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FACTOR Canada says it has fallen victim to serious cyber theft.
Court filings by the music funding body, The Foundation Assisting Canadian Talent on Recordings, reveal claims that $9.8 million was stolen from a Scotiabank account earlier this year.
FACTOR distributes millions in funding to thousands of artists and music organizations in Canada — last year, the organization dispensed $50 million. Now, it’s alleging that an amount equivalent to nearly a fifth of that annual distribution was transferred by a cyberthief to a numbered company.
James Campagna, shareholder for said company, then allegedly transferred $9.4 million to a cryptocurrency-owned account and converted the funds into crypto.
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Today (Nov. 29), a hearing took place at the Ontario Superior Court of Justice on the matter.
In a statement on the foundation’s website titled “FACTOR’s Response to the Scotiabank Cybertheft: The Facts,” the company clarifies its side of the story that was reported on in the media and says that it aims to “defend the baseless allegations being made by Scotiabank against our systems and staff.”
“It is true that FACTOR has been a victim of a significant financial crime that occurred on June 12, 2024, by way of a one-time fraudulent wire from our Scotiabank account on ScotiaConnect in the amount of $9,772,875.33,” the statement reads.
But the response from FACTOR adds new details to the story, particularly in regards to Scotiabank’s involvement.
The organization says it reported the crime to law enforcement on June 14, but that Scotiabank “has acknowledged it has never reported this financial crime to law enforcement.”
The statement also asserts that the money transfer was 300x larger than any transfer previously made from that account, “with no alerts to FACTOR of this highly unusual, suspicious, and illegal activity.”
If the funds aren’t recovered swiftly, there’s reason to be concerned that artists — who rely on FACTOR funding for recording, music video production, touring and more — could be affected.
More on this story as it develops – Rosie Long Decter
Drake Tells Interviewer to Turn Off The Weeknd and Put on Blink-182
Drake’s got a lot of enemies right now.
After Kendrick Lamar released his new album but before news broke of Drake’s two different legal actions against his parent label Universal Music Group and Spotify, the rapper joined Quebecois streamer xQc for a livestream on Kick on Sunday (Nov. 24).
You never know what Drake will say with a live mic, so many fans tuned in to see if he’d have words about the Kendrick beef or any other hot topics. Between confirming an upcoming Australia tour and giving an update on his collaborative album with PartyNextDoor, he also threw some subtle shade at his former friend The Weeknd.
As his song “Starboy” started playing, Drake quickly told xQc to “switch that one off.” When the host asked him why he doesn’t listen to it, he answered “we’re real 6ixers, we don’t listen to that.” He told him to turn on Blink-182 instead. “I want to hear that real sh-t,” he said over the sounds of “Dammit.”
The Weeknd was born in Scarborough, Ontario, a district of Toronto, a.k.a The 6ix. The Weeknd began his career affiliated with Drake, but the two have had their own long-simmering beef. The Weeknd was spotted in the audience at Kendrick Lamar’s “Pop Out” concert on Juneteenth, which included performances of all of the rapper’s diss tracks and multiple performances of the scathing “Not Like Us.”
Former Toronto Raptor DeMar DeRozan was also at that concert. That clearly upset Drake, who called him out on a recent game broadcast. Evidently, he still has beef with The Weeknd too.
Drake didn’t address Kendrick or his new album by name, but did reference Kendrick and his “false accusations” indirectly. “You need facts to take me out, fairy tales won’t do it,” he said. –Richard Trapunski
Michael Bublé is set to host the 2025 Juno Awards, which will be held March 30 at Rogers Arena in Vancouver, British Columbia – just 6 miles from Bublé’s hometown of Burnaby, British Columbia.
Bublé also hosted the Junos in 2018, the last time they were held at Rogers Arena, as well as in 2013, when they were held at Brandt Center in Regina, Saskatchewan.
“I could not be happier bringing The Juno Awards home to Vancouver for 2025,” Bublé said in a statement. “The Junos are such an important part of the Canadian music industry, and being able to host for the second time in my hometown makes this night mean even more to me. I’m excited to be surrounded by all the amazing talent we have from coast-to-coast this March.”
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Bublé is the latest in a long line of Canadian superstars to host the show, which is Canada’s equivalent of the Grammy Awards. Others include Paul Anka, Burton Cummings, Celine Dion, Anne Murray, Shania Twain, Alanis Morissette, Nelly Furtado, Drake, Bryan Adams and Sarah McLachlan.
Bublé, who will also perform on the show, is 15-time winner at the Juno Awards, which are voted on by the Canadian Academy of Recording Arts and Sciences (CARAS). He has also won five Grammy Awards, all for best traditional pop vocal album. He has amassed four No. 1 albums on the Billboard 200.
The 54th annual Juno Awards, produced by Insight Productions (a Boat Rocker company), will broadcast and stream live across Canada from Rogers Arena in Vancouver on March 30 at 8 p.m. ET/5 p.m. PT on CBC TV, CBC Gem, CBC Radio One, CBC Music, CBC Listen, and globally at CBCMusic.ca/junos and CBC Music’s YouTube page. Tickets go on sale to the general public on Friday Nov. 29 at 10 a.m. PT and start at $70.85 (including tax plus fees) and will be available for purchase at www.ticketmaster.ca/junos.
