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Tag archive: Music Cities (50)

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#EveryStage: How Music Canada’s Music Cities advocacy aims to make Canadian municipalities more music and musician friendly

Last week Music Canada launched our JUNOS 2018 #EveryStage campaign, intended to highlight the ways our advocacy supports artists at every stage of their career, with a blog about our aim to secure equitable access to quality music education for all young Canadians.

We’re proud to return as a Platinum Partner of the 47th annual JUNOS, sponsoring both the Album of the Year category as well as the official kickoff to JUNO weekend, the Welcome Reception.

In the second installment of our four-part series leading up the 2018 JUNO Awards, we’ll explore Music Cities and Music Canada’s efforts to help make Canadian municipalities more music and musician-friendly. A Music City is a community of any size with a vibrant music economy.


Why it’s important

Vibrant and actively promoted local music ecosystems bring a wide array of benefits to both cities and the musicians inhabiting them. Economic growth, job creation, increased spending, greater tax revenues and cultural development are just a few examples.

“Live music is a growth industry in Ottawa. It shapes our identity and who we are as a city. In addition to the cultural benefits, a thriving music industry helps to level the playing field for our homegrown companies who are competing to attract talent from around the world.” – Jim Watson, Mayor of Ottawa


How we advocate

Music Canada’s world-renowned and globe-spanning research has identified several key strategies that cities both large and small can use to grow and strengthen their music economy. We work with municipal governments and regional partners to implement music and musician-friendly policies, establish music offices and advisory boards, as well as promote music tourism, audience development and access to the spaces and places where music is made.

Cities across Canada, including London, Vancouver, Hamilton, Calgary, Toronto, Barrie/Simcoe County, Halifax, Moncton, Ottawa, Windsor-Essex, Guelph and more have implemented or are exploring measures to maximize the impact, growth and support for their local music ecosystems, and Music Canada has been proud to provide support through our research and expertise in the development of these strategies.


Learn more

Our 2015 report The Mastering of a Music City represents a roadmap that communities of all sizes can follow to realize the full potential of their music economy. Truly global in scale, the report is the result of more than forty interviews with music community experts, government officials, and community leaders in more than twenty cities on every continent.

“This should remove barriers to performing and creating music. Ultimately the goal is to create a more sustainable music community where artists and professionals can enjoy successful careers.” – Graham Henderson, President and CEO of Music Canada

Our annual Music Cities Summit at Canadian Music Week brings policymakers, city planners and global music industry representatives together to discuss, learn and collaborate.

Chambers of commerce have an opportunity to carve out a leadership role in leveraging music as a driver of employment and economic growth. In 2016, Music Canada partnered with the Canadian Chamber of Commerce (CCC) to create a Music Cities Toolkit, designed to provide the CCC’s network of over 450 chambers of commerce and boards of trade, in all regions of the country, with a guide to activate the power of music in their city.

“The cities of Kitchener and Waterloo have long recognized that a comprehensive and coordinated approach for live music allows us to not only expand our existing events such as the Kitchener Blues Festival but also attract new business and retain talent. As this document confirms, Music Canada is a tremendous resource for all stakeholders in formulating a local strategy, particularly in bridging municipal, business and cultural sector interests. Through national and international experience they know what works for the benefit of the entire community.” –  Ian McLean, President & Chief Executive Officer, Greater Kitchener Waterloo Chamber of Commerce

Live Music Measures Up is the first comprehensive economic impact study of the live music industry in Ontario. It provides critical data and information to help guide decision-making within the sector, in government and other allied stakeholders.

Measuring Live Music represents an historic, timely and monumental opportunity; one which will enable us to entrench the true value of the live music economy in the minds of our stakeholders, government and audiences alike. It’s inspiring to see the sector organize, work together and build on the momentum we can all feel – here in the Province and around the world – the kind that will help guarantee live music takes its rightful place as one of Ontario’s greatest natural resources.” – Erin Benjamin, Executive Director, Music Canada Live

         

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City of Toronto’s recently released Economic Development and Culture Divisional Strategy provides framework for arts, culture, and business to thrive

The City of Toronto has released its new Economic Development and Culture Divisional Strategy. The report establishes the Division’s priorities over the next five years (2018-2022), and provides the framework that will be used to guide the development of the Divisional programs and services.

