Canada
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
Billboard Canada is getting a major headliner for the inaugural Billboard Canada Live Stage.
Khalid will perform at the heart of downtown Toronto at Sankofa Square as part of NXNE’s 30th anniversary. That’s been the site of many of the beloved festival’s most memorable shows, including performances by Wu-Tang Clan, The Flaming Lips, The National, Iggy Pop & The Stooges and many more.
Billboard’s The Stage is known for bringing major chart-topping artists to festivals like SXSW, and Khalid is a perfect choice to expand it to Canada. He’s a major star of the streaming era, and he’ll return to the city for the first time since playing with Ed Sheeran at Rogers Centre in 2023.
Since debuting nearly a decade ago, Khalid has 40 charting hits on the Billboard Canadian Hot 100 and 5 charting albums on the Canadian Albums chart, including Free Spirit, which went to No. 1 in 2019. He returned after a brief hiatus in 2024 with Sincere, his most mature and personal album yet, which has started a new phase of the R&B and pop artist’s illustrious career.
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Khalid has an undeniable connection to Canada, and has collaborated over the years with Canadian artists like Shawn Mendes, Tate McRae, Justin Bieber, Alessia Cara, Majid Jordan and more.
He’s played some huge shows in Toronto, including the city’s biggest arenas and stadiums. This show will bring him to the city’s most bustling intersection for a special moment celebrating his whole career.
Limited VIP tickets are available now, here. –Richard Trapunski
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Steven Guilbeault Becomes Canada’s New Minister of Culture. What Does That Mean For the Music Industry?
Prime Minister Mark Carney has unveiled his new Liberal Cabinet, which will have ramifications for some key ongoing issues in the music industry.
Steven Guilbeault was appointed as Minister of Canadian Identity and Culture, a post with particular interest to the sector. He was also appointed Minister responsible for Official Languages.
The Canadian Independent Music Association (CIMA) wasted no time in outlining its industry concerns and requests to the new Minister. In a statement, the trade org welcomed Guilbeault to the position while issuing an urgent call to prioritize Canadian-owned culture, IP and sovereignty.
“Minister Guilbeault takes on this portfolio at a critical moment for Canada’s cultural sector,” CIMA writes after congratulating the new Minister. “As venture capital, global tech platforms, and multinational entertainment corporations expand their dominance and market share, the future of Canadian-owned culture — and the intellectual property that drives it — is at risk without renewed, dynamic and stable investment in the sector.”
The organization points to three recent events that they suggest threaten independent music in Canada, and says they “all underscore the growing concentration of global corporate power.” They are: TikTok’s withdrawal from global licensing negotiations with Merlin, Universal Music Group’s acquisition of Downtown Music’s assets and legal challenges launched by streaming services against paying into Canadian Content funds.
Andrew Cash, President and CEO of CIMA, stressed that “Canadian-owned music companies are not just players in our cultural economy — they are part of its foundation. They create intellectual property, generate jobs, tell Canadian stories, and fuel long-term economic growth. Without Canadian-owned companies, our culture risks being outsourced, diluted, and devalued.”
CIMA issued a very similar statement two weeks earlier, when the results of the federal election became known. It also urged Prime Minister Mark Carney to “make the investment in and promotion of Canadian-owned cultural businesses a top priority…to secure a strong future for Canadian culture.”
CIMA’s statement comes at a pivotal time, as hearings begin on drafting a new definition for CanCon in the implementation of the Online Streaming Act. A court challenge by major foreign-owned streaming companies like Spotify and Apple will also begin in June, with tech companies (joined by Music Canada) challenging the CRTC’s mandated fee payments for Canadian Content. –Kerry Doole
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Toronto’s Bowl at Sobeys Stadium Concert Venue Goes Quiet in 2025
Last year, a new concert venue was unveiled. In summer 2024, The Feldman Agency opened The Bowl at Sobeys Stadium, located at the site of Canada’s biggest tennis tournament, the National Bank Open. It was a partnership between Tennis Canada and the Toronto-based talent and booking company.
