How to fix the Canadian music industry

The Junos are back this weekend with their first in-person ceremony since the pandemic. The Canadian live music industry, devastated by COVID-19 lockdowns, is now getting back on its feet. And homegrown international superstars the Weeknd and Drake both recently signed multifaceted megadeals with the world’s largest music conglomerate, Universal Music Group.

Ahead of the Juno gala at Toronto’s Budweiser Stage amphitheatre on Sunday evening, The Globe and Mail polled musicians and industry insiders on the pressing issues faced by the sector. Concerns included the low royalty rate for songwriters, the rising costs of live music productions, outdated copyright laws and the scarcity of vinyl-pressing plants.

“What would make it better is more accessible funding for tour support for artists in this country, as touring costs can be prohibitive for many emerging Canadian artists,” Fox says. “We should be getting artists away from the concept of recording 10 or more tracks when only one or two of them are going to generate substantial streaming royalties,” says Alexander Mair, co-founder of the defunct Canadian indie label Attic Records. “Albums make for clutter on the streaming services. I really believe there’s far too much crap being posted on Spotify.”

While there are Canadian artists producing hits and making a lot of money , on the outside looking in are the musicians and songwriters who used to be considered middle-class in the predigital age. Torquil Campbell and Amy Millan of the indie-pop stalwarts Stars recently began selling songs directly to fans. For $1,000, Campbell, for example, willMillan believes a universal basic income for all Canadian citizens would provide a safety net for musicians.

First! By listening to my brothers music... Kirk Ostrom on Soundcloud- Canadian indie - country- rock and roll - Easy Roller is my fave

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