Canadian Music Week is undergoing a major identity shift.
For the first time since 1982, the music festival and conference will have a new name: Departure. The newly-christened Departure Festival + Conference will take place from May 6-11, 2025.
Loft Entertainment and Oak View Group (OVG) bought the festival from retiring founder Neill Dixon this year. They announced the changes in a cocktail reception on Tuesday (Nov. 12) at the festival’s new Toronto headquarters, Hotel X.
“Departure honours where we’ve come from and celebrates where we are going,” said Kevin Barton, executive producer at Loft Entertainment. “We’re creating a launchpad that opens doors to deeper, more inclusive conversations and showcases the richness of Toronto’s cultural scene, celebrates Canadian creatives, and welcomes global artists.”
In speeches and a fireside chat, Barton along with Loft co-founder Randy Lennox and chief operating officer Jackie Dean joined OVG Canada president Tom Pistore to share the new vision for the festival.
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Lennox and Barton pointed to the ambition of the event, which will expand to include comedy, tech and food in year one — plus film, fashion and other subjects in the near future. They will take big swings, which might mean they may have misses along the way, they acknowledged.
This year’s festival will include a songwriter showcase, comedy performances, food trucks, and a new app and digital infrastructure.
The goal with Departure is to expand and modernize, they said, while honouring the history of Canadian Music Week. Next year, they will honour CMW’s former leader Neill Dixon with a lifetime achievement award.
Comedian Russell Peters opened with his own less rehearsed speech, and shared his hopes for the festival. He’s both a comedian and a DJ, but says he and his friends had avoided CMW in the past “because it was soup — full of crackers.” He joked that the festival’s idea of diversification was Kardinal Offishall and that’s it.
Barton stressed an inclusivity mandate and said they have been meeting with different equity-seeking communities in the Canadian arts industry. Over 160 languages are spoken in Toronto, and the goal is to represent that multiculturalism.
Pistore said Departure is part of the Denver-based Oak View Group’s expanded footprint in Canada, which includes new hires and a $280 million project to transform an arena in Hamilton, Ontario. There is an ambition to be bigger, “but rooted in a Canadian foundation.”
The response on social media and at the industry event was mixed. Some were optimistic for the long-running conference to change and evolve and provide a bigger platform for Canadian artists. Others hoped that the new ownership, including the American Oak View Group, and removal of “Canadian” from the name, will not sacrifice the Canadian identity or the focus on the homegrown industry.
Karan Chahal is a music and business lawyer and agent at LSC Law. A former musician and engineer himself, he now works with independent artists, especially in Punjabi music, including producer Deep Jandhu.
Chahal has been attending CMW for years, and credits it as one of the most important conferences in Canada. He especially appreciated last year’s edition, which included a spotlight on India’s music industry and Punjabi music in Canada, he says.
“It’s an amazing platform, because everyone there is there for the same reason: music,” he says. “The music industry in Canada is still growing, and artists need support. There’s so much incredible talent here, and CMW is a spot where the artists, the labels, the agents can gain those relationships in the industry.”
Chahal’s hope is that Departure’s expanded focus into other areas will not dilute the support for music, specifically.
“I think we need more eyes on it, we need to grow it. More strategic individuals getting involved is only going to help,” he says. “I just hope we aren’t going to lose what it initially stood for, and will uphold the duty to support the culture.”
Rudy Blair is an independent music journalist and interviewer who has been covering Canadian Music Week for nearly 30 years. Over the past few years, he’s also worked for the festival under Dixon as a conference host.
Blair says the new name will take some getting used to, but he thinks the growth can only be a good thing.
“We always have to move forward, and as long as it shows respect for what came in the past, change is a good thing,” he says. “Moving forward, looking at things differently, presenting things differently, that always needs to happen. Departure is part of that evolution.
“The mandate from day 1, 42 years ago, to 2025 is the same,” he continues. “It is all about fans, artists, educating people, and making sure the rest of the world knows that Canada has some of the best talent in the world. As much as they’re looking at other things, I hope they keep the dream Neill (Dixon) had, which is promoting Canadian talent.”
This story originally was originally published by Billboard Canada.
After 18 years on Canadian airwaves, MTV Canada is preparing to go off the air on Dec. 31. The decision to shutter the specialty channel was confirmed by Bell Media, with a company spokesperson citing “changing audiences” on specialty TV as the reason for the closure.
MTV Canada launched in 2006 as part of the CTV network, and the channel offered viewers a Canadianized version of the MTV brand, one that has had a huge international impact. MTV Canada’s programming provided a mix of reality TV, music content, talk, lifestyle and pop culture-oriented documentary programming.
Many of the channel’s most popular shows were talk and reality-based, airing The Hills and Teen Mom. MTV Live, launched in March 2006, launched the career of co-host Dan Levy. The flagship half-hour variety show ran for six seasons, and won a Gemini award for Best Talk Series.
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Now best known as the co-creator and co-star of hit Emmy-winning Canadian TV comedy Schitt’s Creek, Dan Levy would gain prominence in Canada co-hosting, co-writing and co-producing the MTV Canada ratings hit The Hills: After Show (later just The After Show) with Jessi Cruickshank.
