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La Mar Taylor has been named the first-ever Billboard Canada 40 Under 40 Visionary Award honouree. It’s a recognition of the work he’s done over more than a decade with The Weeknd, and the impact he’s had on Toronto’s creative community.
This summer, Taylor stood inside a packed Rogers Centre watching The Weeknd’s sixth sold-out hometown show. For him, it felt like a full-circle moment. He and Abel Tesfaye met as teenagers in Scarborough, dropped out of school together and built their careers from scratch. Taylor shot the cover of House of Balloons, helped shape the early XO era and has been behind the creative direction of The Weeknd’s albums, videos, tours and even the Super Bowl halftime show.
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The After Hours Til Dawn Tour, now the biggest R&B tour in history, is the latest chapter in that run. Taylor says the aim is always to push ideas further than the last project.
Outside of XO, he co-founded HXOUSE, a Toronto incubator offering space, mentorship and community for young creatives. He’s vocal about the challenges facing Canadian talent but believes persistence and strong ideas can still break through.
Taylor will receive the Visionary Award at the Billboard Canada 40 Under 40 event at the W Toronto on November 20.
Read the full interview here. — Richard Trapunski
Cameron Whitcomb’s Country Hit ‘Options’ Rises on Billboard Canadian Hot 100
Cameron Whitcomb is hitting a new peak.
After nine weeks on the chart, the Canadian country singer’s track “Options” rises 69-64 on the Billboard Canadian Hot 100, dated Nov. 15.
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“Options” is an energetic folk anthem from Whitcomb. It describes his sobriety journey, and finds Whitcomb reflecting on the various paths he could take.
“I won’t but I could / pull that bottle off that shelf / it helps me cope knowing I could be that version of myself,” he sings, supported by powerful backing vocals that lift him up along the way.
The B.C.-native is having a major year. Whitcomb first broke out as a contestant on American Idol in 2022, and has since landed four straight singles on the Canadian Hot 100 — all before his debut full-length album, The Hard Way. It’s an impressive track record for a young artist at this stage.Read more on the chart feat here. — Heather Taylor-Singh
Live Nation Report Finds Canadians Prefer Live Music as Favourite Form of Entertainment
When it comes to entertainment, Canadians prefer live music.
In a new report by Live Nation, titled Living for Live, they found that nearly four in 10 people (37%) would choose live music as their preferred form of entertainment, ranking higher than both sports and movies.
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Based on a survey of 40,000 people across 15 countries, the report captures a shift in how people spend their time, express their identities and connect with others through live music experiences.
The report noted that fans in Canada build their livelihoods around live music — 83% said a concert is one of their most memorable life moments, while 72% claimed to plan their calendars early to catch a certain artist’s show.
Live music is a major part of the Canadian music industry. Earlier this year, the Canadian Live Music Association (CLMA) revealed that live music contributes billions to the Canadian economy — $10.92 billion in 2023 — to be exact.
However, it’s not just consumers who are reaping the benefits. Two years ago, live music in Canada produced $3.73 billion in tax dollars and generated more than 101,640 jobs, contributing $5.84 billion in labour income.
Read more here. — Heather Taylor-Singh
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Today is officially Music Creator Day.
Spearheaded by SOCAN, the date was acknowledged by Senator René Cormier on Nov. 4 in the Canadian Senate and by Member of Parliament David Myles in the House of Commons two days later.
As of 2025, Nov. 7 will now be annually observed as Music Creator Day across the country.
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It coincides with beloved Canadian singer-songwriter Joni Mitchell’s birthday, paying tribute to her contributions and representing a lasting legacy for the next generation of musicians.
“Thank you for honouring my work in this manner,” Mitchell says in a statement. “Although I have lived mostly in the States since I was 21, I live part-time in B.C. I have always been proud to be a Canadian and lately more than ever.”
Earlier this year, Mitchell was honoured with SOCAN’s 2025 Cultural Impact Award, recognizing her impact as a Canadian songwriter. Canadian singer-songwriter Allison Russell performed a showstopping rendition of “Both Sides Now” at the SOCAN Awards and spoke to Billboard Canada about her work with the legendary artist. “Getting to be in creative communion and community with her has been one of the most surreal gifts of my life,” she said.
“I invite you all to sit down and enjoy your favourite Joni song, or a song by any other amazing Canadian, and honour the great musical creators of this country on Music Creator Day,” says MP Myles.
The declaration is accompanied by a recent survey conducted by Pollara for SOCAN on the connection between Canadian music and culture. They report that 81% of Canadians believe supporting local music creators is vital to ensuring our culture thrives for future generations, with 77% claiming local music helps define Canadian culture.
It’s reflected on the charts, too. As of November, five Canadian artists have hit No.1 on the Billboard Canadian Albums chart, including two albums from The Weeknd, PARTYNEXTDOOR & Drake’s collaborative $ome $exy $ongs 4 U and Tate McRae’s So Close to What, marking the pop singer’s first No. 1 on the chart. The most recent was Justin Bieber’s Swag, which sat at No. 1 for one week.
Read more here.
Canadian Government Renews Canada Music Fund in 2025 Budget
The Canada Music Fund has been renewed.
After a few weeks of uncertainty from independent Canadian music industry groups, yesterday (Nov. 4), the government officially renewed and allocated $48 million to the fund, in the first federal budget tabled by Finance Minister François-Philippe Champagne — it will be distributed over the next three years, beginning in 2026.
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The decision serves as a moment of celebration for Canadian music organizations. Québec music organization ADISQ shares that it’s a relief for the industry.
“This renewal was essential for our companies to continue investing fully in the career development of local artists, and thus maintain the sector’s competitiveness,” says Eve Paré, executive director of ADISQ, in French. “Public funding provides leverage for our industry. It plays a vital role in reaching the full potential of our cultural vitality.”
For over four decades, the Canada Music Fund has been a cornerstone of Canada’s music economy, supporting FACTOR and Musicaction, two of the country’s biggest and most important music grants.
The Canada Music Fund’s $48 million renewal extends the $16 million annual boost that was announced as a temporary two-year top-up in 2024, with another $16 million for the next three years.
Securing stable funding will enable music orgs to meet the challenges they face, such as declining contributions to private radio broadcasting, and will serve as a boost after the paused 5% revenue funds for major foreign-owned digital streaming platforms under Bill C-11.
The Canadian Independent Music Association (CIMA) notes that the renewal is a sign of recognition and validation for homegrown artists and organizations.
“Canadian music companies and the artists they work with represent a dynamic economic engine powering the growth of Canada’s cultural economy. This budget announcement is an encouraging step forward,” says Andrew Cash, president and CEO of CIMA.