Now, after one summer of shows, the venue has gone quiet.
“We can confirm that we are hitting pause for summer 2025,” says Jeff Craib, president of The Feldman Agency, in a statement to Billboard Canada. “We will make further comment when there is any news to share.”
In a report by theToronto Star, Tennis Canada also confirmed the news, while saying they will “continue to work with the Feldman Agency with the hope the concert series will return in 2026 and beyond.”
The 9,000 capacity venue hosted a limited series of 2024 shows at The Bowl at Sobeys Stadium, including performances by the Barenaked Ladies, Shaggy, Bachman-Turner Overdrive, The Tea Party and comedian Kevin Hart.
Billboard Canada reported on the launch of the Bowl at Sobeys Stadium in December 2023, and Craib expressed optimism about its potential then. “We will be working closely together with Tennis Canada to provide the best of tennis and live entertainment to Toronto and its surrounding areas,” Craib said, noting that “Sobeys Stadium’s location in North America’s third-largest concert market (after New York and Los Angeles) and surrounding population of more than 6.8 million makes it a well-positioned live entertainment venue for both performers and fans.”
At the time, Craib shared that he expected around 15 shows per year at the open air venue.
Toronto is not starved for major concerts in summer 2025. The demand is high for arena and stadium shows, as stakeholders at the biggest companies have recently reported. This summer will see the opening of another temporary open-air venue, the 50,000 capacity Rogers Stadium, where Live Nation will present a full slate of concerts this summer. –KD
In just a few years, Toronto-born rapper and actor Connor Price has built a global audience and over 2 billion streams entirely on his own terms.
“Staying independent means ownership, creative control and being able to do things my own way,” says Price. “I can put out music when I want. I can say what I want. I can work with who I want. I can market it how I want. I don’t have to wait for a label.”
That mindset has already helped him carve out a career many would envy. Using social media, online savvy, and some help from his family and friends, Price has found a way to reach a wide fan base all over the world. It’s a 21st-century DIY rise. Build the fanbase first, then go out on the road. Release 110 songs, then record your debut album.
Connor Price stars on Billboard Canada’s new Indie Issue digital cover — a look at artists making it work without a label. In the story, he talks about going from a career as an actor into music and content creation, and the viral Spin The Globe project that has resulted in millions of streams not just for him but for independent artists all over the world.
“Being on the independent side and working so closely with my wife [Breanna, his manager], I have to know how the business side works,” he says. “Some artists might be in a label situation with a big team where all they have to do is focus on the music, which is great, all the power to them. But I actually have a lot of pride and enjoyment in both the business side and the creative side.”
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It’s every starry-eyed artist’s dream to sign a record deal — or so the conventional wisdom goes.
The recorded music industry has been built on the label model from its earliest days, with record companies providing funding to artists in exchange for rights to the music.
As recording has become cheaper and more accessible, though, the whole paradigm is shifting. Now, many artists are choosing to remain independent — or, in the case of major Canadian breakouts like The Beaches and Nemahsis, seeing success as independent artists after leaving a label roster.
That dynamic has been changing for decades, with strong independent streaks in DIY-minded genres like punk and hip-hop, but the internet has upended the industry to such an extent that artists across all genres are weighing the benefits of independence.
When you don’t have a label fronting funds or tapping into established release strategies and promotional networks, you need to make sure you’ve got a strong community around.
Ontario indie artist Ruby Waters knows that firsthand. She’s become a major breakout Canadian indie rock act in the last five years, with two Juno nominations, international tours and millions of streams under her belt.
“The main force to my independence as an artist really comes down to the love and support I’ve had from my day one homies and fans throughout my whole musical journey starting from back when I was singing on the street,” she says in another Billboard Canada Indie Issue feature.
Read the whole feature, which looks at the tools artists have without label support, here.
Billboard Summit Brings Global Talent to Toronto This Summer
A major global initiative is coming to Canada.
The inaugural Billboard Summit will bring some of the world’s biggest artists to Toronto’s NXNE Festival for a series of dynamic, artist-led conversations in June.