The channel later become increasingly dependent on such American reality shows as Floribama Shore, Jersey Shore: Family Vacation and Caught In The Act: Unfaithful in its programming, and by the end was playing multiple hours per day of the comedy reality clip show Ridiculousness.
South of the border, the MTV brand has also suffered in recent years, with owner Paramount Media Networks, shutting down MTV News and pulling down its website’s online archives in May 2023, as part of a massive round of layoffs at Paramount.
MTV Canada’s name and branding was used under a licensing agreement with Paramount Global. Unlike MTV channels in the United States and internationally, the channel was restricted in its ability to carry music programming until 2015, due to conditions in the channel’s license issued by the Canadian Radio-television and Telecommunications Commission (CRTC).
Those restrictions meant that, unlike its international counterparts, MTV Canada never employed the “Music Television” tagline. As a result, in terms of music programming, the channel struggled to compete with the homegrown and much-beloved MuchMusic channel, which is also owned by Bell Media.
Anthem Entertainment & Wax Records Announce New Creative Partnership
Anthem Entertainment and Wax Records are joining forces.
The independent music company and record label have announced a strategic creative partnership, one they state “is designed to revolutionize the artist development process.”
The Anthem-Wax partnership seeks to remove barriers between songwriters, producers and artists, and give them the tools and resources to create together. That includes initiatives like international song camps to connect people across diverse genres, in-house studio spaces and dedicated writing rooms. These resources are designed to facilitate a higher volume of music and effective market readiness.
Anthem Entertainment is a big player in publishing and licensing, with a stable that includes hit songwriters like Chantal Kreviazuk and Timbaland. The company has a massive catalog of songs, an infrastructure featuring robust creative and executive teams, and creative spaces in Toronto and Nashville. Anthem recently sold its Production Music Group to Slipstream, a deal that included noted production music agency Jingle Punks and added over 650,000 tracks to Slipstream’s catalog.
Since starting in 2009, Wax Records has built a roster headed by platinum-selling artists Alyssa Reid, Shawn Desman and Virginia to Vegas along with bülow, Conor Gains, Blitz//Berlin and more.
The partnership expands the scope of both companies.
“I’m thrilled to welcome the Wax team — and their exceptional roster of artists — into the Anthem family,” says Anthem CEO Jason Klein. “Jamie [Appleby, Wax Records President and Head of A&R] and Ron [Morse, Wax Records CEO] have built an extraordinary label, with a creative and agile approach to artist discovery, development, and marketing that transcends conventional limitations. This partnership will allow Wax to elevate their outstanding work with additional resources and infrastructure, and introduce an exciting new creative pipeline for Anthem’s songwriters.
“The possibilities for global success with this partnership are limitless.”
Anthem and Wax tout the partnership as “an evolution of the music business” and a key to artist empowerment as well as a key to opening doors internationally.
“The global music marketplace is an ever-changing adventure,” says Wax’s Jamie Appleby. “Through countless hours of dedication and hard work, we strive to cultivate a vibrant entrepreneurial culture that supports and provides globalization opportunities for our community. We are excited for the next evolution of Wax Records, and have tremendous admiration for Jason and the exceptional team at Anthem. This new venture will expand our ongoing commitment to our incredible artists, venture partners, and sub label groups.”
Toronto is preparing for a new era.
Taylor Swift will bring her behemoth Eras Tour to the biggest city in Canada for six sold-out shows in November. But Torontonians know all too well that major concerts can lead to bad traffic downtown. The city has announced that to help those shows run more smoothly, there will be a ‘Limited Activity Zone’ around the Rogers Centre stadium during the two weeks of Swift-mania.
Planned work in the zone — like construction or filming — will be limited to off-peak hours and will require express permission from the City of Toronto, though emergency work will be allowed.
The zone covers a sizeable area of Toronto’s downtown and will aim to keep traffic flowing as roughly 240,000 fans attend Taylor Swift’s performances. The affected industries shouldn’t be too worried though — the zone will only be in place for a fortnight, from Nov. 11 to 25.
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The ‘Limited Activity Zone’ isn’t the only infrastructural adjustment needed to account for Swift’s superstardom. Rogers revealed last week that it just completed an $8 million upgrade to its 5G network at the Rogers Centre, so fans can livestream the enchanting spectacle in real-time — or just text their friends, which can be tough during service overloads at major events.
The route from Rogers Centre north to Toronto’s Nathan Phillips Square, where City Hall sits, will also be renamed Taylor Swift Way for the month. Signs will designate the new name, guiding fans into the ‘Limited Activity Zone’ where Swift will take the stage.
The city is anticipating a major financial boost from Swift’s visit, with over $250 million in economic impact projected.
Taylor Swift performs in Toronto from Nov. 14-16 and again from Nov. 21-23. –Rosie Long Decter
Slipstream Acquires Anthem Entertainment’s Extensive Production Music Portfolio
Music licensing platform Slipstream has announced that it has acquired the production music portfolio of Toronto-based music rights company Anthem Entertainment.