The development of the Strategy included robust consultation with over 400 city residents and industry partners, a process that Music Canada was an active participant in. The feedback received provided insight into the importance of supporting the culture sector, and its key role in supporting the growth of a vibrant economy and business community.

Some of the key objectives the strategy aims to accomplish was to “encourage Toronto’s cultural vibrancy through more and enhanced cultural experiences,” as well as to further “engage partners in the planning and development of the City’s economic and cultural resources.”

The Economic Development and Culture (EDC) Divisional Strategy includes several strategic goals and actions, with a focus on improving four key areas:

  1. Equity and Inclusion
  2. Talent and Innovation
  3. Space and Access
  4. Operational Excellence

Some of the strategy’s areas of interest are highlighted below:

Improving affordability and access to arts and culture spaces

One of the key goals that is outlined in the strategy is working to “improve access and affordability of space for business and culture.” Some of the proposed actions to address this include: leveraging incentives and grants to support access to these spaces, advocating for the establishment of affordable, sustainable spaces for business and culture, and working to support opportunities for multi-tenant, shared spaces and hubs.

As was highlighted in our Mastering of a Music City report, access to affordable arts and culture facilities (spaces and places) is vital to the health of vibrant Music Cities. Rapidly rising rents and property taxes has significantly impacted the ability of live venues, rehearsal spaces, and arts hubs to continue operating, threatening the livelihoods of the artists who require access to them. The City has taken steps to help protect and support cultural facilities, with the most recent action being the creation of a new tax subclass to support arts/culture hubs and properties.

Another positive step to note was the recent decision of the Economic Development Committee to pass a number of Toronto Music Advisory Council (TMAC) recommendations aimed at providing better support for live music in the city. Of particular interest is the recommendation to create tax benefits for local live music venues, a policy action that would help achieve the key priority of venue sustainability.

Enhancing opportunities for artists and creators to access public spaces

Another key goal included in the EDC Strategy was increasing access to City-owned space, through: improving opportunities for community use of EDC-managed facilities, and working with City divisions to explore the feasibility of making other City-owned spaces available for use. Providing opportunities for local musicians to perform in public spaces within their own city is one of the ways a municipality can help to grow and support its vibrant music ecosystem.

Outstanding examples of these types and events and programming include City Hall Live and the YYZ Live performance series, a musical celebration that featured 150 performances from 75 local artists at Pearson International Airport.

 

The EDC Division’s previous two strategies – released in 2011 and 2013 – helped contribute the development of a Toronto Music Strategy, as well as the establishment of Music and Film Sector Development Teams.

It is encouraging to note that the new strategy further solidifies the City’s commitment to supporting the culture sector, recognizing the tremendous cultural and economic impact of the arts.

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New research from SOCAN provides more evidence for the value of Music Cities strategies

The results of a new survey commissioned by SOCAN provide new evidence to support the development of Music City strategies, like those detailed in Music Canada’s landmark study, The Mastering of a Music City.

The SOCAN study titled Live Music & Urban Canadians confirms that most Canadians living in urban centres think it is important to live in a neighbourhood “with a vibrant local arts scene that includes live music” and support a portion of funds from new property developments going to community arts and culture developments.

Some details of the survey were initially shared in an opinion piece for the Toronto Star by SOCAN’s CEO Eric Baptiste titled Cities can create conditions for live music to thrive. The article was followed by another release expanding on the results of the survey and proposing ways that municipalities and music fans can support live music.

Results from SOCAN’s research include:

  • “Nearly two-thirds (63%) of urban Canadians agree that it is important to live in a neighbourhood with a vibrant arts scene that includes live music.”