The full-day event will go beyond industry panel conversations to centre musicians talking about what they’re most passionate about: their processes, collaborations and breakthroughs.
Charlotte Cardin is the first artist announced to join the summit. The Montreal-based singer and songwriter has had an international breakout over the last few years, charting on multiple Billboard charts and touring throughout Canada, Europe and the Middle East.
Her global rise led from Billboard Canada Women in Music, where she was named Woman of the Year in 2024, to the global Billboard Women in Music stage in Los Angeles this past March, where she represented Canada as Global Woman of the Year.
Cardin will speak on the topic of Breaking Through Barriers by sharing experiences and moments that have defined her career and offering inspiration to anyone striving to push boundaries.
Other soon-to-be-announced names will include artists from around the world — from trailblazing Canadians who’ve built influential brands that have resonated across borders to international artists who’ve set chart and live music records throughout the globe.
Stay tuned for the full programming announcement, featuring an exciting lineup of diverse voices and thought-provoking speakers.
More info here.
PUP Chart on Billboard Canadian Albums for the Fourth Straight Time with ‘Who Will Look After The Dogs?’
Punk is back on the charts this week.
Toronto band PUP have debuted their newest album Who Will Look After The Dogs? on the Billboard Canadian Albums chart this week, dated May 17. The album enters at No. 72 and marks the band’s fourth consecutive album on the chart since its sophomore effort, The Dream Is Over, first landed at No. 48 in 2016.
The album is fun and self-deprecating in ways we’ve come to expect from PUP, but also reflects the band’s major life changes: members got married or had kids, one expanded his home studio, and singer Stefan Babcock ended a decade-long relationship.
Although they have previously reached higher peaks on the chart, the band has some serious momentum. Following a stint playing arenas opening for Sum 41 on the band’s farewell tour, they’re now currently on tour in Europe and will also celebrate the record with a citywide summer tour in Toronto. The Mega-City Madness Tour is set to kick off in July, with dates at six venues in PUP’s hometown.
Elsewhere on the chart, legendary British rock band Pink Floyd earns this week’s top debut on the chart with Pink Floyd At Pompeii: MCMLXXII, which lands at No. 45. It is the first-ever soundtrack album for the band’s 1972 concert film Pink Floyd: Live at Pompeii, which was recently remastered in 4K and re-released in theatres. It is the only other debut on the May 17 chart.
Check out the whole Canadian Albums chart breakdown here. – Stefano Rebuli
It’s no secret that Canadian festivals have been facing hard times.
The post-lockdown years have seen high-profile festivals filing for creditor protection, like Montreal’s comedy behemoth Just for Laughs; scrambling to reorganize or downsize programming, like Toronto Jazz Festival and Calgary’s JazzYYC, after TD withdrew sponsorship; or cancelling editions altogether, like Toronto food and culture festival Taste of the Danforth.
Of course, major festivals closed before the pandemic, too, for a range of reasons. And many festivals wind down naturally, through generational or leadership shifts. But Erin Benjamin of the Canadian Live Music Association agrees that festivals are facing a difficult landscape in the years after 2020.
“COVID ripped up the playbook,” she tells Billboard Canada.
“The cost of goods and services and labour and talent is extremely high,” Benjamin adds. “And it continues to go up.”
Audience habits have shifted, too. She notes that festival-goers are definitely buying tickets later, leaving event planners with cash flow troubles.
In its 2025 Hear and Now report, the Canadian Live Music Association states that in 2024, the problem stretched beyond Canada. “Cancelled tours and festivals due to lower ticket sales, rising costs, and environmental impacts has led to overall industry decline,” the authors write. “High prices for top acts are exhausting fan budgets leaving less for mid-range artists.”
International mega-music festivals aren’t immune. After slow ticket sales in 2024, more than half of Coachella’s 2025 general admission attendees bought tickets through payment plans.
When festivals shut down, people lose a connection to local history and a chance to meet their neighbours. Benjamin adds that arts workers lose livelihoods, while local communities lose economic impact.