The renewal will benefit live music organizations, too. The Canadian Live Music Association (CLMA) enthusiastically welcomed the federal government’s continued investment in Canada’s cultural sector, “including the commercial live music infrastructure of venues, festivals and promoters that connect artists to audiences across the country.”
In addition to the renewal, the government has announced a $150 million funding increase for CBC/Radio-Canada, with hopes of the country securing a spot on Eurovision’s international song contest.
“Public funding preserves a dynamic local ecosystem that values what makes us unique. We must now work to guarantee the sustainability of this funding and thus ensure the future of our music,” says Paré.
Read more here.
Music Streaming Services Call On National Assembly of Québec to Forego French-Language Quotas
Music streamers are speaking out against new French language music streaming legislation.
The Digital Media Association (DiMA), the trade association and lobby group that represents platforms including Spotify, Apple Music and Amazon Music, has raised concerns about Bill 109, a proposed new law that would ensure French-language content is prioritized by digital platforms operating in the province.
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Bill 109, titled An Act to affirm the cultural sovereignty of Quebec and to enact the Act respecting the discoverability of French-language cultural content in the digital environment, was introduced in May by Québec’s Culture Minister Mathieu Lacombe.
If passed, the act would “enshrine the right to discoverability of and access to original French language cultural content” into Québec’s Charter of Human Rights and Freedoms, and allow the province’s government to mandate “the quantity or proportion of original French-language cultural content that must be offered by digital platforms.”
The bill states that the Quebec government has to establish content quotas on how much music needs to be produced or featured on these platforms, although no numbers were specified. All platforms would be required to register with Lacombe.
According to DiMA, the major streaming services don’t want any new discoverability requirements and French language quotas.
In a submission to the Committee on Culture and Education in the Québec National Assembly, the music association writes that “mandating quotas and the discoverability of certain tracks or types of tracks risks altering the business model that has made streaming so attractive and has delivered vital revenues to artists and the music industry.”
The organization fears that if there is government intervention, it will affect how the streaming services operate, and “degrade the user experience,” which may limit the flow of revenue to Francophone artists and rightsholders.
Additionally, DiMA raises logistical issues with the government’s implementation of content quotas.
DiMA highlights that the key to ensuring both parties are satisfied is prioritizing the ultimate objective — to promote the language and culture of Québec.
“We believe the most effective path forward is one focused on listener choice, not constraint. Québec artists and Francophone music are thriving on streaming services today because audiences are empowered to find and listen to music organically,” says Graham Davies, DIMA’s president and CEO.
“By working together — combining the government’s cultural vision with the streaming services’ reach, expertise and innovation — we believe Francophone and music of Québec can continue to thrive both at home and on the global stage.”
While Quebec is pushing discoverability of French-language music, the online platforms are pushing back against the cross-country “streaming tax battle,” pushing against the Canadian Radio-television and Telecommunications Commission (CRTC)’s now-paused plan to require major foreign streaming companies to invest 5% of their income to support Canadian content.
DiMA has led a campaign called “Stop The Streaming Tax,” which some in the music industry have called “disingenuous.” Services like Spotify, meanwhile, have been touting the success of francophone music on its platform.
Read more here.
Trending on Billboard
If Canadian music sounds a little bit sadder over the next year, there’s a good reason: Across the country, fans are grappling with the heartbreak of a painful World Series loss. In Toronto, where fans of all stripes tuned in, the city is feeling the weight.
For one glorious week, the city became the epicenter of not just sports, but culture. As the Toronto Blue Jays played the Los Angeles Dodgers for baseball‘s biggest prize, the game emanated not just from the Rogers Centre, but homes, bars and even music venues.
It wasn’t just that Toronto was watching baseball. Baseball became part of the city’s cultural rhythm, blurring the lines between the game and the music that soundtracks it. In that moment, baseball became a mirror for Canadian culture — uniting generations, artists and genres around a team that felt bigger than the city it played for.
For bands who had shows on the night of the pivotal Game 7 on Saturday night (Nov. 1), they got creative — watching the game on an iPad onstage, as the Beaches did, or projecting it right behind them, like Born Ruffians.
At the Rogers Centre, artists became part of the texture of the game. Baseball collector and superfan Geddy Lee of Rush was a regular sight as he remained glued to his seat throughout the series, Arkells frontman Max Kerman joined a busker to sing Tragically Hip songs for patriotic fans, Justin Bieber brought his wife Hailey to catch the game from Los Angeles, decked out in a Bieber Blue Jays jersey (for pitcher Shane Bieber, not Justin).
Even Drake, who is famously associated with the Toronto Raptors, jumped from his typical courtside spot at the Scotiabank Arena to a private box at Rogers Centre to watch Games 1, 6 and 7 of the World Series. At the OVO-presented Vybz Kartel concert in Toronto, the Jamaican dancehall star donned a custom Blue Jays jersey.
Where countless rappers drop bars about Steph Curry, Kobe Bryant or Allen Iverson, baseball’s cultural currency often feels as timeless as the game itself. Songs associated with baseball tend to date back four decades, if not 10, and reference players from a century ago: more Babe Ruth and Joe DiMaggio than Shohei Ohtani and Vladimir Guerrero Jr..
That might change now. From Vladdy’s “born ready” swagger to Ernie Clement’s power of friendship, the 2025 Blue Jays were full of lovable characters and storylines to latch onto. The demographics of baseball are also changing.
While basketball touts the game going global, baseball has been there and continues to spread far and wide across the world. This series had impact players from Canada, the United States, Dominican Republic, Venezuela, Mexico and more, while Dodgers players like Ohtani, Roki Sasaki and Yoshinobu Yamamoto have become cultural icons in their homeland of Japan. The Major League Baseball season began with a game in Japan and finished in Canada, the first time it’s ever started and finished outside of the U.S.
That sense of global reach — and the music and celebrity culture intertwined with it — is no accident. Uzma Rawn Dowler, Chief Marketing Officer of Major League Baseball, says the league has been intentionally weaving music into the fabric of the game.
“Music is such a staple in baseball,” says Dowler in an interview with Billboard Canada during Game 6 at the Rogers Centre in Toronto. “We have our player walk-up songs, but we’ve also found that music is a passion point for our young and diverse fans.”
That approach also extends to creating moments that feel authentic to each city. “We want to make sure we’re relevant to the market,” Dowler says. “Here in Toronto, we had Drake for Game 1 — and he was back for Game 6 [and then 7]. In Tokyo, for our opening game with the Dodgers and the Cubs, we had music acts that were relevant to that market.”