Respondents with a university degree (71%) were more likely to agree with this sentiment versus those with a college (58%) or high school (49%) education. Urban residents in Atlantic Canada (74%) were also most in agreement versus residents in other parts of Canada, followed by Quebec (68%), British Columbia (67%), Ontario (63%), Saskatchewan and Manitoba (54%) and Alberta (50%).

  • “The vast majority (80%) of urban Canadians would support a portion of funds going to community arts & culture developments.”

SOCAN’s survey stated that “currently new property developers in some municipalities are required to put a portion of funds towards community development, city parks, etc,” and asked respondents whether they would support a portion of these funds being put towards arts & culture developments like live music venues and local theatres.

Urban Canadians who agreed that living in a neighbourhood with a vibrant arts and live music scene was important to them were significantly more likely to agree (91%) that development fees should support arts & culture developments than those who did not agree (62%).

  • “Roughly half (49%) of urban Canadians would enjoy owning and living in a condo that offered live music in the lobby.”

SOCAN’s survey noted that many condos in the US and Europe have restaurants and bars in their lobbies. Of the urban Canadians who responded that they would enjoy live music in their lobby, young Canadians aged 18-34 were most likely to agree (66%) and respondents living in Quebec were less likely to agree (39%) than Canadian outside of Quebec (55%).

As noted in The Mastering of a Music City, music can play a powerful role in city brand building, and also in attracting and retaining talent and investment in a city’s broader economy. In a world where talent is highly mobile, some cities are focusing on the vibrancy of their music and arts scene as a way to stand out from the competition. SOCAN’s research adds further evidence to support this observation.

Access to the spaces and places in which music can be made – from education to rehearsal to recording to performance – is also one of the seven key strategies to grow and strengthen a local music economy identified in The Mastering of a Music City.

But the relationship between residential buildings and these spaces, including live music venues, rehearsal spaces, and arts hubs, is one in which cities across the world are attempting to strike the right balance. New residential developments have, in some cases, been developed on properties formerly occupied by live venues or community arts hubs. Other venues have been threatened by rising rents, property values and taxes that do not consider the social value of these cultural spaces.

What tools are at a city’s disposal that might be, given SOCAN’s research, supported by urban Canadians?

401 Richmond, a live-work community arts hub in Toronto, was recently confronted with a property tax increase that threatened its closure. Recognizing the cultural significance of venues such as 401 Richmond, the Province of Ontario announced it was prepared to, in conjunction with the City, develop a new tax class for heritage properties.

Toronto City Councillor Joe Cressy then brought a successful motion to council to formally begin the process of establishing “Toronto’s new Culture and Creative property tax sub-class.”

Another tool adopted by cities like Melbourne, San Francisco, Montreal and London is the Agent of Change principle in land use planning. The Mastering of a Music City describes the principle as such:

“The Agent of Change Principle determines which party is required to adopt noise mitigation measures in situations of mixed land use. If the ‘agent of change’ is a new apartment building that is being built near a pre-existing music venue, the apartment building is responsible for sound attenuation. On the other hand, if the music venue is undergoing renovations and therefore is the ‘agent of change’ in the neighbourhood, it is responsible for noise mitigation.”

In Toronto, while various measures are under consideration and review, the City’s Film & Entertainment Industries’ Music Unit can now add comments to applications circulated by the Planning Division for any new development within 120 metres of an existing live music venue so that staff can identify any potential conflicts and make recommendations.

These and other policies, like reviewing noise bylaws, can go a long way in allowing live music venues and residential properties to coexist, facilitating the conditions for the vibrant arts and cultural communities that SOCAN’s research has shown are important to nearly two-thirds of urban Canadians.

This research comes as regions across Canada, including London, Vancouver, Hamilton, Windsor-Essex, Moncton, Ottawa, Barrie-Simcoe County, and more have implemented or are considering strategies to better support and grow their music ecosystems. SOCAN’s new findings provide even more evidence for the value in municipal strategies that create the environment for music ecosystems to flourish.