If the live industry is facing hurdles, it’s also true that music tourism is still a popular vacation choice. “We’ve got to capitalize on that music tourism piece here in Canada,” Benjamin says. “We have incredible infrastructure already. We need to take care of our infrastructure, need to continue to create opportunities for artists.”
Benjamin adds that each level of government — municipal, provincial and federal — has a role to play in harnessing that potential.
Every festival faces its own particular set of circumstances that help secure or shut down the next edition. But it’s clear that conditions across the industry are putting pressure on festivals, from Newfoundland to British Columbia.
For a list of festivals that have closed or called for support, head here. – Rosie Long Decter
Craig “Big C” Mannix Joins CMRRA as Industry Relations Consultant – Community Engagement
The Canadian Musical Reproduction Rights Agency (CMRRA) is making a key hire to reflect the diversity of Canadian music.
Craig “Big C” Mannix has joined the CMRRA as industry relations consultant – community engagement.
An influential figure in the Canadian music industry, Mannix has served as vp of Black music at Universal Music Canada; held roles at Sony Music Entertainment, EMI Music Canada and Virgin Records Canada; and had a founding role with ADVANCE, Canada’s Black Music Business Collective. He has also played a key role in developing the careers of major Canadian names like Kardinal Offishall, K-os and Pressa.
The CMRRA is one of the leading reproduction royalty distribution agencies in Canada. It distributed $96 million in royalties in 2024, a 23% increase from 2023. That growth was significantly driven by music on TikTok, where royalties increased by 126%. Mannix looks to continue working with creators moving forward.
The CMRRA also reported a 50% increase in international revenues, highlighting the importance of global potential in the current Canadian music landscape. Mannix’s role specifically focuses on community engagement and deepening relationships with underrepresented music communities.
“I’m thankful for the opportunity to work with CMRRA. My love for music and art is what brought me into this business over 35 years ago — and it’s what’s kept me in it,” says Mannix about his latest career chapter. “I’ve always focused on driving culture with integrity, passion, and decency. I’m looking forward to connecting with more creators and communities through this new role.”
CMRRA is turning 50 this year. In a special industry newsletter, president Paul Shaver celebrated the organization’s growth.
“We have over 7,000 clients worldwide and a well-earned reputation across the industry for being efficient, technology-forward, client-focused, and trustworthy,” Shaver wrote in the newsletter. “Many of these clients represent hundreds or thousands of songwriters, further amplifying our global reach and impact.”
As global reach improves, it’s also important to focus on the communities that exist within the country. Royalty distribution is an important sector of the country’s music industry, and CMRRA is making strides to open it up to the full diversity of Canadian musicians. – Stefano Rebuli
Toronto Music Experience to Open a Permanent Museum by 2029
Toronto’s music scene is getting its own museum.
The Toronto Music Experience (TME) has unveiled plans to launch a permanent cultural home by 2029, commemorating the city’s worldwide impact through music.
The TME announced plans for its expansion on Monday (May 5) at a private event at Live Nation’s The Lounge in Toronto featuring artists including Rush’s Alex Lifeson, Jully Black and Lorraine Segato.
The organization announced that it has been granted charitable status, which means it can go ahead with fundraising, partnerships and community engagement as part of its five-year plan towards its permanent home.
TME’s goal is to highlight Toronto’s musical past, present, and future through immersive exhibits, pop-up activations, live performances and education initiatives. It aims for a storytelling approach, highlighting the achievements that have shaped the city’s music scene, from its historical Indigenous roots to the global impact of superstars like Drake, The Weeknd and Rush.
The museum fulfills the city’s need for a hallmark representation of its impactful musical legacy that is currently missing.
“We don’t have a museum devoted to what is arguably Toronto’s biggest cultural phenomenon, its biggest international export,” TME board director and longtime music journalist Nicholas Jennings told Billboard Canada in November 2024. “This is an untapped area for the city, and there is a need for it, because we’re losing some of these stories.”