Dowler’s strategy — to make baseball feel as musically and culturally relevant as any other sport — is reflected on the field too.
“If you go in one of our clubhouses and you listen to the playlist, you’re going to hear every different type of music,” says EJ Aguado, Vice President of Player Engagement and Celebrity Relations at Major League Baseball. “You’re going to see and hear guys from all different walks of life, so many guys from different countries. You’re going to see that too with how different celebrities and artists show up here. It’s going to appeal to a bunch of different people and I think that’s just representative of our game.”
Asked about what he listens to to pump him up for games, former Toronto Blue Jay and current Los Angeles Dodger Teoscar Hernández told Billboard Canada he keeps the tempo low.
“For me, it’s more relax time,” he said. “I listen to a lot of Christian music. That’s what makes my mind and my head calm so I can be ready for the game.”
For his part, Blue Jay shortstop-turned-second baseman Bo Bichette said “I’m a huge [Justin] Bieber fan.” He loved seeing the Canadian star singer in L.A. supporting the Jays.
Players each had their own walkup music, which ran the gamut from System of a Down’s heavy rock song “B.Y.O.B” (Addison Barger) to Chappell Roan’s “Pink Pony Club” (Davis Schneider). Guerrero tends to use songs by Latin trap and reggaetón artist Eladio Carrión, who appeared at games in L.A., while Alejandro Kirk uses regional Mexican songs by artist Xavi. Ironically, the biggest Canadian tune was used by a Dodger, with Ohtani walking up to Michael Bublé’s version of “Feeling Good” — something that gave diehard Jays fan Bublé mixed feelings.
You could feel the city, and the country, coming together to unite fans of all ages, and that was reflected in its soundtrack too. The Weeknd collaborated with the Blue Jays for exclusive merch, while Abel Tesfaye narrated a hype-up video for Rogers Sportsnet. A rerecorded version of Queen’s “I Want It All” with the Toronto Symphony Orchestra became the team’s rallying cry.
This season, Scarborough artist Azeem Haq teamed up with rapper Choclair for a new version of the Blue Jays’ classic seventh inning stretch theme song “OK Blue Jays.” During the playoffs, the song was played on Sportsnet and trended on Instagram reels as fans used the song to cheer on the team. The song, which plays off the 1993 World Series-referencing line “like Carter did to Philly” from Choclair’s 1990 CanCon hit “Let’s Ride,” references every era of the Blue Jays and all of their playoff theatrics.
Haq tells Billboard Canada he was actually at the ’92 and ’93 World Series where the Blue Jays won back-to-back championships, attending the games with his uncle and father, and now he’s happy to bring the fandom into the new era for his four nephews, who all appear on the track. “It’s a generational thing,” he says. “My dad handed the love down to me, I’m handing it down to my nephews.”
This time around, political statements didn’t capture conversation the same way as they did for the NHL’s Four Nations tournament that pitted Canada and the United States against each other during a tense time of international relations earlier this year. There was notable backlash to singers changing the lyrics to “O Canada” before World Series games — JP Saxe singing “home on native land” (first sung by Jully Black) and Rufus Wainwright borrowing the “that only us command” line first used by Chantal Kreviazuk in that earlier hockey tournament.
There was also fan backlash to a Game 2 performance by Jonas Brothers, who played a song following a touching Stand Up To Cancer segment between innings. Where the halftime performance is an integral part of the Super Bowl, MLB games don’t have as natural a mid-game music segment (though for her part, Dowler says the amount of time between innings was the same as previous tributes; they just went to Jonas Brothers instead of a commercial).
Still, there was a concerted effort to bring star power to the series. In L.A., celebrities like Brad Pitt and Sydney Sweeney showed up to the game, while Toronto set up a red carpet-like photo op with the Commissioner’s Trophy for celebrities like P.K. Subban, Jerry O’Connell and Vampire Diaries‘ Paul Wesley to pose with. In Toronto, Pharrell Williams opened the series with gospel group Voices of Fire for a flashy version of the American national anthem.
Even amid the heartbreak, something shifted. Baseball, often seen as the slower, quieter sport, suddenly felt alive in the country’s cultural bloodstream. In Toronto, it felt like one of the biggest moments of collective pride and energy since the 2019 Toronto Raptors championship — something the city has been begging for since the pandemic.
Game 7 of the 2025 World Series was reportedly the most watched baseball game since 2017, garnering 5 million more viewers than Game 7 of this year’s NBA Finals. It feels like baseball is more culturally relevant than ever, and the nail-biting Blue Jays-Dodgers World Series was a major part of that.
“I think we’re in the middle of the crest of the wave right now,” Dowler says, speaking about the worldwide cultural resonance of the sport. “This should not be unexpected for baseball anymore. This is what fans should expect from MLB — and that’s what we’re really, really excited about.”
“It’s great to bring music artists out here and show that the biggest stars are at baseball’s biggest stage,” says Aguado, noting that the celebrity calls they make are to real baseball fans, not just recognizable names. “This is the centre stage of the sports universe right now and we have the biggest and brightest on the field and off the field here in one place.”
For four games during the World Series, that place was Toronto. It ended with a gutting result, but it reignited a passion for baseball that will outlive 2025 — and might even spawn a few new Blue Jays anthems.
This article was originally published by Billboard Canada.
Trending on Billboard
Rufus Wainwright is the latest singer to change the lyrics of “O Canada.”
At Wednesday’s (Oct. 29) Game 5 of the World Series between the Toronto Blue Jays and the Los Angeles Dodgers, the Montreal-raised singer-songwriter performed a bilingual version of the Canadian national anthem at Dodger Stadium.
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Instead of the anthem’s usual line, “true patriot love in all of us command,” Wainwright sang: “true patriot love that only us command.”
The change has been interpreted as a protest of U.S. President Donald Trump, who has made threats of annexation of Canada as the “51st state.”
It’s the same lyrical change that fellow Canadian singer Chantal Kreviazuk made during the height of tariff tension in February, while performing at the final 4 Nations Face-Off hockey game in Boston, Massachusetts.
Kreviazuk subsequently shared a now-deleted Instagram post, confirming that the lyric change was intentional and that she wrote the words on her hand to remember them.
“I truly believe that we must stand up, use our voices and try to protect ourselves,” she wrote at the time. “We should express our outrage in the face of any abuses of power. I was raised in part by music that was inspired by brave voices committed to peaceful conflict resolution.”