The acquisition of Anthem Production Music Group includes three major brands: Anthem’s production music agency Jingle Punks, independent production music library 5 Alarm Music, and U.K.-based independent production music publisher Cavendish Music. The net result is the addition of over 650,000 tracks to Slipstream’s catalog.
Slipstream says the acquisition positions it as “the largest global independent music licensing platform.”
There are long and close connections between the principal players involved. Slipstream was founded in 2021 by CEO Dan Demole and chief revenue officer Jesse Korwin. Demole was the co-founder of Jingle Punks and former president of Anthem Production Music Group, while Korwin served as managing director of Jingle Punks.
“This acquisition is a homecoming for us,” says Demole. “Jesse and I built both Jingle Punks and Slipstream on the foundation of making great music accessible to every type of creator. We now have an unprecedented opportunity to build on the success of both brands while leading the next wave of innovation in music licensing. With this vast catalog and our tech-enabled platform, we’re not only the largest independent player in the space, but also the most innovative.”
The expanded platform will serve a diverse client base, from individual content creators and small businesses to global brands and enterprises. Slipstream said the acquisition is in line with its goal to streamline music licensing across TV, film, advertising, gaming, social media and brands.
Anthem Entertainment will make an investment in Slipstream as part of the transaction. Anthem Entertainment CEO, Jason Klein, who is one of Billboard Canada’s 2024 Power Players in the Publishing category, commented: “Anthem’s focus since my appointment in January 2023 has been on building its core music publishing and recorded music divisions, while considering the best path forward for our production music businesses.”
“This sale to Slipstream has placed Jingle Punks, 5 Alarm and Cavendish Music back in the familiar and capable hands of proven leaders in the production music and technology space. Dan and Jesse already know these businesses and have a unique vision for their future as part of Slipstream. Our belief in them as leaders and their vision is the reason we have also chosen to invest in Slipstream going forward.”
The New York City-headquartered Jingle Punks has long maintained an office in Toronto, alongside branches in Santa Monica, London, Sydney and Melbourne. – Kerry Doole
Billboard Canada Parent Company AMG Acquires Major Stake in Music Festival NXNE
Artshouse Media Group (AMG) has acquired a major stake in Toronto music festival North By Northeast (NXNE).
The media company — which publishes Billboard Canada, Billboard UK and Rolling Stone Quebec and also owns Arts Help, Waveland Canada and the Climate Library — will own 50% of the long-running festival. The acquisition begins a long-term partnership, starting with NXNE’s landmark 30th anniversary edition from June 11-June 15, 2025.
“This partnership with NXNE comes at an exciting time for both Billboard Canada and AMG. As NXNE marks its 30th anniversary, we are aligning our shared goals of elevating artists and engaging music lovers,” says Amanda Dorenberg, CEO of Billboard Canada and AMG. “Together, we’ll amplify the festival’s impact, providing artists with a broader platform to reach audiences and creating new ways for fans to discover fresh talent.”
Michael Hollett will continue as NXNE’s president and CEO, while Barbara Hefler serves as managing director.
NXNE launched in 1995 and quickly established itself as the heart of Toronto’s live music scene. Originally formed in partnership with Austin’s SXSW, it evolved its own identity for recognizing and showcasing emerging talent in the early stages of international success. Artists from Lizzo to Daniel Caesar, Feist, Grimes, The Beaches, Mac DeMarco, Haviah Mighty, Sam Roberts and Billy Talent have played critical NXNE showcases at breaking points in their careers.
The festival has also been responsible for some legendary headlining shows from acts including Iggy Pop & The Stooges (one of the biggest free shows ever in downtown Toronto at Yonge-Dundas Square), Vince Staples, the Flaming Lips, The National, Post Malone, Tyler, The Creator and many more.
The collaboration with AMG and Billboard Canada will grow the festival’s reach in its landmark 30th anniversary edition with new co-produced programming and activations to be announced soon.
Artist applications are open now at nxne.com. 2025 venues will include The Garrison, Drake Underground, Collective Arts brewery and more, plus a new official festival headquarters at The Theatre Centre on Queen West.
The 30th anniversary edition will celebrate the festival’s rich history and the big acts who have played over the decades, while staying committed to its “Listen to the Future” tagline and its commitment to always looking for the next big thing in music.
“We want to meet and exceed NXNE’s ‘glory days’ as a citywide, community-engaging discovery festival,” says Hollett.
A big year for k.d. lang is getting even bigger.
After celebrating her legacy with an induction into the Canadian Country Music Hall of Fame and a reunion with her original band The Reclines for the first time in decades, the celebrated Canadian singer has inked a new publishing deal with Reservoir Media. The deal includes her future works and partial catalogue.
“It is an absolute thrill to partner with Reservoir!” says lang in a statement. “Golnar [Khosrowshahi] is a force of nature and understands me as an artist. I am deeply inspired and have utmost confidence in this creative partnership.”
Golnar Khosrowshahi, the founder and CEO of Reservoir (and one of the leaders on Billboard Canada‘s 2024 Power Players list), is Canadian herself and understands the iconic status k.d. lang holds in the country and beyond.