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Making the most of Toronto’s UNESCO Designation

Toronto joined an exclusive club made up of 180 cities worldwide last week when the City of Toronto and the Canadian Commission for UNESCO (United Nations Educational, Scientific and Cultural Organization) announced that Toronto has been designated a UNESCO Creative City of Media Arts. While there may not have been much media coverage of the pronouncement, the city’s creative industries ought to be paying attention.

This makes Toronto one of the first cities in Canada to join the network, which was started in 2004 and includes designations for Media Arts, Music, Film, Gastronomy, Literature, Design and Crafts and Folk Art.  Toronto’s designation of Media Arts is an attempt to capture the city’s achievements in not one, but several disciplines: “film, music, digital media and forms of cultural expression using technology”.

Few people in Canada may be familiar with UNESCO’s Creative City Network and are perhaps more familiar with its historical site designations or research.  This is not a surprise as North America has been relatively slower to join this party.  In fact, despite much attention given to Music Cities in North America, including many cities that build their brand on the artform, the first UNESCO City of Music in North America (Kansas City) has only just now been designated.

The international recognition of Toronto’s creative sector efforts is cause for celebration.  However, the designation should not be seen as the finish line, but as a springboard for further action. Based on our worldwide scan of Music City strategies, it is clear that the UNESCO designation has the potential of falling into the category of a public relations exercise.  But only if we let it.

In some cities, the designation has mobilized a comprehensive program for the promotion, protection and growth of the creative industry for which it is earned.  The UNESCO designation has, in other cases, ensured sustained political leadership on creative industry development and investment.  The network itself has afforded some cities with practical sharing of knowledge and best practices.

Toronto’s entire music community – including artists and industry – has an opportunity to make sure that the UNESCO designation has meaning.  We can leverage the UNESCO designation to secure an ongoing commitment to our music strategy and key priorities like venue sustainability, regulatory red tape reduction, livability for artists and musicians and access to spaces and places for the creation, rehearsal and production of music.  We can also use it to reinforce music’s equal standing alongside our partners in film and digital media.

UNESCO’s Creative City Network is definitely what we make it.   Let’s take ownership of this opportunity, and prove what we already know: Toronto can be the greatest Music City in the world.  We define it, and now we have another tool to help us build it.

 

UNESCO’s Creative Cities Network promotes cooperation between global cities that place creativity and cultural industries at the heart of their development plans.

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Feedback sought for Barrie-Simcoe Music Strategy

A new music strategy is being developed for Simcoe County in partnership between Regional Tourism Organization 7, Simcoe County, City of Barrie, City of Orillia, Town of Collingwood and MusicCO.

The announcement that funding has been secured to develop a 3-year music strategy for Barrie & Simcoe County (including Collingwood, Orillia, and many other municipalities) was made at Staying in Tune, a music summit hosted by the City of Barrie and MusicCO on October 24.

To inform the strategy, Nordicity and CultureCap are conducting a survey to gather as much information as possible about the regional music scene, and the two organizations have also been engaged to produce the final report.

Feedback is being sought from songwriters, musicians, venues, festivals, studios, record companies, fans and everyone else involved in the Simcoe County music industry. The survey website states that they would like opinions on:

  • What’s great about the local music scene, and what could be better.
  • How are you involved in the music scene? We’re gathering detailed statistics to better inform decision-making and illustrate all the activity out there.
  • Most of all, we’re looking for fresh thinking about how to make Simcoe County a better place for music!

To complete the survey, visit the Barrie-Simcoe Music Strategy survey website. For additional information or questions, you can email simcoemusic@culturecap.ca

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Playback 2017: Executive Vice President Amy Terrill launches Music Canada’s inaugural annual review site

Playback is not only the new name for Music Canada’s annual industry dialogue and celebration, it is also the name of our inaugural annual review publication.