This isn’t the first time a Canadian artist has taken a jab at Trump’s comments. Country singer Dallas Smith is currently on a 51-date cross-country tour, an intentional nod to the 51st state comments, making intimate stops all across Canada.
Two days before Wainwright’s performance, Toronto-born, Los Angeles-based singer JP Saxe performed the Canadian national anthem at Dodger Stadium during Game 3. He swapped out the “Our home and native land” line for “Our home on native land.”
Saxe went viral on social media in August for starting an important conversation about touring as an artist, after cancelling his tour due to low ticket sales.
He followed in the footsteps of acclaimed singer-songwriter Jully Black, who made the one-word lyric change in 2023, while performing “O Canada” at the NBA All-Star Game. Black went on to be honoured by the Assembly of First Nations.
Wainwright and Saxe join the growing list of Canadian artists who have performed the national anthem at this year’s World Series, including Alessia Cara (Game 2) and Deborah Cox (Game 4).
Following yesterday’s 6-1 win, the Jays are one game away from winning the World Series, which returns to Toronto for Game 6 tomorrow night (October 31) and Game 7 (if necessary) on Saturday (Nov. 1).
Read more here. — HTS
Toronto’s Budweiser Stage to Become RBC Amphitheatre
Say hello to RBC Amphitheatre.
Live Nation Canada and RBC have announced a multi-year partnership to expand the Toronto waterfront venue — starting with the replacement of its former name, Budweiser Stage, effective immediately.
RBC Amphitheatre is set to be transformed and expanded into a year-round venue by 2030.
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The concert venue, on the site of the old Ontario Place Forum, opened in the mid-1990s under its initial name, Molson Amphitheatre, and was renamed Budweiser Stage in 2017. Its new name is a callback to its origins.
“It is a nod to the past, but it’s also forward looking,” says Wayne Zronik, president of business operations at Live Nation Canada, in an interview with Billboard Canada. “We’ve all been down there for shows. It’s been around for 30 years, and it’s one of the best in the world. It’s so amazing and so to preserve that, yet to also have it be available in this very unique year-round configuration for generations to come is very exciting for us.”
Embarking on renovations, the event space will expand its indoor and outdoor capabilities. By becoming a full-year venue, RBC Amphitheatre will include an expanded capacity in the summer and approximately 9,000 seats in the winter, featuring seated and an open-air lawn section from May to October.
Zronik says the winterization will include an “operable panel system” that will enclose the pavilion in a temperature-controlled environment starting in the fall months.
The event space is expected to close for renovations in fall 2027 and reopen in spring 2029, with full-year capabilities complete by summer 2030.
Inspired by fan feedback, the venue will feature a pedestrian bridge that improves access and eases crowd flow. Live Nation also promises upgraded amenities like expanded food and beverage options, hospitality areas and a new lookout deck with elevator access to the lawn. The city skyline views will remain central to the venue’s identity.
With the proposed changes and transformation, RBC Amphitheatre is set to significantly increase its show count, hosting over 1.5 million fans annually.
Venue upgrades will include multiple tiers of VIP experiences (as is the current trend with venues), as well as infrastructure to support modernized concert production and backstage amenities for some of the biggest artists in the world. Toronto has become one of the biggest global touring markets, which has inspired Live Nation’s expanded presence in venues, including the new Rogers Stadium that opened this summer.
“I think we have to continue to invest in cultural infrastructure so that we can accommodate these shows,” says Zronik. “The Amphitheatre is 30 years old; by the time this is done, it would have been 35. You have to revitalize these things.”
Building signage of the previous venue name will remain visible as the space transforms in the months leading up to the 2026 season, when the RBC Amphitheatre name will replace it. The venue currently has four shows announced for next year’s lineup, including Canadian rapper bbno$, American musician MGK, country star Bailey Zimmerman and Australian boy band 5 Seconds of Summer.
Read more here. — Heather Taylor-Singh, Richard Trapunski
Independent Music Industry Groups Ask for Public’s Help to Renew Canadian Music Funding
Independent music organizations are asking the public for help as the deadline looms for Canadian music funding.
A $16 million annual boost was announced in 2024 as a temporary top-up to the Canada Music Fund — which supports both FACTOR and Musicaction, two of the country’s biggest and most important music grants.
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The update promised $32 million over two years to enhance the careers of Canadian artists, while strengthening the competitiveness and stability of the Canadian music sector.
With the deadline for the funds approval looming by March 31, 2026, independent groups including the Canadian Independent Music Association (CIMA), SaskMusic, Music NL and more have requested the public’s assistance in reaching out to local MPs to ensure the funds are renewed.
If not, they warn, the investment, which impacts Canadian-owned music companies and artists, could be slashed by up to 50%.
Earlier this month, the federal government announced that the 2026 budget will be discussed on Nov. 4 — months earlier than its initial March deadline.
The news comes at a pivotal time for the Canadian music industry.
According to CIMA, contributions from private radio broadcasting to FACTOR have significantly decreased from $16 million in the early 2020s to approximately $2 million this year. In 2024, the funding body was the victim of a $9.8 million cybertheft.
Meanwhile, funds from Bill C-11 (Online Streaming Act), a part of which was intended to allot 5% of revenue from major foreign-owned digital streaming platforms, have been paused after major streamers like Spotify, Amazon and Apple took the government to court.
“Whether you are a large Canadian company, a new music start up, an established artist or fledgling musician, everyone in our sector benefits from the investments made by FACTOR and Musicaction,” shares Andrew Cash, CIMA president and CEO, in a statement.
Cash urges the public to contribute by emailing Stephen Guilbeault, Minister of Canadian Identity and Culture, François-Philippe Champagne, the Minister of Finance and Prime Minister Mark Carney.
“Now more than ever before we need to be strengthening the fabric of Canadian-made culture,” he said.
With only a week to go, the organizations are encouraging the public to speak up by emailing representatives.
Read more here. — HTS
Trending on Billboard
Taylor Swift is breaking multiple Billboard chart records in Canada.
As with many of the artist’s recent releases, Swift’s new album, The Life of a Showgirl, has been a blockbuster success since its release on Oct. 3.
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According to new data from Universal Music Canada, Luminate and Billboard Canada chart performance, in its first week of charting, Showgirl was the biggest album debut in the country for Swift in the modern streaming era — or for any artist.
The album debuted at No. 1 on the Billboard Canadian Albums chart, her 15th No. 1 on the chart. With this milestone, Swift is now tied with Canadian icon Celine Dion for the most No. 1 albums of all time in the country and is the only non-Canadian artist to reach that mark.