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“As a Canadian, I am particularly proud to be working with k.d. and her manager, Steve Jensen, and I’d also like to thank Bruce Roberts, our very first Reservoir songwriter, who introduced us to k.d,” she says.
Golnar Khosrowshahi, k.d lang & Rell Lafargue
Reservoir
Already revered as a queer pioneer within country music and a collaborator to musical legends including Tony Bennett, Roy Orbison, Elton John, Bonnie Raitt and Loretta Lynn, lang has been embraced by a new generation in recent years.
She’s charted on the Billboard Hot 100 twice, with her yearning 1992 hit “Constant Craving” and a showstopping 2010 Vancouver live version of fellow Canadian Leonard Cohen‘s “Hallelujah.” Originating in the early ’80s in Alberta as part of the burgeoning “cowpunk” scene, lang has never stopped evolving, even appearing on the Billboard Dance/Electronic Albums Chart in 2021. And she’s won many accolades, including the Order of Canada, four Grammys, four awards from GLAAD and much more.
Reservoir Media is used to working with legends and amplifying their catalogues for modern audiences. Last year, the company was responsible for bringing seminal hip-hop group De La Soul’s much-missed catalogue back to streaming and back onto the charts. Reservoir also signed a publishing deal with Joni Mitchell in 2021, right before her moving comeback.
But while lang’s deal with Reservoir includes some of her past work, it’s also about the future – which shows a trust in her continued success beyond her achievements.
“It never gets old when a legendary artist like k.d. lang decides to call Reservoir her home. Her incomparable voice and music are a gift to the world,” says Khosrowshahi. “We look forward to helping her share those gifts with new audiences and supporting her as she steps into the next chapter of her career.”
This article was originally published by Billboard Canada.
It’s official: Shaboozey has made history. His country hit “A Bar Song (Tipsy)” has broken the new record for most weeks atop the Billboard Canadian Hot 100.
On the chart dated Oct. 19, 2024, the song claims the top spot at No. 1 for an unprecedented 20th week, surpassing a record previously set in 2019 by Lil Nas X’s Billy Ray Cyrus-featuring “Old Town Road.”
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This is the first time a song has held the No. 1 spot for 20 weeks or more in the history of the Billboard Canadian Hot 100, which launched in 2007. “A Bar Song” first hit No. 1 in the week of May 11, 2024, and has actually spent 26 cumulative weeks on the chart. It was briefly knocked out of the top spot by Eminem’s “Houdini” and Morgan Wallen and Post Malone’s “I Had Some Help,” but has otherwise dominated from summer to fall.
With “A Bar Song (Tipsy)” setting the new record, here’s an updated leaderboard for most weeks at No. 1 on the Billboard Canadian Hot 100.
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Most Weeks Spent at No. 1 on the Canadian Hot 100Weeks, Title, Artist Billing, Peak Date
20, “A Bar Song (Tipsy),” Shaboozey, 5/11/202419, “Old Town Road,” Lil Nas X ft. Billy Ray Cyrus, 4/20/201918, “As It Was,” Harry Styles, 4/16/202216, “Despacito,” Luis Fonsi & Daddy Yankee ft. Justin Bieber, 5/27/201716, “Shape of You,” Ed Sheeran, 1/28/201716, “I Gotta Feeling,” The Black Eyed Peas, 7/4/200915, “Flowers,” Miley Cyrus, 1/28/202315, “Uptown Funk!,” Mark Ronson ft. Bruno Mars, 1/10/2015
Shaboozey’s “A Bar Song (Tipsy)” is also making history on the U.S. Billboard Hot 100, this week tying the record for the second-longest rookie reign at 14 weeks. But the Virginia artist’s song hit No. 1 in Canada first and has reigned for longer. He acknowledged that feat onstage at a headlining concert at Toronto’s Danforth Music Hall last month, when Billboard Canada presented him a plaque for his No. 1 hit. “Y’all did it first!” he said triumphantly to the Canadian crowd.
In a Billboard cover story, Shaboozey talks about the whirlwind last few months. He’s been making music for a decade, but had a major breakthrough this year after appearing as a guest star on Beyoncé’s culture-shifting Cowboy Carter. Beyoncé and Shaboozey subsequently made history as the first two Black artists to hit No. 1 on the Billboard Hot Country Songs chart consecutively with “Texas Hold ‘Em” and “A Bar Song (Tipsy),” but “A Bar Song” has surpassed the songs on Cowboy Carter for Canadian chart dominance.
Lil Nas X’s “Old Town Road” is also notably a country song from a Black artist who seamlessly shifts between sounds. Shaboozey’s “A Bar Song” quotes from J-Kwon’s 2004 rap hit “Tipsy” and unites listeners of different genres in its themes of drinking through everyday economic hardships, getting heavy airplay on a variety of different radio formats in Canada. To put this historic feat into perspective, 20 weeks would also set the record for most weeks at No. 1 on the U.S. Billboard Hot 100, where Lil Nas X currently still reigns with 19 weeks. On that chart, which has existed for 66 years compared to Canada’s 17 years, only five songs have occupied the No. 1 spot for more than 15 weeks.
