In Canada
TikTok is taking the Canadian government to court.
Last month, the popular social media app was ordered by the federal government to “wind down” its operations in Canada following a national security review.
“We will challenge this order in court,” TikTok said at the time.
Now, the company is following through on the promise. TikTok Canada has filed notice of application for judicial review, which is an official legal challenge to the decision.
“This order would eliminate the jobs and livelihoods of our hundreds of dedicated local employees – who support the community of more than 14 million monthly Canadian users on TikTok, including businesses, advertisers, creators, and initiatives developed especially for Canada,” the company wrote on its official website. “We believe it’s in the best interest of Canadians to find a meaningful solution and ensure that a local team remains in place, alongside the TikTok platform.”
Trending on Billboard
TikTok posted the whole legal filing on its website, which you can read here. The document breaks down the order of events, suggesting TikTok cooperated with the security review but was surprised by the abrupt announcement.
The company is requesting a court date to challenge the decision in Vancouver, B.C., one of the two locations of its offices. The other is in Toronto.
The filing calls the order “grossly disproportionate” and says it “will result in the termination of hundreds of employees in Canada and the potential termination of over 250,000 contracts with Canadian-based advertisers.”
The legal filing also focuses on the impact to those creators who use the platform, stating that the order “will cause the destruction of significant economic opportunities and intangible benefits to Canadian creators, artists and businesses, and the Canadian cultural community more broadly.”
The federal government made the decision to shut down TikTok’s Canadian operations following a review of its Chinese parent company ByteDance Ltd., calling the operation “injurious to national security.” Canadian users would still be able to use and access TikTok, but the company would be forced to close its offices in Canada.
The filing follows a new law in the United States that would require ByteDance to divest TikTok by January 19, 2025 or face a ban in the country. – Richard Trapunski
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Charlotte Day Wilson to Play Special Orchestral Concert in Toronto in 2025
Charlotte Day Wilson is preparing for a hometown concert that she calls “a dream opportunity.”
On Feb. 28, 2025, the Grammy nominated R&B/soul singer-songwriter will play a Red Bull Symphonic concert with members of the the Symphonic Orchestra at Roy Thomson Hall, the home of the acclaimed Toronto Symphony Orchestra.
Charlotte Day
Emily Lipson
Tickets go on sale Friday, December 13, 2024 at redbull.ca/symphonic.
Previous editions of Red Bull Symphonic in Atlanta and Los Angeles have featured Rick Ross and Metro Boomin, plus special guests including John Legend, Swae Lee and more.
It will be the first orchestral concert for Wilson, and she’s approaching it as a full vision of her current state as a musician.
“I want people to come away from it understanding the musical makeup that I have and of my sense of self within music,” Charlotte Day Wilson tells Billboard Canada over Zoom from her apartment in Toronto.
She’s still in her early 30s, but Wilson has been recording and performing for well over a decade. With two albums and multiple EPs, she has a full body of work to play from, and she’s excited to rethink it in a new context.
Her 2024 album, Cyan Blue, has been nominated for a Grammy for Best Engineered Album, and though Jack Rochon was the primary engineer, Wilson says the two of them made everything in the room together as “an exchange of two people producing and engineering and writing all in tandem.”
Charlotte Day Wilson’s soulful voice and songwriting chops have become a secret weapon for many renowned musicians. She’s performed and collaborated with Kaytranada, Daniel Caesar, Mustafa, BadBadNotGood and Nelly Furtado, and one of her songs was even sampled by Drake.
The Grammy recognition and the ability to do a full-scale orchestral concert feels like a mark of wider recognition in a field that can often include a lot of isolation. It also feels like a “maturing moment,” she says, which fits her mindset right now.
“It’s something I think about a lot as an artist,” she says. “In an industry that is ruthlessly obsessed with youth, how do we graduate into a next chapter of life and still maintain our integrity and relevance. That’s something I think about all the time, and it’s something I want to approach really deliberately.” – R.T.
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Patrick Watson’s ‘Je te laisserai des mots’ Becomes First French-Language Song To Hit A Billion Spotify Streams
Canadian singer-songwriter Patrick Watson has made history on Spotify.
His 2010 song “Je te laisserai des mots” is now the first French-language song to hit a billion streams on the platform.
The song, a wistful composition led by piano and strings, was first written for the 2009 film Mères et Filles.
Listeners clearly agreed that the song has a cinematic quality: it went viral in 2021 and 2022, used by thousands of TikTokers — including Justin Bieber — to soundtrack serene or sad moments in their own lives during Covid restrictions.
Watson joins Bieber and other Canadian artists like Drake, Tate McRae, Alessia Cara and Shawn Mendes in Spotify’s Billions Club. Most of the other Canadian members are major label signees with a pop-oriented sound, which makes Watson — an acclaimed indie singer-songwriter represented by Montreal’s Secret City Records — a more unusual entry into the club.