On October 17, at the first Playback event, Music Canada’s Executive Vice President, Amy Terrill, launched the Playback 2017 site and highlighted some of Music Canada’s accomplishments from the past 12 months described in the publication.

Watch the full video below, and for a fuller picture of Music Canada’s work in the past year, check out the Playback 2017 website.

Below is a selection of photos from the Playback 2017 year in review.

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Musical instrument lending library to launch in Barrie, Ontario, on October 1

On Sunday, October 1, Barrie will be the latest Canadian city to open a musical instrument lending library. The Huronia Symphony Orchestra and The Barrie Public Library are partnering on the project, with the generous support of the County of Simcoe and MusicPro Barrie. In addition to the lending library, the project will include youth drop in programs, intended to help young musicians network and learn from one another and local musicians.

The project will launch with a Grand Opening Celebration at the downtown branch of the Barrie Public Library that will feature performances by members of the Huronia Symphony Orchestra, as well as special guest performances by Jason McCoy of The Roadhammers and country singer/songwriter Dani Strong. The celebration is free and open to everyone, and will also include a musical instrument petting zoo and other activities.

The team behind the project is planning to expand the program to Orillia and other libraries in the region so that a greater number of young people, cultural organizations, and adults are able to access musical instruments and learning opportunities.

Barrie music lovers, anyone looking to learn a new instrument, or anyone curious is encouraged to attend the Grand Opening Celebration, happening from 2-4pm at 60 Worsley Street in downtown Barrie.

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Polyphonic Ground seeks input on diversity in Toronto’s live music industry

On July 19, a new initiative called Polyphonic Ground was announced, with the aim of strengthening Toronto’s culturally-diverse music industry. The initiative is spearheaded by Small World Music, and is composed of 12 Toronto live music presenters: Ashkenaz Foundation, Batuki Music Society, Good Kind Productions, iNative, Link Music Lab, Lula Music & Arts Centre, MonstrARTity Creative Community, Music Africa, Revolutions Per Minute, Small World Music Society, Uma Nota Culture, and World Fiddle Day Toronto. The collective plans to foster engagement with a monthly collaborative concert series and diverse professional development programming.

In partnership with Music Ontario, City Hall Live, Cultural Pluralism in the Arts Movement Ontario (CPAMO) and Music Canada Live, Polyphonic Ground will be hosting a series of conversations about diversity in the live music industry. To inform these conversations, and ensure as many voices as possible are heard, Polyphonic Ground has launched an online survey.

The survey states:

The lack of gender and cultural diversity reflected by the larger Toronto music industry has been a hot topic of late. Ad hoc conversations around these issues have taken place at recent panels and forums focused on topics such as venue closures, noise bylaws, the media etc. However, there have been few opportunities to deal with these issues head on and explore how inequities can be addressed.

Have your say and help shape these important conversations. The survey closes Friday, August 11th at 5pm.

Complete Polyphonic Ground’s Diversity & Live Music Conversation Series Survey.

For more information on Polyphonic Ground, check out the press release and follow their Twitter and Facebook pages.

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City of Toronto expands support for Toronto’s music community with City Hall Live

Hannah Shira Naiman performing at Nathan Phillips Square

Music Canada, in partnership with TD Bank Group, is proud to return as sponsor of City Hall Live, formerly known as Live From City Hall.

The program will expand this year to include new collaborations with local venues, events, presenters and musicians. This past weekend, City Hall Live presented eight artists performing at 159 Manning Ave as part of Doors Open Toronto. Today, City Hall Live is presenting performances by Toronto artists Ammoye and Charmie as part of the pre-Lulaworld 2017 festivities at Lulu Lounge following a 6:30pm panel discussion on diversity and live music in the media. More collaborations will be announced in the coming weeks.

“This series provides performance opportunities, information sessions and discussions that we hope will inform and empower Toronto’s talented music community,” said Mayor John Tory in a City release. “By bringing City Hall Live directly to artists and their communities, the series is now more accessible and can have greater impact.”