It’s difficult to predict if any songs have the power to knock Shaboozey out of No. 1 on the Canadian Hot 100 in the near future. Post Malone and Morgan Wallen’s “I Had Some Help” continues to hold down the No. 2 spot and did briefly surpass Shaboozey this summer. Billie Eilish’s “Birds of a Feather” has stalled at No. 3 for a number of weeks, while Lady Gaga & Bruno Mars’ duet “Die With a Smile” has continued a slow climb into the top 5 and this week sits at No. 4. Sabrina Carpenter’s “Espresso” currently holds No. 5, and previously peaked at No. 3.
So how many weeks will Shaboozey hold the No. 1 spot on the Canadian Hot 100? Only time will tell.
This story originally appeared on Billboard Canada.
A powerful Canadian executive is making a move to Live Nation Canada.
Melissa Bubb-Clarke is leaving her role as senior vp of music & live events at Maple Leaf Sports and Entertainment (MLSE) for a leadership role at the juggernaut promoter. She’ll serve as chief commercial officer at Live Nation Canada, leading the company’s commercial business in the country.
Bubb-Clarke worked closely with the Live Nation team while overseeing entertainment programming at MLSE, which included high-profile concerts at Toronto’s Scotiabank Arena promoted by Live Nation.
It’s a full circle moment for Bubb-Clarke, who previously worked at Live Nation as regional vp of marketing and later vp of client services.
“I am so excited to join the Live Nation Canada team as Chief Commercial Officer,” Bubb-Clarke tells Billboard Canada. “It’s such an exciting time in the live music space, I couldn’t be more thrilled to have the opportunity to help grow the business further and work with the best team in the biz.”
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Wayne Zronik, president of business operations at Live Nation Canada, notes consumer demand for live entertainment and experiences is at an all-time high, necessitating a leader who can optimize that growth. “Melissa brings an impressive track record, and we are beyond delighted to be welcoming her back into the Live Nation Canada family,” he says.
Bubb-Clarke was on the Leaderboard as one of Billboard Canada‘s top 10 Power Players this year for her work at MLSE.
She also shared career wisdom as part of the Billboard Canada Women in Music’s Industry Spotlight: “A career, in my experience, is not linear,” she said at the time. “I have accelerated, paused, and taken steps ‘back’. Sometimes it was because different parts of my life were the priority and sometimes it was just the ebb and flow of opportunity. Stick with it, keep going.”
With Live Nation opening a new stadium in Toronto next year — just in time to welcome Oasis on their reunion tour — Bubb-Clarke will have plenty to keep her busy in the new role. – Rosie Long Decter
Shaboozey Ties Record for Most Weeks at No. 1 on the Billboard Canadian Hot 100 with ‘A Bar Song (Tipsy)’
Shaboozey has made history on the Billboard Canadian Hot 100.
On the chart for the week of Oct. 12, the Virginia singer ties the record for most weeks at No. 1. His country hit “A Bar Song (Tipsy)” has now spent 19 weeks in the top spot, a run only matched by Lil Nas X and “Old Town Road.”
If Shaboozey can hold on one more week, he’ll break the record, marking the first time that a song has spent 20 weeks atop the chart since its launch in 2007.
“A Bar Song” first hit No. 1 back in May and dominated all summer, with brief interruptions by Eminem‘s “Houdini” and Morgan Wallen and Post Malone‘s “I Had Some Help.”
Shaboozey’s road to No. 1 has been building since he first gained momentum in 2018 with his track “Start a Riot,” featured on the Spider-Man: Into the Spider-Verse soundtrack. He got a big boost earlier this year from Beyoncé when he featured on two songs off her country opus Cowboy Carter.
That album came out March 29 and “A Bar Song” dropped just two weeks later on April 12, which made the timing ripe for Shaboozey to climb the charts in his own right. “A Bar Song” first hit No. 1 on Billboard‘s Hot Country Songs chart on May 5, following Beyoncé’s “Texas Hold ‘Em,” and marking the first time two Black musicians topped the chart in a row.
A Bar Song” hit No. 1 on the Canadian Hot 100 the week after, two months before it reached No. 1 on Billboard‘s U.S. Hot 100 in July.
Last month, Billboard Canada presented Shaboozey with a plaque at his Toronto concert to honor his chart achievement. – RLD
Three Days Grace Reunites With Original Singer
Popular Canadian hard rock band Three Days Grace has announced the official return of its original singer Adam Gontier, with Matt Walst remaining as a lead vocalist. Gontier recently surprised fans during a performance in Nashville.
Following the announcement of their reunion, the band has booked an upcoming tour as direct support for Disturbed on their The Sickness 25th anniversary tour. The 12-date tour runs from Feb. 25-March 21, 2025, and includes stops at Montreal’s Bell Centre and Madison Square Garden in New York.
Since 2003, Three Days Grace has scored five charting hits on the Billboard Hot 100, four No. 1s on the Mainstream Rock Airplay chart and three No. 1s on the Alternative Airplay chart. The band consistently averages 13 million monthly listeners on Spotify and boasts over 5 billion combined streams. – Kerry Doole
Deryck Whibley of Sum 41 Details Alleged Sexual Abuse By Former Manager Greig Nori
Sum 41‘s Deryck Whibley has detailed allegations of abuse against former manager Greig Nori.
