significant problem for the music industry. IFPI estimates that 20 per cent of all fixed line internet users worldwide regularly access services offering infringing music. A recent report by the Digital Citizens Alliance demonstrates that one in three piracy sites contains malware, which could result in identity theft, stolen banking information, or exposure to hackers.

̶   Ends  ̶

For more information:

Quentin Burgess, Music Canada

qburgess@musiccanada.com

+1 (416) 967-7272 x106

 

Adrian Strain, Director of Communications, IFPI

adrian.strain@ifpi.org

+44 (0)20 7878 7935

 

 

Notes for editors:

About Music Canada

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.

About IFPI

IFPI is the organisation that promotes the interests of the international recording industry worldwide. Its membership comprises some 1,300 major and independent companies in 61 countries. It also has affiliated industry associations in 57 countries.  IFPI’s mission is to promote the value of recorded music, campaign for record producer rights and expand the commercial uses of recorded music in all its member markets.

 

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CONNECT announces increased royalties for Canadian music labels

CONNECT Music Licensing has announced that an efficiency project undertaken with Re:Sound Music Licensing has resulted in increased royalty payments for Canadian rights holders.

Data improvement and other efficiencies have led to an increase of CAD$1.2 million annually for CONNECT’s members, who range in size from major record labels to artist-owned imprints.

Improvements in data streams provided by CONNECT’s members, and the creation of a single repertoire database have also freed up an additional CAD$1 million in accelerated royalty payments for labels and another CAD$1 million to the performers on recordings through Re:Sound’s member organizations ACTRA RACS, MROC and ARTISTI.

“The increased royalties are particularly notable as they result from our drive to improve royalty collection in line with international best practices, as opposed to adding revenues from a new music service or higher tariff award from the Copyright Board,” said Graham Henderson, President of CONNECT Music Licensing, in the release. “Organizations like CONNECT and Re:Sound exist only to serve rights holders, and today we have delivered on that promise.”

Royalty distributions, as a result of this project, will also happen faster on ongoing basis. Depending on the tariff, payout timelines have been accelerated by 1-6 months, a CONNECT rep told Billboard.

Reaction from Canada’s major labels acknowledged their contribution through data stream improvements:

Members of Canada’s music industry also shared the positive news:

Coverage of the increase in royalties for Canadian rights holders has also been featured in Canadian Musician and FYI Music News.

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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).

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‘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.”

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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.

 

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Guelph Chamber of Commerce to host ‘Guelph as Music City’ Summit

Next week, the Guelph Chamber of Commerce will host ‘Guelph as Music City’: What Successful Tourism Sounds Like, a half-day summit where key stakeholders will discuss the state of local music tourism and its potential as an economic driver in the Guelph region. The event takes place on Wednesday, April 27 from noon to 3:30pm at the Delta Guelph Hotel & Conference Centre (50 Stone Road West) in Guelph, ON.

The event will feature two panel discussions, a keynote presentation by Music Canada’s Graham Henderson, a Q & A session, as well as a pair of performances: an opening performance by Alanna Gurr, and intermission performance by NEFE.

The opening panel, Setting the Stage, will be emceed by Hayley Kellett of The Making Box, and includes panelists:

  • Kithio Mwanzia – President & CEO, Guelph Chamber of Commerce
  • Marie Zimmerman – Executive Director, Hillside Festival
  • His Worship Mayor Cam Guthrie – Mayor of the City of Guelph
  • Kathryn McGarry – MPP for Cambridge on behalf of the Ontario Minister for Tourism, Culture & Sport

Following lunch, Music Canada President & CEO will present Music Meets Municipality: Key learning’s from The Mastering of a Music City. The keynote will cite best practices gleaned from The Mastering of a Music City, the 2015 report by Music Canada and IFPI that sets out how cities worldwide can take simple steps to help develop their music economies.

Following NEFE’s performance is the Leadership Panel, with moderator Rob McLean of Kazolu , and panelists:

  • Erin Benjamin – Music Canada Live
  • Brian Heatherman – Music Ontario
  • Robert Leader – JAM School

The full agenda is available on the Chamber website. To register, or for more information, visit http://www.guelphchamber.com/attend/event_calendar/#id=1557&cid=119&wid=701.

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Canada Outpaces Global Music Revenue Growth in 2015 but Outlook Remains Cautious

The global music community celebrates a return to revenue positive in 2015 with a 3.2% growth of industry revenues to US$ 15 billion, while Canada more than doubles this upswing with an 8.3% increase, helping to make up for a double digit loss in 2014.

Driven by a strong release schedule and explosive growth in premium subscription services, largely the result of new entrants in the Canadian market, 2015 finished as an exceptional year for the Canadian music industry. In fact, three of the top ten global recording artists in 2015 were Canadian: Justin Bieber at number four, Drake at number nine and The Weeknd rounding out the top ten.

Despite these positive results however, it is too early to confidently declare a reversal in trends, given that losses in 2012 (-2.9%), 2013 (-5.4%) and 2014 (-11.0%) followed immediately after the positive 2011 figures (+3.1%), which marked the first revenue growth in this century in Canada.

Complete global figures and analysis were released today in IFPI’s Global Music Report 2016.

Highlights of Canada’s 2015 Music Revenues:

  • Digital revenues surge to 52% of total revenues (US$173.5 million), somewhat higher than the global share of 45%
  • Premium streaming revenues explode in Canada, with a 151% increase (US$29.4m in 2015 v. US$11.85m in 2014), overtaking ad-supported streaming revenue, which only grew 32% (US$19.49m in 2015 v. US$14.76m in 2014)
  • Physical revenues in Canada make up 35% of the market (US$ 118.9million), slightly lower than the global share of 39%
  • Performance rights revenues are 11% in Canada compared to 14% globally
  • Synchronization rights are 2% compared to 2% globally

In Canada, as in other countries around the world, a record volume of music is being consumed, yet artists and producers are not enjoying fair compensation, primarily because upload services like YouTube are not paying normal music licensing rates due to the misapplication of a legislative framework called “safe harbours”. This has created what is known as the “value gap”. Furthermore, the “value gap” has resulted in a distorted market, where premium services are forced to compete unfairly with other services that use copyrighted content to build their businesses, but do not pay fair rates.

“In Canada, where premium streaming has had such a significant positive effect on our market in 2015, the “value gap”, where ad-supported services benefit from lower-than-normal licensing rates, causes immense concerns,” says Graham Henderson, President & CEO of Music Canada. “We hope that legislators will work with the music community to address this market distortion and reduce the gap so that rights holders are compensated fairly for their work.”

Complete market information for Canada and all other national markets will be released on Thursday, April 14, 2016 by IFPI.

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