28 MusicWeek 22.06.12 TERRITORYPROFILE CANADA
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“We are hugely lucky that Canada invests heavily in artists and that makes it possible for our talent to tour and release albums in other territories when otherwise it might not be possible” DEANE CAMERON, EMI MUSIC CANADA
approach, even with our developing bands, is to be very cautious. “Start small and hopefully find some eager
partners down there,” he advises his Canadian peers, “whether it’s for distribution or a label to help with some of the heavy lifting on the ground. “I know we’re right next door but it doesn’t feel
like it sometimes,” he concludes. Chris Taylor, founder of indie label Last Gang
Records, has a brighter outlook when considering the obstacles between Canadian artists and the US, spurred on by the belief that artists need to tackle the market at any rate if they are to be successful. “The proximity of the market and similarities in
culture makes it easier for Canadian acts to cross the border to the US,” he tells Music Week. “There are difficulties relating to immigration and proximity but so many Canadian acts have overcome those obstacles in the past decade. “I think the obstacles are considered minimal to
the point where most acts know they must be able to do business in the US or they are doing something wrong,” he adds. As always, however, success starts at home and, as
with every other territory, the Canadian music industry has recently found itself in a period of transition. “CD sales aren’t getting any better and artists aren’t getting any richer,” says Mikey Bernard, programming director for M For Montreal, which presents various showcases at events around the world to put Canadian music in the spotlight. “It’s all about loving what you do and hoping the right people connect with the music. “Indie, rock, hip hop, folk and electronic music
are all doing particularly well,” he says, however. “Montreal, Toronto and Vancouver are the biggest cities meaning more variety. Futuristic Low-Fi Pop is prominent there as well.” EMI’s Cameron expands on the domestic quirks
of the Canadian music market that need to be kept in mind. “There are several unique characteristics – both
positive and negative,” he says. “They include the way we are influenced by broadcast regulations giving opportunities to Canadian artists, our important and large French Quebec market, the struggle of modernising our copyright legislation, our 639 commercial radio stations (but no Triple A), and the simple but daunting fact that this country is a huge geographic mass. That directly affects how artists tour and the financial commitment it takes to cover the country. “The popularity of outlets such as CBC national radio show Q, which features in-studio
ABOVE Canadian industry movers and shakers: From left – Deane Cameron (EMI Music Canada), Mikey Bernard (M For Montreal), Helen Britton (Six Shooter Records), Shain Shapiro (Canada
Independent Music Association), Matt Smallwood (MapleMusic Recordings) and Chris Taylor (Last Gang Records)
performances and in-depth artist interviews, proves that music is important to Canadians and that we love to discover and champion new talent,” he adds before emphasising the relationship between major and indie labels. “With the way artists and culture are promoted
and supported here, our relationship with the independent labels we distribute continues to especially grow and thrive,” he explains. “These labels bring a consistent supply of
innovative and relevant artists and we work very closely with them, in many cases offering additional services to help develop these artists and their global opportunities, not just distribution. Shain Shapiro, the EU and UK representative of
the Canadian Independent Music Association says that, as with other countries, recorded music is getting weaker in Canada: “People are still buying physical records, but aren’t doing so in traditional shops as much as they used to. “The diversity of what is selling in quantity is
also diminishing. So digital is really important in the Canadian market.” On the other hand, he also points to the world of
sync as an example of something that is particularly strong in the territory. “Because of our close relationship with the US, our acts and companies
“A lot of the UK bands tend to skew a little bit higher here in terms of sales. It seems that Canadians are reading a bit more about what’s going on in the UK compared to people in the US” MATT SMALLWOOD, MAPLEMUSIC RECORDINGS
often have direct links with supervisors in New York and LA,” he explains. When it comes to working in the Canadian
market, Matt Smallwood suggests that the territory is actually a good place for foreign acts and those from the UK in particular. “We’re a very mixed population here and we do seem to have a high expat quota,” he tells Music Week. “I left the UK in the early Nineties, so I was
seeing UK bands like Oasis and Blur here in Toronto. It was one of the best cities in North America for those artists. “A lot of UK acts tend to skew a little bit higher
here in terms of sales,” he adds. “We’re usually getting 8-10% of the US, as a benchmark, but some of the UK stuff will do 15-20% of the US, which is really good in Canada. “It seems that Canadians are reading a bit more
about what’s going on in the UK compared to people in the US.” Smallwood does, however, emphasise the need for
artists to show their face and work hard in Canada itself if they want to build an audience there. “Bands, managers and labels have got to engage with the marketplace here,” he says. “It’s critical. “We don’t have media like you do in the UK or
the US, we’re a bit more limited. There are opportunities but they come with having the band here in a more meaningful way. “Hitting Toronto, Montreal and Vancouver if
you’re doing the West Coast is an absolute minimum,” he concludes. “We do see the benefit and the sales and bands see tangible results if they’re able to dig in a bit more and actually work here.”
SAVE THE DATE CANADIAN MUSIC: MARCH 19-24 2013
CANADIAN MUSIC WEEK is one of North America’s most recognised entertainment events focusing on the business of music. Bringing together sound recording, new media and broadcast across a week long schedule, it combines conferences, trade exhibitions, award shows a film festival and Canadian Music Fest, the country’s largest new music festival. Music, interactive and broadcasting
industries from around the globe converged to celebrate the 30th anniversary of Canadian Music Week this year and participate in the launch of two brand new components – the Digital
than 40 countries and to participate in mentoring and matchmaking sessions with their international counterparts. Panels focused on the
latest issues and trends affecting today’s business models – from the rise of
Media Summit and the Canadian International Comedy Fest. More than 2,400 industry
representatives attended the event – sponsored by Slacker - to connect with leaders in music, interactive, broadcasting, media, publishing, film and more; to meet one-on-one with potential business partners from more
digital music advances, mobile technologies and applications to the growing inherence of social platforms and communities in revenue generation. Next year’s Canadian Music Week
will take place on March 19-24 2013 in Toronto with a spotlight on Japan and Korea as well as a focus on Nordic regions.
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