Whibley’s new memoir, Walking Disaster: My Life Through Heaven and Hell, features Whibley’s descriptions of sexual coercion and verbal abuse at the hands of Nori when Nori was in his 30s and Whibley was a teenager.
Nori fronted the pop-punk band Treble Charger and mentored a host of rising Canadian bands in the early 2000s. He denies the allegations and has retained a defamation lawyer, The Globe & Mail reports.
Whibley met Nori when he was 16 and Nori was 33. He writes that Nori first kissed him while the two were on drugs when Whibley was 18 and that Nori would go on to pressure Whibley into sexual activity. Nori lashed out when Whibley resisted, Whibley writes, claiming Whibley “owed” him.
Whibley describes Nori as exerting complete authority over his career. “Greig had one requirement to be our manager — he wanted total control,” he writes. “We couldn’t talk to anyone but him, because the music business is ‘full of snakes and liars’ and he was the only person we could trust.”
Eventually, Whibley says, he disclosed the sexual pressure to his girlfriend and eventual wife, Avril Lavigne, who told him it was abuse. After a mutual friend of Nori and Whibley learned of the alleged abuse, Whibley says, the sexual pressure stopped, but Nori was still verbally aggressive.
Whibley claims Nori also insisted on receiving songwriting credits for songs he didn’t help compose.
Sum 41 fired Nori after releasing and touring their third full-length, 2004’s Chuck.
In an interview with The Toronto Star, Whibley said he welcomes a legal challenge from Nori.
“If he wants to challenge it, I welcome that,” Whibley said. “Let’s go to court. Let’s go under oath. That would be f — king great! I welcome that part. Let’s get into discovery. I’ll have my lawyers grill you. They can grill me all they want. I mean, that would be f — king perfect! Finally, let’s get it on record!” – RLD
Spotify is reportedly raising prices for subscribers in Canada.
The move comes amidst the implementation of the Online Streaming Act, which sees the Canadian Radio-television and Telecommunications Commission (CRTC) requiring major foreign streamers — those with revenues over $25 million — to pay 5% of revenues as base contributions into funds for Canadian content.
The price increase also comes as the streaming giant raises costs in markets beyond Canada. In July, Spotify increased prices in the U.S. from $11 monthly for individuals to $12. That increase follows a previous hike in 2023, which affected both the U.S. and Canada, and marked the app’s first price increase since 2011.
In a statement to Billboard Canada, a Spotify spokesperson does not explicitly link the increase to the “streaming tax” but does indicate the company is part of a legal challenge against the CRTC. Spotify joined Amazon and Apple filed legal challenges against the CRTC this summer, following the June announcement of the regulation.
“As we continue to innovate and invest in providing our listeners with greater value than ever before, we occasionally update our prices,” a spokesperson for Spotify tells Billboard Canada. “We may also adjust our prices to reflect local macroeconomic factors and meet market demands while offering an unparalleled service. We, along with a number of others, have filed a legal challenge against the CRTC streaming tax in Canada, and so will not be commenting further publicly at this time.”
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The Online Streaming Act was implemented this year after extensive consultations last fall. The base contributions from major streamers are expected to generate 200 million in funds for Canadian content, with the contributions directed toward “areas of immediate need,” including funding bodies FACTOR and Musicaction, as well as the Indigenous Music Office.
Music rights-holders have called for increases to streaming prices, which haven’t matched inflation over the last decade. Spotify has been re-evaluating its prices and royalty models as it invests in audiobooks, making changes to its revenue share payouts which have de-monetized songs receiving fewer than 1000 plays per year.
The company has also made adjustments to its presence in Canada, laying off Nathan Wiszniak, Head of Artist & Label Partnerships at Spotify Canada, during a round of cuts last December. The company has since hired Elizabeth Phipps as Label Partnerships Lead, Canada.
During the consultations for the Online Streaming Act last fall, Spotify’s Olivia Regnier provided testimony before the government that suggested they might make changes to how Spotify operates in Canada if forced to pay.
“If asked to make a burdensome contribution, irrespective of our existing investments, Spotify will need to make financial decisions to sustainably run our business,” said Regnier. “Additional costs could require us to cut expenses, including [reducing] our resources for editorial, partnership, and promotional programs in Canada; reduce resources currently going back to the music ecosystem; or force us to raise prices for Canadian consumers,” she continued.
When the decision was announced in in June, organizations like the Motion Picture Association — Canada, which represents platforms like Netflix and Disney +, expressed dismay.
Others, like the Canadian Independent Music Association (CIMA), welcomed the announcement. “As we look towards the future of music in Canada, this decision lays the groundwork for a dynamic partnership with digital platforms where Canadian talent can thrive both domestically and internationally,” said CIMA President Andrew Cash.
Spotify has more than 600 million users and reported 3.6 billion euros in first quarter global revenue this year.
This article was originally published by Billboard Canada.
Changes are coming to Montreal’s nightlife. Following public outcry over the closure of the popular venue La Tulipe, Mayor Valérie Plante announced this week (Sept. 25) that venues will now be exempt from the bylaw that led to its closure.