“Je te laisserai des mots” was the most-streamed French language track both in Canada and globally this year on Spotify, while the veteran songwriter and producer is the No. 6 most popular Québécois artist on Spotify this year in Canada. He finishes alongside Quebec legends Les Cowboys Fringants and Celine Dion, pop star Charlotte Cardin and rappers Souldia and Enima.
Spotify notes that since 2019, listening to music in French has jumped by 94% on the app — which means after Watson, another Billions Club French-language song could only be a matter of time. – Rosie Long Decter
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Music Business Year In Review
Swifties are trying to get last-minute tickets as Taylor Swift‘s Eras Tour heads to Vancouver tonight (Dec. 6) – but resellers are beating them to the punch.
With demand sky-high for the final shows on the massively popular Eras Tour, Taylor Swift released a batch of unique ‘no view’ tickets (which offer fans a view of the screens beside the stage but not the stage itself) for her three upcoming Vancouver dates this week at just $16.50 per ticket.
As Swifties rushed to Ticketmaster to wait in large queues for the chance to hear (but not see) their favourite star, resellers were scooping up the cheap tickets.
Trending on Billboard
Before they knew it, the Ticketmaster drop had ended and many of the ‘no view’ tickets were now on StubHub – for thousands of dollars, as fans posted on social media.
Some lucky fans did manage to score the no-view tickets. But the massive resale markups of $16.50 tickets are another indicator of just how hard it is for actual Taylor Swift fans to get into the Eras Tour.
Many fans have gone through several rounds of attempts at securing tickets through Ticketmaster or ticket giveaways, spending hours waiting in queues and scouring social media for ticket tips.
Meanwhile, Vancouver is preparing for its Taylor Swift era, altering a local sign to read: Swiftcouver.
The Eras Tour concludes in Vancouver with three performances December 6-8, 2024.
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Kendrick Lamar’s ‘GNX’ Debuts at No. 1 on the Billboard Canadian Albums Chart
Kendrick Lamar has claimed a new No. 1 album in the home country of his biggest rival.
GNX, K-Dot’s surprise sixth studio release, arrives in the top spot on the Billboard Canadian Albums chart, dated December 7.
But unlike in the U.S., Lamar didn’t manage to hit No. 1 on the Canadian Hot 100.
Gracie Abrams holds onto that spot with “That’s So True” for the second week as the Eras Tour (where she’s performing as Taylor Swift’s opening act) rolls into Vancouver this week from Dec. 6-8.
Kendrick Lamar is still well represented at the top of the Canadian Hot 100, though. His sleek slow jam “Luther” featuring SZA is at No. 2, and “Squabble Up” – which claimed the No. 1 spot south of the border – is at No. 3.
Shaboozey’s “A Bar Song (Tipsy),” meanwhile, drops to No. 5, indicating his record-setting run might really be done.
Those are strong numbers for Kendrick Lamar in Drake’s home country, even if the Compton rapper hasn’t hit the same highs as in the U.S. just yet.
Lamar will be taking his GNX on the road next year on the Grand National tour, with two Canadian date in Drake’s hometown, at the Rogers Centre stadium on June 12 and 13 with SZA.
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Les Cowboys Fringants, Charlotte Cardin Most Streamed Québécois Artists on Spotify in Canada in 2024
As individual Spotify Wrapped graphics take over social media feeds, the streaming giant has shared some insightful Canadian Wrapped data.
Spotify shared the top Québécois artists streamed in Canada, with rock group Les Cowboys Fringants taking the top spot, followed by Charlotte Cardin and Céline Dion.
Les Cowboys were very active this year following the 2023 death of frontman Karl Tremblay and the outpouring of support from Quebec fans showing their immense influence in the province. The new full-length Pub Royal debuted at No. 3 on the Canadian Albums chart. The group also won big at the ADISQ Awards, taking home wins for Author or Composer of the Year and Song of the Year.
Charlotte Cardin in No. 2 comes as no surprise, given the pop singer-songwriter’s international breakout following 2023’s 99 Nights. Cardin also won the first Woman of the Year award at Billboard Canada Women in Music this year.
Céline had a huge streaming moment following her comeback performance at the Paris Olympics, spiking her own catalogue as well as Edith Piaf’s. The soundtrack to her documentary I Am: Celine Dion also charted on the Canadian Albums chart, bringing back some of her immortal hits.
Canada Most-Streamed Québécois Artists
Les Cowboys Fringants
Charlotte Cardin
Céline Dion
Souldia
Enima
Patrick Watson
KAYTRANADA
Alexandra Streliski
Simple Plan
Men I Trust
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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.