TME has been actively telling these stories through a number of exhibitions in partnership with Friar’s Music Museum, located in a Shopper’s Drug Mart at Yonge and Dundas, the former home of the Friar’s Tavern music venue. TME hosted its first-ever live show experience with the Sound of Rhythms & Resistance concert at TD Hall in November 2024, serving as an extension of its “Rhythms & Resistance” exhibit in 2021.
“The success of the two exhibits that we’ve held at Friar’s has shown us that there’s an appetite and a market for something more permanent,” Jennings said.
TME wants to incorporate a mix of production, retail and café spaces as well as pop-up exhibits, pairing music education alongside interactive experiences featuring memorabilia.
“Our mission is to build an experiential space where artifacts meet immersive experiences in tribute to the artists, communities, and cultures that make our city sing,” says Denise Donlon, a music industry and broadcast executive and member of TME’s advisory board. “It’s a powerful way to celebrate our past and inspire the next generation of creators.” – SR
Billboard Canada is getting ready to spotlight some of the most vital players in the music industry: music managers.
Managers to Watch — Billboard’s spotlight on the teams behind music’s biggest breakout artists — will expand to Canada for the first time at this year’s NXNE festival.
A special invite-only Managers to Watch reception will take place on June 11, directly before Billboard Canada Power Players. The event will build on Billboard Canada’s new partnership with Music Managers Forum, which is moving its Honour Roll celebration of the most legendary managers in the business to NXNE this year.
Both recognitions will be given out at the Managers to Watch reception, after which all invited managers will be invited to stay and mingle with the most influential members of the industry at Billboard Canada Power Players.
The event will foster community and opportunity for self-managed artists and managers, who play a critical role in the success of Canadian artists on the international stage.
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“We’re proud to partner with MMF Canada to spotlight the managers powering the next wave of talent,” says Mo Ghoneim, president of Billboard UK and Billboard Canada. “They’re key players behind many of the industry’s biggest breakthroughs, and we’re excited to recognize their contributions on a global stage through Billboard.”
The Music Managers to Watch list will feature a hand-selected list of artists and self-managed artists making waves in the industry. It will be chosen by the editorial team at Billboard Canada. Managers can submit for consideration using this form.
Find more info here. – Richard Trapunski
CIMA Makes an Appeal to Prime Minister Mark Carney
The votes were still being tallied in the Canadian federal election on Monday morning (April 29) when the Canadian Independent Music Association (CIMA) sprang into action. The trade org issued a press release congratulating Mark Carney and the Liberal Party of Canada on their electoral victory while urging Carney to, in its words, “make the investment in and promotion of Canadian-owned cultural businesses a top priority.”
The statement stressed that “the global cultural economy is changing rapidly, and with it come significant risks to Canada’s cultural and economic sovereignty. Recent developments — including TikTok’s decision to walk away from licensing negotiations with Merlin, a key representative of independent music worldwide; Universal Music Group’s acquisition of Downtown Music’s assets; and the legal challenge by global tech platforms, in partnership with foreign-owned multinational record companies, to avoid regulation under Bill C-11 — starkly illustrate the growing concentration of global corporate power in Canada’s cultural sector. If left unchecked, these trends threaten to erode Canadian ownership of intellectual property, diminish our global competitiveness, and compromise the future of Canadian cultural exports.”CIMA emphasizes four priorities for the most industry and suggests the government act quickly:
Prioritize Canadian ownership in cultural policy and investment frameworks;
Strengthen competition, trade, and copyright policies to protect Canadian IP holders;
Champion independent Canadian businesses in international markets;
Defend Canada’s right to regulate its cultural industries against multinational corporate resistance.
CIMA concluded by noting, “We are eager to work with your government to secure a strong future for Canadian culture — Canadian culture remains Canadian-owned, Canadian-created, and world-renowned.”
Read more here. – Kerry Doole
Black Eyed Peas’ Apl.de.Ap and Other Lapu Lapu Day Festival Performers Speak After Van Attack in Vancouver
Artists are sharing their heartbreak after a deadly attack at Vancouver’s Lapu Lapu Day festival.