The venue announced this week it would cease operations due to a decision by the Quebec Court of Appeal, which mandated the venue to not emit sound that could be heard in an adjacent building.
Specifically, in the Plateau-Mont-Royal borough of Montreal (a popular area for live music), music venues will no longer be subject to Section 9 of the bylaw governing noise regulation, which specifies that amplified sound cannot be audible in a neighbouring building. Projet Montreal, Plante’s party, has also committed to improving the city’s soundproofing program and presenting a new nightlife policy in October.
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Plante posted a video on Instagram, sharing her own dismay at the news that La Tulipe would be closing its doors for the foreseeable future. She expresses concern that one person could derail an entire music venue.
“Yes to neighbourliness, but no to the dictatorship of neighbours,” Plante says in the video.
La Tulipe isn’t the only venue in the city to be affected by noise bylaws. Popular spots like Divan Orange and Diving Bell Social Club have previously closed down due to noise complaints.The outcry to the news about La Tulipe indicated a growing frustration amongst cultural laborers in the city, which has a reputation as a haven for arts production in Canada. – Rosie Long Decter
Newly Announced Rogers Stadium Will Become One of Canada’s Biggest Music Venues
On Thursday (Sept. 26), Live Nation and Northcrest Developments announced Rogers Stadium, the new 50,000 capacity outdoor venue in Toronto opening in June 2025. The venue will instantly become one of the biggest in Canada, with a slightly higher capacity than Toronto’s other stadium, Rogers Centre. It’s also one of the world’s few venues of the size that isn’t also home to a sports team.
The venue will be located at YZD, on the site of what used to be the Downsview Airport in North Toronto. Bombardier used the land for an air field, air force base and testing base for aircrafts. In 2018, Bombardier sold the facility to Northcrest Developments and will move its operations to Pearson Airport.
Rogers Stadium in Toronto
Courtesy of Northcrest Developments/Billboard Canada
The company is redeveloping the land into mixed-use residential communities, a $30B plan that is slated to take 30 years. In the meantime, the 370-acre site, now called YZD, is being used for a variety of arts, community and other initiatives as part of “Meanwhile Use Strategy.”
After the announcement press conference, Billboard Canada spoke to Erik Hoffman, president of music at Live Nation Canada, about why they decided to open the venue and why now. Hoffman says the decision was inspired by a specific artist.
“The idea came from [working with] a major artist who we were very frustrated that we couldn’t find dates [for],” says Hoffman. “They were just going to bypass Toronto on their world tour.”
That act (unrevealed, but there’s plenty of room for speculation) will now play Rogers Stadium next summer, one of 12-15 shows on the 2025 slate. Hoffman says almost all of those shows are already booked.
“It’ll be the biggest year we’ve ever had in stadium-level touring. By far,” he says. “It’s the kind of acts that you would traditionally see at an NFL stadium in the U.S. or the Rogers Centre here. The biggest acts in the world, and some of them setting up for multiple days.”
Stadium and festival-size shows are in high demand, he says, and Toronto is one of the top stops on any world tour. The city is also multicultural and multilingual, which makes it an ideal market for exploding genres from around the world including K-pop, Latin music and Punjabi music. Stadium shows from Indian star Diljit Dosanjh in Toronto and Vancouver this summer have shown there’s an appetite.
“If the fans weren’t coming, [artists] wouldn’t stage shows that big,” Hoffman says. “Not to dumb it down too much, but if they keep selling out stadium shows you do more stadium shows.” – Richard Trapunski
Somali-Canadian Artist K’naan Charged with Sexual Assault
Canadian musician K’naan has been charged with sexual assault.
A charge sheet was filed this week (Sept. 26) in Quebec City for the musician and director, born Keinan Abdi Warsame, for a count of sexual assault dating back to 2010, The Canadian Press reports.
The arrest warrant alleges that the assault took place between July 16 and 17 in Quebec City, which coincides with a show he played at Festival d’été de Québec (FEQ) in 2010. CBC reports that the complaint was first filed in May of 2022 with the Montreal police, but was later transferred to Quebec City. The assault allegedly took place in a hotel room on territory covered by the Quebec City police force.
K’naan, who’s known for his 2009 hit “Wavin’ Flag” (later rerecorded as the global anthem for the 2010 FIFA World Cup), took an extended break after his 2012 album Troubadour and spent time in both Canada and the United States. Recently, he has recently returned to prominence.
The Somali-Canadian musician returned with “Refugee” in 2023, a song that he said was intended to feel “like a home for those of us made homeless by conflict.” K’naan won the Best Song for Social Change Award by the Recording Academy at this year’s Grammy Awards.
Just over two weeks ago, K’naan made his debut as a director, premiering his feature film Mother Mother at this year’s Toronto International Film Festival. This week, on Sept. 24, K’naan attended the SOCAN Awards at History in Toronto and accepted the SOCAN Cultural Impact Award for the lasting global impact of his anthem, “Wavin’ Flag.”
Warsame was not in attendance for the proceedings in Quebec. The case has been set for April 2025. According to Radio-Canada, Warsame’s lawyer has requested he be tried in English in front of a jury. – R.T.