Trending on Billboard
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
Taylor Swift began her two-week Eras Tour run in Toronto Thursday night (Nov. 14), and the city is going all out.
Before she hit the stage, footage circulated of her arriving with a whole police cavalcade on the Gardiner Expressway – which is normally filled with traffic during rush hour.
There were plenty of Swifties seen following the Taylor Swift Way signs throughout downtown. Only ticketholders could get near the Rogers Centre before the show – including the city’s unhoused population, who were cleared from encampments and compelled to move to shelters.
Trending on Billboard
An official Taylgate event took place at the nearby Metro Toronto Convention Centre with photo ops, silent discos and friendship bracelet making stations. A similar “Swift Station” activation offered similar experiences on Queen Street while decked out to look like a subway station.
News stations broadcast live from outside the stadium throughout the night, while Swift took the stage inside. Stories abounded about fans who tried and failed to get tickets, or who ended up getting scammed (the Canadian Anti-Fraud Centre issued warnings as they were overloaded with complaints). Ticketmaster did, however, release some last minute tickets on the day of the show, though they were gone quickly.
Inside at the concert, Taylor Swift made some nods to the Canadian crowd. “Doesn’t it seem like the entire Folklore era just belongs in Canada?” she asked before launching into that section of the show. “The place that I envisioned in my mind where Folklore took place, it’s very natural, wilderness, beautiful, forests that have been there since the beginning of time. And it just kind of feels like we’re returning the Folklore era to where it belongs anyway.”
Her dancer, Kam, also added a Canadian touch during “We Are Never Ever Getting Back Together,” with an exaggerated “Soorry aboot it!” during his line.
There are two more Eras Tour shows this weekend, on Nov. 15 and Nov. 16, before she returns to Rogers Centre next week for shows on Nov. 21, 22 and 23. – Richard Trapunski
Canadian Songwriters Earn Grammy Nominations for Beyoncé’s Cowboy Carter
The 2025 Grammy nominations were announced last week, and Beyoncé leads the list — along with her Canadian collaborators.
“Texas Hold ‘Em,” co-written by three Canadians, has been nominated for two of the biggest awards, Record of the Year and Song of the Year.
Writers Nathan Ferraro, Lowell, and Megan Bülow all picked up nominations for Song of the Year, which is awarded to the writers and composers behind the track, as well as Best Country Song. Ferraro talked with Billboard Canada earlier this year about his Canadian writing team.
“[The collaboration] works well for us,” Ferraro told Billboard Canada. “We’re such good friends and we know each other’s strengths and weaknesses. I think we all have a lot of mutual respect, so we have a lot of confidence together and that allows us to take risks.”
Lowell, meanwhile, won the inaugural Billboard Canada Non-Performing Songwriter Award this summer.
Beyoncé’s country album Cowboy Carter is also nominated for Album of the Year with Canadian Dave Hamelin (formerly of Montreal indie rock band The Stills and now a regular collaborator with 070 Shake) named in the nomination for his work as a producer and songwriter across the album.
In total, Beyoncé picked up a whopping 11 nominations for her history-making Cowboy Carter, which features a slew of Canadian contributions.
Serban Ghenea, meanwhile, racked up the highest number of Canadian nods: a grand total of five nominations, for his work with a trifecta of pop stars: Sabrina Carpenter, Taylor Swift, and Ariana Grande.
Other Canadian nominees included The Weeknd, Kaytranada, Charlotte Day Wilson, Spiritbox and Cirkut, for his work on Charli XCX’s cultural phenomenon, Brat.
Read about all the Canadian nominees here. –Rosie Long Decter
Quebec Government Pursues Action Against Ticket Resale Site Billets.ca
The Quebec government is taking action against ticket resales.
The province’s Office of Consumer Protection announced Wednesday, Nov. 13, that the Director of Penal and Criminal Prosecutions has served 26 statements of infraction to Billets.ca.
If proven guilty, each infraction could merit a fine between $2,000 and $100,000 for the company, and between $600 and $15,000 for President Éric Bussières.
The Office is accusing Billets.ca of reselling tickets at higher prices than those advertised by authorized salespersons. It also charges that the site is reselling tickets it does not possess. The infractions took place between November 2022 and September 2023.
Ticket resales have become an increasingly hot topic in the industry. Ticketmaster issued a warning in advance of Oasis’ North American tour dates going on sale, advising consumers not to trust resale sites that were already advertising tickets. The ticketing giant has also faced allegations in the past of working with resale sites.
Earlier this year, over 250 artists signed a letter titled Fix the Tix, addressing American legislators. “Predatory resellers have gone unregulated while siphoning money from the live entertainment ecosystem for their sole benefit,” the letter stated.