The attack killed 11 people, leaving dozens more injured, when an SUV drove through the block party on Saturday (April 26.) A 30-year-old man has been charged with eight counts of second-degree murder.
Organized by Filipino BC, the festival is a celebration of Filipino hero Datu Lapu-Lapu and an annual occasion for the Filipino-Canadian community to celebrate resilience and cultural heritage.
The attack took place in the evening, following a day of performances from artists like The Black Eyed Peas‘ apl.de.ap (the Filipino-American artist also known as Allan Pineda Lindo), multi-disciplinary artist Kaya Ko and R&B singer Sade Awele. Festival performers are sharing messages and calling for support for the B.C. Filipino community following the attack.
Apl.de.ap and Filipino singer J. Rey Soul had recently left the stage after finishing their headlining set when the attack took place.
“It’s hard to describe the shock and heaviness we feel,” they shared in a joint statement on social media. “Please keep the victims, their families, and the organizers in your prayers.”
“The one thing I have noticed, from the audience to the messages sent around, is the sense of community that wraps its loving arms around us.”
Festival chair RJ Aquino spoke about the support that’s been pouring in from around the world.
“It’s not lost on us … that the spirit of the festival was about that resistance, resilience, that courage, that strength,” he told reporters, per CBC.
“And you know, we’re going to have to call that up in ourselves.”
Awele shared her prayers for the B.C. Filipino community on Instagram. “I was barely able to sleep thinking about the tragic incident that occurred after the festival,” she said. “We can’t keep living like this — treating each other with hate and violence. We have to do better.”
Read more here. – Rosie Long Decter
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The Liberal Party won Canada’s general election in a stunning turnaround, seen also as a rebuke of the actions of President Donald Trump, celebrated on social media.
On Monday (April 28), Canada held its federal election, which resulted in the Liberal Party pulling off what is considered a surprising victory after trailing in polling by as much as 25 points for months. The victory is also considered a sharp rebuke by the nation towards American President Donald Trump, who has antagonized the nation through erratic tariffs and declaring that it should be America’s “51st state.”
The win gives the center-left party a strong edge to claiming the majority in Canada’s parliament with 168 seats – it needs 172 seats, otherwise it would mean working with rivals to form a coalition government. The Conservative Party, while holding 144 seats in Parliament, was rocked as leader Pierre Poilievre lost his riding seat in Ontario to a Liberal opponent. Poilievre had been seen as someone who would be more conciliatory towards Trump and his MAGA principles. He will still be considered the Conservative Party’s de facto leader.
In a victory speech, Prime Minister Mark Carney delineated the new climate of global affairs, aiming at the United States under Trump as no longer being a trusted ally of Canada. “The system of open global trade anchored by the United States, a system that Canada has relied on since the second World War, a system that, while not perfect, has helped deliver prosperity to our country for decades, is over,” he said, adding: “These are tragedies, but it’s also our new reality. We are over the shock of the American betrayal, but we should never forget the lessons. We have to look out for ourselves and, above all, we have to take care of each other.”
Trump has maintained his stance on Canada, adding more fuel to the fire in an interview with The Atlantic’s Jeffrey Goldberg and acknowledging his impact on the election: “I don’t even know if it’s a close call. But the conservative, they didn’t like Governor Trudeau too much, and I would call him Governor Trudeau, but he wasn’t fond of that,” he said. Social media also pointed out Trump’s impact as they congratulated Canada on the Liberal Party’s win. “The only thing Trump did in his first 100 days was unite Canada,” wrote Alex Cole in a post on X, formerly Twitter.
Music Canada has applied to intervene in a key Canadian music policy battle.
The organization, which advocates for the major labels in Canada, is seeking leave to intervene in the legal challenge over the Canadian Radio-television and Telecommunications Commission’s (CRTC’s) 2024 decision that major streaming services must pay into Canadian content funds as part of the implementation of the Online Streaming Act.
The mandate specifies that foreign-owned services with more than $25 million in annual revenue contribute 5% of that revenue to funding bodies like FACTOR and Musicaction and an in-development Indigenous Music Fund.