Swift’s last album, 2024’s The Tortured Poets Department, stayed at No. 1 for 12 weeks. Showgirl’s win continues Swift’s streak of 14 consecutive studio albums debuting at No. 1, beginning with 2008’s Fearless and including the four “Taylor’s Version” re-recordings: Red, 1989, Fearless and Speak Now.
Showgirl has now cemented Swift as the sole artist with all top 5 of the highest album debuts in Canada in the streaming era (since streams began contributing to Billboard chart performance in the early 2010s).
On last week’s Billboard Canadian Hot 100, the week of Oct. 18, the top 12 entries were all of the album’s 12 tracks. The album’s lead single, “The Fate of Ophelia,” hit No. 1 and has become the most-streamed song in a single day and a single week in Canadian history.
The Life of a Showgirl reportedly amassed over 1.5 billion global streams, securing the largest debut of 2025.
This isn’t the first time Swift has broken records in Canada — last year’s The Tortured Poets Department and her Post Malone-featuring single “Fortnight” earned similar chart records. At this point, Swift is competing with herself.
Read more here.
Samantha O’Connor Joins MRG Live as Senior Talent Buyer, Will Continue to Lead RAPSEASON
Samantha O’Connor has been appointed as MRG Live’s senior talent buyer.
The music industry executive will continue to lead RAPSEASON, Canada’s biggest hip-hop concert and culture promoter.
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O’Connor previously led the brand in her last role as talent buyer at INK Entertainment. In her new role at MRG, she will continue to grow the RAPSEASON brand and promote shows across the country.
Founded in 2015, RAPSEASON has presented concerts with a-list artists including Future, Central Cee, Cardi B, Post Malone, Summer Walker and Daniel Caesar, to name just a small sample. Now, RAPSEASON moves from INK to MRG, one of the country’s largest independent concert and live event companies.
“With the support and resources of MRG Live, I’m excited to continue growing the RAPSEASON brand, not only in Toronto, but nationally and internationally,” says O’Connor. “This next chapter offers an incredible opportunity to expand our reach, connect with new audiences, and spotlight the talent that drives the culture forward.”
Under O’Connor’s leadership, RAPSEASON is set to be introduced to new markets across its network throughout Canada. Currently, The MRG Group owns and operates 14 properties in Canada, including Toronto’s Queen Elizabeth Theatre and Adelaide Hall, Vancouver’s Vogue Theatre and The Revelry in Kelowna, British Columbia, and produces over 1,000 live shows annually through MRG Live. RAPSEASON branded content will also be integrated with the company’s media publication, Beatroute.
“Samantha O’Connor has proven a great astuteness in securing top-tier, identifying emerging talent and continuing to build the RAPSEASON brand,” shares Matt Gibbons, president of The MRG Group. “We are looking forward to both her and the brand’s further growth as they both integrate into our global network, our resources and our overall strategic approach.”
Read more here.
Ms. Lauryn Hill Embarking On Intimate Cross-Canada Tour
Ms. Lauryn Hill is making her return to Canada.
Independent, female-led promoter F7 Live announced the news, sharing the details of Hill’s tour, which kicks off this fall. The legendary American R&B singer and Fugees member is set to perform eight cross-country shows in intimate venues as part of her Artist In Residence tour.
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The tour kicks off in Winnipeg, Manitoba, on Nov. 19 at Burton Cummings Theatre, with further stops in Vancouver, Hamilton, Montreal, Calgary, Edmonton, Toronto and Ottawa.
This marks Hill’s return to Canada since 2023, when she performed at Vancouver’s Rogers Arena and Toronto’s Scotiabank Arena on The Miseducation of Lauryn Hill 25th Anniversary Tour. The rest of the North American shows came to a quiet ending after Hill cited vocal issues.
Since then, Hill has performed various pop-up shows, joining son YG Marley at this year’s Coachella, turning it into a Fugees reunion with Wyclef Jean. In July, she performed with Drake during day one of his three-day stint at the U.K. Wireless Music Festival. They debuted a mashup of “Ex Factor” and “Nice For What,” the former of which is sampled on Drake’s 2018 Scorpion track.
These shows will be at more intimate concert hall and theatre venues, including the iconic Massey Hall in Toronto.
Read more here.
Billboard Canada hosted its second annual Power Players celebration at Toronto’s Illuminarium on June 11, and the event brought out many of the most influential executives in Canadian music.
All three Canadian heads of the major labels were present, including Universal Music Canada’s Julie Adam, Sony Music Canada’s Shane Carter and Warner Music Canada’s Kristen Burke. Live Nation Canada’s Erik Hoffman and Melissa Bubb-Clarke — who, along with Riley O’Connor, were this year’s Power Players of the Year — were also at the event.
Derrick Ross of Slaight Music took to the stage to present the Impact Award. The honor was presented to Remix Project co-founder and October’s Very Own CEO Derek “Drex” Jancar, who was promoted to the role last year and continues to make a lasting impact in the business world, informed by his community impact.
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In addition to the award, the Slaight Foundation and Billboard Canada also presented Drex with a cheque for $10,000, representing a proud donation to the Remix Project.
Sony Music Canada’s Carter took to the stage to present the International Management Award to Courtney Stewart, Khalid’s manager and the founder of Right Hand Co. He recalled first meeting Stewart at one of Khalid’s shows and being instantly impressed by his drive and work ethic.
“Courtney has all the qualities that it takes to be not just a good manager, but a great manager and a great parent — two roles that are actually quite similar. For those of you who are managers, you have to be patient, kind, protective and unselfish,” Carter said.
“I am truly grateful for being recognized tonight, and I want to thank Billboard for all the great work that they do in the lives of artists,” Stewart said. “I am winning an award tonight, but the real win is what we’re doing for others. Uplifting other people, being a blessing to other people, uplifting other communities — that’s the real win. This win is not just about recognizing me, it’s about recognizing my right-hand team that’s so amazing and all of you out here because we have to come together to win — not for ourselves, but for other people.”
Hoffman and Bubb-Clarke were present to accept the Power Players of the Year Award, which also went to O’Connor, Live Nation Canada’s chairman.
“This is a crazy business we work in,” Hoffman said. “A lot has changed in the world of live music, but the one thing that’s remained consistent is that it is ultimately all about the artists and their fans. If we continue to work towards collective goals with that in mind, I think the world of live music will just continue to grow.”
Earlier that day, in the same venue, Billboard Canada hosted its first Managers to Watch event.
Billboard Canada national editor Richard Trapunski introduced the Billboard Canada Manager of the Year Award, which is given to a manager who exemplifies the vital work of the profession. “It’s a very special award,” he said. “It honours a manager who really takes things to a new level.”