Lunchtime concerts under the City Hall Live banner will return to Nathan Phillips Square this summer, happening every Wednesday from 12:30-1:30pm (July 19 – August 30).

City Hall Live will also bring a larger focus this year on panel discussions and other learning opportunities for the music community.

“City Hall Live provides new opportunities for Toronto musicians and is one of many City initiatives aimed at making Toronto a more music and musician friendly city,” said Councillor Josh Colle, Chair of the Toronto Music Advisory Council.

Artists can submit applications to perform at City Hall Live and other events, as well as submit music for the City’s Music 311 playlist at toronto.ca/music.

More information on 2017 performances and panels will be announced soon at toronto.ca/music.

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The Mastering of a Music City Summit: Recap

Last Friday, policymakers, city planners and global music industry representatives took part in Music Canada’s and Canadian Music Week’s international music cities summit, “The Mastering of a Music City.”

The summit was based on Music Canada’s 2015 report of the same name, which set out a roadmap for cities to become Music Cities—by supporting the music sector and realizing the often-huge economic dividends from the creation, performance, and reception of music. The Mastering of a Music City Summit was curated and hosted by Music Canada Executive Vice President Amy Terrill.

In its second year, the event was a remarkable success, attended by a cross section of people from all over the world—from Canada and the United States to Poland, the United Kingdom, France, Italy, Jamaica, Columbia, and more. While the summit was attended in person by nearly 200 entrepreneurs, city planners, music industry executives, artists, and musicians, over 5,000 people from around the world tuned in to watch the livestream of the event.

One of the many highlights of the day was an opening address from Toronto Mayor John Tory which functioned as a ‘state of the music industry’ for the Music City. The mayor highlighted the strength of the music scene and the progress the city has made so far, including: creating the music in parks permit, changes to musician loading/unloading zones, the mayor’s evening for the arts, and attaching local music to city services like 311.

In his speech, the mayor articulated his vision and goals for the city’s music industry in 2017.

  • The city will aim to lead more live music events, including showcases, abroad and at home, and will create over 200 city-led opportunities for artists over the next year.
  • The city will make music part of the planning process at city hall by putting a motion to council that would notify new developments of existing nearby music venues. The mayor will also classify music as an eligible activity in the city’s employment lands.
  • The city will support music tourism by bringing local musicians to the city’s airports, and programming a Winterlicious-style music event to boost activity in the off-season.

“The creativity, the joy, the talent that music brings to a big city lies at the heart of what makes Toronto dynamic and innovative,” Tory said. “I am absolutely committed to the music industry and playing the part city hall is meant to play.”

The Role of Advocates

Helen Marcou, owner of Bakehouse Studio in Melbourne, Australia, delivered the opening keynote presentation on The Role of Advocates: A Story of Successfully Fighting for Your Music City.

When stringent and high cost regulations forced a storied punk rock venue in Melbourne to close, and another 126 venues to reduce their programming, Marcou began a movement called Save Live Australia’s Music, or SLAM.

The campaign had a simple but effective message, “don’t kill live music,” was inclusive and non-partisan, and brought over 20,000 supporters out to the steps of the legislature. When the campaign was over, laws were amended and a permanent voice for the music community created in the form of a music advisory body.

Marcou continues to advocate for live music, but spoke about her more recent efforts to combat sexual assault and harassment of women in live music venues and at music festivals. When Marcou penned a letter to government calling for action, the state created a taskforce to combat sexual harassment at live music venues.

Music City Leaders

The Music City Leaders Panel asked key questions of elected officials who have identified music as a key strategy or economic sector in their cities. Panelists included Karl Dean, former mayor of Nashville; John Tory, Mayor of Toronto; Filippo del Corno, Assessore alla Cultura, City of Milan; Maria Claudia Lopez Sorzano, Secretary of Culture, Recreation and Sports, City of Bogota; Delroy Williams, Mayor of Kingston, Jamaica; and Manon Gauthier, Member of the City of Montreal Executive Committee, City of Montreal.