That decision has become a major battle in the Canadian music industry. Organizations like the Canadian Independent Music Association (CIMA) and the Indigenous Music Office have welcomed it. Others, like the Digital Media Association (DIMA), which represents the major streamers, have been fiercely critical of what they call the “streaming tax.”
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In December, the Federal Court of Appeal paused the mandated payments until an appeal of the decision is heard this year.
Now, Music Canada is wading into the legal challenge, aiming to speak to what it calls the potential harms the regulation may cause to existing investments made by streaming companies in the country.
“Specifically, we are asking the court to consider music streaming services’ direct investments in Canada among qualifying contributions,” reads a statement from Music Canada. “We are concerned that the CRTC’s base contributions decision risks harming ongoing and direct investments in the Canadian music streaming market and Canadian and Indigenous artists.”
Music Canada points out that streaming services have dedicated teams in Canada, investing in programs and initiatives that support Canadian and Indigenous musicians.
“In setting the 5% levy, the CRTC did not take into account or recognize any of the investments made by music streaming services in Canada,” they write.
However, in a previous interview with Billboard Canada, CIMA president Andrew Cash argued that the investments streamers currently make aren’t comparable to the career development enabled by Canadian organizations like FACTOR and Musicaction.
“Over the last five years, FACTOR has supported over 6,500 artists across the country,” he said, pointing to artists like Charlotte Cardin and The Weeknd as just two musicians who received key early investment from FACTOR.
Music Canada also takes issue with the fact that a portion of the base contributions will be used for a news fund that isn’t specifically related to music. (Specifically, 1.5% of the 5% contributions are mandated for “a new temporary fund supporting local news production by commercial radio stations outside of the designated markets.”)
“While support for news is a laudable goal, it should not come at the expense of artists who are already trying to compete in a highly competitive, global music marketplace,” Music Canada’s statement reads.
Read more here. – Rosie Long Decter
More Than 150 Canadian Musicians Sign Open Letter Against Conservative Leader Pierre Poilievre Ahead of Canadian Election
Canadian musicians are making their election choices known.
More than 150 musicians have signed a new letter from Music Votes Canada that aims to stop conservative leader Pierre Poilievre from winning the federal election on Monday (April 28).
“An Open Letter to Canadians: Why We Must Stop Pierre Poilievre from Becoming Prime Minister” features major signatories like Allison Russell, Dan Mangan, Raffi, Torquil Campbell (Stars), Haley Blais, Charlotte Cornfield and Damian Abraham (F—ed Up).
Also signing on was The Weather Station, who last week, upon returning home from a tour through the U.S., published an impassioned plea for Canadians to stay engaged in the election.
“Music comes from a place of deep love, and as musicians, we want to use the power of music to help bring our country together in this time of poly crises,” the letter reads.
Canadians are at a crossroads, the letter continued, stating that the “federal election on April 28th is possibly the most important in our country’s history.” It goes on to argue that Poilievre’s platform runs counter to “Canada’s core values” such as public services, climate action and inclusive democracy.
“His agenda echoes Donald Trump’s playbook: sowing division, empowering the wealthy, and weakening institutions that unite us,” it reads.
The letter highlights several parts of the Conservative campaign that are particularly concerning for musicians: Poilievre’s threats to public broadcaster CBC; his commitments to expanding fossil fuel production amidst the climate crisis; and rhetoric that is “fostering division instead of unity” when it comes to marginalized communities.
The letter calls for leaders to ensure that every Canadian has a safe, affordable home; to tackle the climate crisis; to tax corporate profits; and to support arts and culture in Canada through a 1% commitment of the federal budget to the arts.
Outside of its anti-Poilievre position, Music Votes Canada doesn’t explicitly endorse any particular party or candidate in the letter. Instead, it concludes by calling on voters to support candidates who are best positioned to defeat the Conservative Party, endorsing resources such as Cooperate for Canada and Lead Now, which provide candidate and riding guides.