Trapunski introduced The Beaches to present the award to their manager, Laurie Lee Boutet. This was prefaced by a speech from band member Jordan Miller, who reflected on how Boutet helped the group navigate the major obstacle of being dropped from its label and offered a different paradigm by not telling the band the same things every label did.
“She highlighted our strengths as four strong wild women, because that’s what she is too,” Miller said. “You are so much more than a manager. You are our sister and the fifth Beach.”
Boutet was moved by the speech and walked up teary-eyed to accept the award, first giving a nod to her peers in the room. “It’s an honour to be in front of all these people that I constantly text for advice,” she said. She described her experience managing the Beaches as the honour of her life, adding that they built something “feminine, genuine and really cool as f–k.”
Find all the Billboard Canada Power Players highlights here and Managers to Watch highlights here.
Daniel Caesar, Khalid and The Beaches Stun at Billboard Canada THE STAGE at NXNE
NXNE’s 30th edition was one for the ages. The long-running Toronto festival hosted the first edition of the Billboard Summit featuring A-list talent like deadmau5 and Punjabi superstar Diljit Dosanjh, as well as Billboard Canada’s first edition of THE STAGE.
Daniel Caesar played his first major headlining show at Mod Club in 2016. Returning to the same legendary venue after having reached arena headliner status, he treated the intimate show like a true homecoming. The Billboard Canada THE STAGE at NXNE show was by far the hottest ticket in town on Saturday night (June 14), and the lucky 500-plus fans in attendance were treated to something truly special from the hometown R&B star, who now lives in New York. It felt like something that could only happen once, at this particular time and this particular place, at this particular festival.
Instead of his full arena-style concert, Caesar opted for an acoustic set, sometimes with just him and his guitar and sometimes with accompaniment on keyboards or keys and drums. There was a spontaneity and looseness that connected him deeply to the audience, who knew every word to every song. It was reminiscent of Neil Young at Massey Hall in 1971, showcasing an artist who’s reached the heights of their career reconnecting with the true spirit of their early days with just a guitar, their beautiful aching vocals and the fans who’d been with them from day one. Though Caesar had worked out a large setlist (traded around on Reddit after the show), the singer-songwriter was clearly deciding which songs to play on the fly. He took requests from the audience, including rarities he hasn’t played in years.
Caesar even debuted a new song, “Moon,” which ached with the same tender vulnerability as his best music. When he first played the venue, he was in his early 20s. Now he’s 30: “Not young anymore,” he said but happy to see all the young fans in attendance. He was worried he was going to sob on stage, but instead got it all out of his system on the way to the venue, he admitted, passing all the pivotal spots of his youth.
Khalid filled up Sankofa Square on June 12 for a concert during which his fans showed up in droves to sing along loudly to several of his biggest hits. With four dancers in tow and a set full of undeniable bangers, Khalid put on a true standout performance in the heart of downtown Toronto at Billboard Canada THE STAGE at NXNE, which doubled as the festival’s 30th birthday.
From “Location” to “Young Dumb & Broke,” Khalid excited the packed square with songs from throughout his career. He even swiftly caught a friendship bracelet that was tossed to him by a fan and proceeded to make a heart gesture back at them.
Khalid was all smiles throughout his performance and received a roaring response upon asking if there were any day one fans in the crowd who have been following him since his breakthrough debut album, American Teen.
The Beaches are about to graduate to arena status, playing their hometown Scotiabank Arena this fall. But first, they had a special concert to play for more than 500 people at the Mod Club. It was a true hometown show for the band; as Eliza Enman-McDaniel put it, “I live a seven-minute walk away.” It also served as a full circle moment for Leandra Earl, who first saw the group’s previous incarnation, Done With Dolls, at the venue well over a decade ago before joining the band herself.
The viral success of The Beaches’ 2023 hit “Blame Brett” was not a one-off. The Toronto band has used it to propel themselves towards major rock stardom, and you could tell at this show. Taking turns on a platform onstage, they flexed their arena moves and propelled their songs with a particular new wave rhythm. The band’s Sunday night (June 15) show was one of the last of the festival, and its single “Last Girls at the Party” off the upcoming album No Hard Feelings felt particularly fitting. As the fans chanted along with the countdown in the lyrics, it felt like a catharsis to the whole week of NXNE.
Find all of the NXNE 2025 highlights here.
Billboard Canada Power Players is back for a second year, and it comes at a pivotal time for Canadian music. Canadian Content regulations — a principle that built the domestic industry — are up for review for the first time in a generation, with ongoing hearings taking place with the CRTC. The Online Streaming Act, meanwhile, is attempting to regulate major foreign streaming services to contribute to CanCon as the CRTC once did for radio — but companies like Spotify, Amazon and Apple Music aren’t taking it without a fight.
Those issues shadow the industry, which has recently seen both struggles and successes. The country was recently named the 8th largest music market in the world by the IFPI, and Toronto has emerged as a marquee live music market. That’s been reflected in the successes of and investments in new venues by companies like Live Nation Canada, MLSE and Oak View Group, who all appear on the list.
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As top execs at Live Nation Canada, Erik Hoffman, Riley O’Connor and Melissa Bubb-Clarke are orchestrating one of the most ambitious stretches in the company’s history. Together, the trio claims the No. 1 spot on Billboard Canada Power Players 2025. Already the biggest players in the Canadian music business, Live Nation is just getting bigger — and it’s on track for a record-breaking summer.
In the new Billboard Canada cover story, the three talk about their ambitious plans — including the about-to-open Rogers Stadium in Toronto, which will bring Oasis, Coldplay and BLACKPINK to the city this summer and triple the number of stadium shows.
Derek “Drex” Jancar of OVO Wins the Impact Award
As part of Billboard Canada Power Players, Derek “Drex” Jancar took the No. 1 spot in the Foundations category and accepted the Impact Award at the celebration in Toronto on Wednesday (June 11).
In the mid-2000s, Drex, Gavin Sheppard and Kehinde Bah co-founded The Remix Project, a community initiative that continues to influence global culture. Now, he’s doing it again as CEO of October’s Very Own (OVO).
On Wednesday night (June 11), Derrick Ross of Slaight Music presented Drex with the Impact Award as part of Billboard Canada Power Players 2025, with a donation to the Remix Project — a testament to the immense influence Drex has had within Canadian music and culture.
In an interview, Drex tells Billboard Canada about the impact of the Toronto community on all the work he does.