The panelists gave critical advice to would-be Music City advocates, and industry cooperation and collaboration emerged as a key theme. Tory said that advocates must focus on the issue, and speak with one voice if they want to be heard. This sentiment was echoed by Gauthier and del Corno.

Karl Dean, former mayor of Nashville, remarked upon his work establishing affordable housing specifically for artists. Music Cities, according to Dean, are strong and thrive because of the creative people that they attract. He pointed to music education and raising creative audiences and creative people as key principles.

Music Ecosystem

Following a presentation on the need for restoration and protection of Detroit’s music venues, moderator Vel Omazic, Executive Director of Canada’s Music Incubator, led the Music Ecosystem Panel. The panel discussed how cities should go about identifying and solving gaps in their Music City ecosystems.

Omazic was joined by Andreas Kalogiannides, a business entertainment lawyer and co-chair of the Toronto Music Advisory Council (TMAC); Christina Fitzgerald, CIND-FM (Indie 88); Didier Zerath, Artist Mgmt & Music Industry Consultant; Dino Lupelli, CEO of Linecheck Music Meeting & Festival; and Jesse Elliot, Director of The Music District.

One of the key themes that emerged from this panel was the importance of the grassroots music community driving change. According to Elliot, community engagement for The Music District—a Fort Collins music hub for musicians and music related businesses—lasted over one and a half years and was a key reason for the success of the program.

Andreas spoke to the results of the widely responded to survey that TMAC used to identify issues when formulating the Toronto Music Strategy. The survey, which was answered by over 6,000 individuals, emphasized the city’s need for livability and affordability for its creative class and a need for accessible rehearsal and performance spaces.

The Music Ecosystem Panel was followed by a series of presentations on the value of the UNESCO Cities of Music. The presentations were delivered by representatives of member cities, Kingston, Jamaica, Bogota, Columbia, and Katowice, Poland.

Music Tourism

The Mastering of a Music City report touted music tourism as a key part of the equation for cities looking to generate economic benefits from live music. Erin Benjamin, Executive Director of Music Canada Live, led the Music Tourism Panel along with:

  • Andras Berta, International Relations Director, Sziget Festival, Hungary
  • Del Rollo, Senior Director, Gov’t Relations & Estates, Constellation Brands Canada, Canada
  • Jason Beukema, Owner, Whet Travel, USA
  • Michael Crockatt, President & CEO, Ottawa Tourism, Canada

The panel talked about how music can be a powerful motivator for travel, especially when associated with powerful and memorable experiences. Rollo spoke to the opportunities that music provides. Artists and musicians are able to create experiences for their fans that no other sector can provide, and it can be a significant draw for visitors. Furthermore, music tourists spend significantly more on travel and associated expenses than other types of tourists, according to Beukema’s experience.

A presentation from Molly Neuman, Head of Music at Kickstarter, followed the panel. Neuman spoke to the crowd-funding company’s desire to support the creative independence of artists and music communities.

Working with the Development Community

The conference closed with a panel moderated by Toronto City Councillor Josh Colle which asked panelists to investigate the competition for space between developers and music venues—an issue that developing cities around the world, including Toronto, are dealing with. The panel included members of the music industry, city officials, and a representative of a US development company.

Shain Shapiro, Managing Director of Sound Diplomacy, and Jocelyn Kane, Executive Director of San Francisco’s Entertainment Commission, told the conference about their cities’ experiences with the ‘Agent of Change’ policy. In San Francisco, this means that new developments must do acoustic tests and implement sound mitigation if they are built within 300 ft. of a music venue. The Entertainment Commission also ensures that new tenants cannot sue nearby venues for noise issues.

Shapiro put forward that many developers want to support music and that the industry and government’s role is to facilitate that. As new developments in London are mandated to have cultural space components, Shapiro’s organization has created guides for developers on how to make those components music-related.

Watch the live recording of the How to Work with the Development Community panel (part 1 and part 2).

 

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