One major Canadian star has come out with a strong endorsement of a specific candidate: Neil Young, who is putting his support behind Prime Minister Mark Carney’s Liberals in a letter titled “I’m With You, Mr. Carney.”
Though Young now has dual citizenship with the U.S >, as he writes on his website, “I am a Canadian and always will be.” He goes on to reminisce about his childhood in Ontario and Manitoba and express gratitude for the platform he has built to speak truth to power.
“Canada is facing threats to its very existence, incredibly from people we thought were our friends,” Young writes. “They want our resources, they want our land, they want our fisheries, they want our water, they want our Arctic, maybe they want our souls. I know the U.S. president could use a soul.”
Addressing Carney directly, he writes, “I believe you are the person our country needs to lead us through this crazy situation and bring us out the other side as a stronger, smarter, more resilient Canada, our core values of caring and fairness and generosity intact, along with our souls.”
Read more here. – RLD
Nigerian Music Executives Ikenna Nwagboso and Camillo Doregos Launch Hi-Way 89 Entertainment in Canada
There’s a new music company bridging Canada and Africa.
Hi-Way 89 Entertainment is a new Canadian music company headquartered between Toronto and Calgary, founded by two Nigerian-Canadian music executives — Ikenna Nwagboso and Camillo Doregos — who both have deep experience in breaking African artists on the international stage.
The new company will focus on providing artist development and label services, concentrating on artists from both Canada and Africa. Its first signing is Canadian pop/R&B singer Chrissy Spratt, who on Friday (April 25) released a new single on the label, “In Too Deep,” with distribution through Vydia/gamma.
“We are a Canadian company and, with the tremendous success we’ve had exporting African music globally, we want to do the same thing in Canada, working with Canadian artists and showing the world the gem that is Canada, and the amount of talent here,” Nwagboso said in a statement. “We understand what it takes to develop global superstars and we have the knowledge, access, resources, contacts, and partnerships to make that happen.”
Nwagboso and Doregos are now based in Toronto and Calgary, respectively. Nwagboso previously co-founded African music company emPawa Africa in 2018, serving as global head of label services and partnerships before stepping down in January. In that role, he oversaw the signing and development of artists including GuiltyBeatz, Joeboy, Fave, King Promise, Minz, Xenia Manasseh, Nandy, Tekno and Nezsa.
Nwagboso also led emPawa Africa’s flagship initiatives: the emPawa 100 and emPawa 30 campaigns, which developed 130 emerging artists from across the continent. Nwagboso is also a co-founder of Exodus Music Group, home to artists Geo Baddoo (U.K.), Nezsa (Canada/Nigeria) and Zubi (Nigeria).
Doregos, previously a manager for Mr Eazi, is the founder of DC Talent Agency, the management company behind Nigerian music stars Pheelz and Kah-Lo and South African amapiano duo TxC. He also operates a booking agency, DC Talent Agency, that has secured festival appearances, live shows and brand deals for artists including Rema, Wizkid, Davido and Moliy.
Hi-Way 89 aims to “cast a wide net with our signings,” the company said, but the initial focus will be on acts from Canada and Africa. In addition to Spratt, the first round of signings includes Nigerian artist Siraheem and South African DJ Chelsea Sloan.
The new label has high hopes for Spratt. The Ottawa artist has made a major splash on Instagram and TikTok, with an audience now numbering more than 5.5 million followers between the two platforms. There, she has grabbed attention with covers of songs ranging from R&B to Latin, with her versions of Afrobeats hits like Kizz Daniel’s “Cough (Odo)” and Ckay’s “Love Nwantiti” especially connecting with listeners in Nigeria and earning endorsements from top Nigerian artists.
Spratt is now concentrating on original music, and Hi-Way 89 plans to release her debut EP this summer. “In Too Deep” was produced by Grammy Award winner Daramola (Danny Ocean, Kapo), while the EP will feature such collaborators as Nonso Amadi, Tems’ “Higher” producer Tejiri, and Canadian songwriting team Coleman Hell & La+ch. – Kerry Doole