“It’s the nucleus of everything. It’s the thing you constantly come back to and think about: ‘Does this represent us, honestly and authentically?’” he says. “It’s where everyone worked on their skills and put blood, sweat and tears into their career paths. We obviously are global thinkers, but we’re always coming from that place. That’s our identity. It’s shaped us and it’s what makes us unique.”
Drex recalls meeting the key figures at OVO at Remix, including Oliver El-Khatib, Future The Prince, Niko Carino and Drake. The dedication that they poured into Drake’s burgeoning career in the late 2000s created a special energy in Toronto. He was already the hottest artist in the city, Drex recalls, but you could feel he was on the verge of becoming a global phenom — all while wearing his local connections on his sleeve.
“You could see what was happening behind the scenes, and it was really special to see everyone rally around and build such an amazing brand around him,” Drex says. “It was a time where you really started to believe in the city and the talent and the potential in the city and you were like, ‘Anyone can do anything from here. This is possible, it’s happening right in front of us.’”
The First Canadian Edition of Managers to Watch
Also this week, Billboard Canada unveiled its first Music Managers to Watch list.
Managers are the unsung heroes of the music industry. They are the hard-working decision makers behind some of the country’s most beloved artists. They make deals, orchestrate partnerships and make key strategic decisions. And though fans rarely know their names, they are key to the success of Canadian musicians. They don’t do it for personal glory, but to fulfill artistic visions that can break barriers and move millions.
These talented managers on the rise have helped some of the biggest artists tour stadiums, stun at the Met Gala or go gold without any label support. That’s an extra feat in Canada, where managers often have to navigate a tight-knit industry and geographic barriers to breakout success. In the feature, they share their tips for people new to the business and those who want to help introduce their artists to a global audience.
The list includes managers for Kaytranada, Jessie Reyez, Charlotte Cardin, Connor Price and more.
The Beaches’ manager, Laurie Lee Boutet, was named Manager of the Year. In an interview, she talks about how she helped navigate the Toronto band’s 2023 viral moment into sustained momentum on its way to its first hometown arena tour this fall.
Samara Joy is set to receive the Ella Fitzgerald Award at the 2025 Montreal Jazz Festival on June 28 at Maison symphonique, Place des Arts. Joy has won five Grammys in the last three years (from five nominations, for a perfect score so far). She won best new artist in 2023 and has won two awards each for best jazz vocal album and best jazz performance.
Fitzgerald, of course, was Grammy royalty. At the inaugural Grammy ceremony in 1959, she became the first woman to receive an album of the year nomination (for Ella Fitzgerald Sings the Irving Berlin Songbook). In 1967, she became the first woman to receive a lifetime achievement Award from the Recording Academy.
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Joy is the 25th winner of the Ella Fitzgerald Award, which is given annually to a talented jazz singer who has had a major impact on the international scene.
Thundercat, Natalia Lafourcade, Christone “Kingfish” Ingram and Duncan Hunter Neale are also set to be honored at the festival, which is officially dubbed the Festival International de Jazz de Montréal.
Thundercat will receive the Miles Davis Award on Tuesday, July 1 at 7:30 p.m. at Salle Wilfrid-Pelletier, Place des Arts. Thundercat is the 30th winner of the award, which pays tribute to a world-renowned jazz artist, their body of work and their innovation in the genre. Thundercat, who has won two Grammys, has in recent years gone from virtuoso bassist to star.
Natalia Lafourcade will receive the Antônio Carlos Jobim Award on Thursday, June 26, and Friday, June 27 at 7:30 p.m. at Salle Wilfrid-Pelletier, Place des Arts. Lafourcade is the 20th winner of the award, which honors artists who stand out in world music. Lafourcade, a four-time Grammy winner, blends traditional Latin American music and contemporary sounds.
Christone “Kingfish” Ingram will receive the B.B. King Award on Thursday July 3 at 7:30 p.m. at TD Stage. “Kingfish” is the eighth winner of the award, which honors a standout artist on the blues scene. “Kingfish,” who won a Grammy in 2022 for best contemporary blues album, is a critically-acclaimed guitarist, singer and songwriter.
Duncan Hunter Neale will receive the Oliver Jones Award on Saturday, July 5 at 6 p.m. at Le Studio TD. This award was created in honor of Oliver Jones, a Montréal jazz icon who has left an indelible mark on the history of the festival. Neale, an emerging trumpeter on the Montréal music scene, is the fifth recipient of the award, which is given to young, university-level musicians who identify as members of visible minorities or Indigenous communities. The Ottawa-born Neale studied music improvisation and composition at McGill University, where he became better acquainted with Black American music and the history of the African diaspora, while reconnecting with his Ghanaian heritage.
The 45th edition of the Festival International de Jazz de Montréal will take place from June 26 to July 5 in the Quartier des Spectacles, which is located in the heart of downtown Montreal. The festival will entail close to 150 indoor concerts and more than 350 free, open-air shows, presented on the Place des Festivals.
The Billboard Canada Screen Composers of the Year Award has its inaugural shortlist.
The award, presented by SOCAN, is shining a light on five talented composers who have made a global impact, scoring some of the most powerful moments in film and television.
Together, these musicians are responsible for the sounds behind some of the most talked about television and cinema of the past year, from The White Lotus to Palm Royale, massive IMAX documentaries to video games to major broadcasts of one of Canada’s national pastimes: hockey.
The winner will be announced at Billboard Canada Power Players on June 11, giving these pivotal artists – often positioned behind the scenes – a position onstage alongside the most powerful executives in Canadian music.
The shortlisters include:
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Cristobal Tapia de Veer – A three-time Emmy and BAFTA-winning composer who’s known for work on critically acclaimed series like HBO’s The White Lotus, C4’s Utopia, Black Mirror, and No. 1 box office surprise hit Smile.
Andrew Lockington – Hybrid composer for sci-fi film Atlas, Mayor Of Kingstown, Lioness and Landman. An avid Maple Leafs fan, he also composed the theme for Amazon Prime Monday Night Hockey NHL broadcast series.
Michelle Osis – Four-time Canadian Screen Award nominee Michelle Osis is best known for her score to the gigantic screen documentary TRex in IMAX, as well as for her collaborations with composer Mark Korven on Netflix’s Don’t Move and the MGM+ series Billy the Kid. With partner Terry Benn, she’s composed for Carved for Disney+ and the festival favourites film Dark Match and Sway.
Mark Korven – Award-winning composer Mark Korven is best known for his scores to the A24 features The Witch and The Lighthouse, and for the over 10 million YouTube views of him performing on his invention, the Apprehension Engine. The last two years have seen him working The Black Phone, The First Omen and Until Dawn for Sony Playstation.
Jeff Toyne – Toyne’s score to Apple TV+’s Palm Royale (Kristen Wiig, Laura Dern, Carol Burnett) combines jazz, Latin and orchestral elements to evoke the 1960s and has won multiple Emmys and Canadian Screen Music Awards, among others.
Read more about all the nominees here.
deadmau5 & REZZ, Khalid Star on the Cover of Billboard Canada
Billboard is bringing the Billboard Summit to Canada next Wednesday (June 11) at Toronto’s NXNE, and one of the standout panels is a conversation between deadmau5 and REZZ. This week, the pair appeared on the cover of Billboard Canada to unpack their creative process in a rare joint interview.
“We produce in two totally different ways,” says Joel Zimmerman, the man behind deadmau5. “I am so old school and she is so new school.”
Both artists hail from Niagara Falls, Ontario, and both are known for their innovative production, DIY ethos and big-stage spectacle. They’re both big thinkers and big presences, instantly recognizable for their larger-than-life visual trademarks – deadmau5 with his signature LED mau5head helmet and REZZ with her hypnotic spinning light glasses – and they both have dedicated cult fanbases.
REZZ – born Isabelle Rezazadeh – cites deadmau5 as an immeasurable influence.
“He essentially birthed me as a producer,” she says. “He birthed my entire interest in making music.”
In 2021, deadmau5 and REZZ officially joined forces with their first on-record collaboration, “Hypnocurrency.” It’s dark, spellbinding and meticulously layered – a slow-burning cinematic journey that lands squarely between their two sonic worlds. To create it, they both had to step outside their comfort zones.
When asked what he learned from working with REZZ, deadmau5 doesn’t miss a beat.
“I learned that there are BPMs that actually do exist below 128,” he deadpans. “I didn’t know that all you had to do was click on the number and drag it down.”
The two give unprecedented access into how they create, including a tease of another upcoming track as REZZMAU5.
Read the full story here and get your tickets to Billboard Summit here.
Khalid will headline Billboard Canada The Stage at NXNE the following day, on June 12. He also joined Billboard for a cover story for Billboard Canada and Billboard that dropped today.
The R&B and pop artist talks about his ‘flirty side,’ gay identity and the myth that he’s an introvert. “My new era of music feels like I’m finally ready to be the artist I’ve always dreamt of being,” he says. “It goes back to the regressions of when I was a child — imagining myself and thinking, ‘I want to be this artist one day.’ Now I feel like I have the confidence to finally be that artist.”
Read the full story here.
The Billboard Summit is launching in Canada with a global superstar who made history in the country.
Diljit Dosanjh will be a special speaker at the event, which will launch at NXNE in Toronto’s TIFF Lightbox on June 11, 2025.
The record-setting artist made history with his Dil-Luminati tour last year, with his stadium concerts at Vancouver’s BC Place and Toronto’s Rogers Centre going down as the biggest ever Punjabi music events outside of India. The musician and movie star has continued to spread Punjabi culture worldwide, recently bringing historic fashion to the Met Gala.
At the summit, Dosanjh will sit down for a special interview with another influential figure in the international music industry: Panos A. Panay, president of the Recording Academy, the organization behind the Grammys.
Billboard Canada has also announced two big performers for The Stage at NXNE.
Daniel Caesar is returning to where he played his first major headlining show: The Mod Club in Toronto on June 14.
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The venue will be reverting back to its original name of The Mod Club, rebranded by owner Live Nation from the name Axis Club for the first time since 2021.
When he first played the venue, Caesar was a golden boy with a golden voice, gaining buzz with his EP Pilgrim’s Paradise and still a year away from his classic 2017 debut, Freudian.
In 2023, Caesar graduated to arenas, playing Madison Square Garden in New York and Scotiabank Arena in his hometown of Toronto. The Mod Club performance is a special, intimate show for his fans who have been with him from the beginning. A year after he played The Mod Club in 2017, Caesar also played NXNE — then an up-and-coming talent, and now, with the festival turning 30, an artist who has reached undeniable headliner status.
After the last girls have left the party for their special DJ set on June 12, The Beaches will also play a special concert at a well-known Toronto venue on June 15.
It’s a big summer for the breakout Canadian band, with a recent festival set at Coachella and another big one this summer at Osheaga in Montreal. The Beaches’ new album, No Hard Feelings, comes out Aug. 29 on AWAL.
The band has also just announced the Canadian dates on its No Hard Feelings Tour, including its first hometown arena show at Scotiabank Arena on Nov. 6. The Beaches’ special Billboard Canada Live show will be considerably more intimate, a chance to get up close and personal with the band at a surprise venue. – Richard Trapunski
Quebec to Impose Quotas for French-Language Content on Streaming Platforms
Quebec may soon be getting stricter language regulations on streaming services.
Quebec Culture Minister Mathieu Lacombe tabled a new bill on May 21 that aims to add more French-language content to major streaming platforms, as well as increase its discoverability and accessibility by establishing quotas. The bill will directly impact platforms that offer media content such as music, TV, video and audiobooks, including giants like Netflix and Spotify.
Lacombe wants to push French-language and Quebecian content to the forefront on these apps, saying it is not always readily available. He pointed out that consumption of local and French-language content is low, comprising just 8.5% of the music streamed in Quebec.
In accordance with the bill, platforms would have to display their default interfaces in French within the province, also including platforms that produce original French-language content within that selection. Companies that disobey the rules could face financial penalties, although Lacombe says that those who cannot comply due to their business model can enter a deal with the Quebec government to establish “substitute rules.”
The bill states that the Quebec government would have to establish content proportions or quotas on how much content needs to be produced or featured on these platforms, although no numbers were specified.
Bill 109 — officially titled “An Act to affirm the cultural sovereignty of Quebec and to enact the Act respecting the discoverability of French-language cultural content in the digital environment” — will be closely tied to existing Quebec legislation and institutions. All platforms will be required to register with the Minister of Culture and Communications, and the bill will amend the right to access French-language cultural content in the Quebec Charter of Human Rights and Freedoms.
While Quebec is tightening regulations, the streaming services are already pushing back against existing content policies, arguing that the Canadian Radio-television and Telecommunications Commission (CRTC) should not impose content obligations upon them. A CRTC hearing is currently underway from May 14 to 27 to outline a new definition of Canadian Content (CanCon), including regulations.
Major companies have been pushing back against the CRTC’s implementation of the Online Streaming Act in the hearing, which includes a plan to require major foreign streaming companies to invest in Canadian Content funds. – Stefano Rebuli