Quebec’s Loi sur la protection du consommateur forbids sellers from boosting prices during resales without express permission from the original authorized vendor. It also prohibits the use of technology to bypass controls on obtaining tickets. Sites like Billets.ca have often skirted these rules by acting as a broker for individual sellers, instead of selling the tickets themselves.
Quebec music association ADISQ welcomed the news.
“It’s a relief to see charges finally laid against Billets.ca and the practice of fraudulent ticket resale,” says Eve Paré, Executive Director of ADISQ, in French.
ADISQ states that it has made numerous complaints to Quebec’s Office of Consumer Protection regarding unauthorized ticket resales.
ADISQ notes that it is also eagerly awaiting the outcome of a class action lawsuit filed against Billets.ca on October 13, 2023. –RLD
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.
Trending on Billboard
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 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
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.
The 2025 Juno Awards will include awards for reggae recording, Christian/gospel album, and children’s album, after all.
CARAS, the Canadian Academy of Recording Arts and Sciences (CARAS), has reportedly reversed a planned decision to put those three categories on hiatus, as well as the award for international album, the fate of which remains unknown.
Earlier in September, The Canadian Press obtained a letter which revealed the planned suspension of the four categories, part of a “broader set of updates” still to be announced.
Response was swift from the music industry and beyond, with many citing concerns that reggae recording and Christian/gospel album, especially, are categories that honour genres led by Black musicians.
“There’s a lot of anger among us reggae folks,” Juno nominee Jason Wilson told The Canadian Press, adding that the removal of the reggae award could only “ring alarms of racism.”
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“While (the Junos) might be saying the right things about inclusion, in the very same breath they’re ditching reggae and gospel. How can this be reconciled?” Wilson said.
Politicians spoke out as well, with federal MP Michael Coteau — also the former Ontario Minister of Culture — advocating for the reggae, Christian/gospel, and children’s album categories to be reinstated. “Revisit this really bad decision,” Coteau said on X. City councillor Josh Matlow added his voice to the chorus as well.
Juno Awards president and CEO Allan Reid announced the decision to reinstate the categories on Tuesday, September 17.
“I want to personally address the recent discussions surrounding changes we were considering for the 2025 Awards,” Reid wrote on Instagram. “Over the course of last year, CARAS underwent an extensive process reviewing all Award categories, taking into consideration data such as consumption, number of submissions, and other metrics,” Reid explained. “Given the feedback from the community, CARAS will not put these three categories on hiatus this year.”
Speaking with the Toronto Star, publicist and cultural commentator Dalton Higgins (who previously called the decision to eliminate reggae “a slap in the face to…the Black community” and “a PR nightmare of epic proportions”) emphasized that CARAS shouldn’t have considered eliminating those categories without consulting the communities that contribute to them.
“To not engage the Jamaican community or the broader Caribbean community in a healthy two-way dialogue,” Higgins said, “it felt like we were taking 20 steps backwards.”
This isn’t the first time artists have called out the Junos on issues of recognition and representation, including previous boycotts by hip-hop artists Rascalz and Drake.
More information about the 2025 Juno Awards category changes will be announced on Sept. 23, Reid clarified in his post.
The 2025 Junos will take place in Vancouver. -Rosie Long Decter
Jeremy Dutcher Becomes The First Two-Time Polaris Music Prize Winner
Jeremy Dutcher has won the Polaris Music Prize. Again!
The Indigenous singer-songwriter of Neqotkuk (Tobique First Nation) became the first two-time winner in the history of the music award, which celebrated its 19th edition this week (September 17) at Massey Hall in Toronto.
With the album Motewolonuwok, Dutcher beat nine other shortlisted albums: Cindy Lee’s Diamond Jubilee, NOBRO’s Set Your Pussy Free, TOBi’s Panic, DijahSB’s The Flower That Knew, Allison Russell’s The Returner, Bambii’s Infinity Club, Elisapie’s Inuktitut, The Beaches’ Blame My Ex and Charlotte Cardin’s 99 Nights.
Dutcher wins the $50,000 prize donated by the Slaight Family Foundation, which goes to the best Canadian album of the year, as determined by a jury of experts based solely on artistic merit.
“Six years ago, I put out my first record [and] this award changed my life,” he said. “I have unending gratitude to this music community. Not a single album on this list sounded like each other. That speaks to the breadth of music in this place.”
The night included performances by most of the nominated artists, with creative substitutions for those who couldn’t play: The Beaches’ Jordan Miller playing with teen band Thunder Queens, a string section playing along with a taped performance by Charlotte Cardin, a Cindy Lee video premiere, and a ballet inspired by Allison Russell’s “Eve Was Black.”
Read about the best moments of the the 2024 Polaris Prize gala here. -Richard Trapunski
Shaboozey Honoured at Toronto Concert as ‘A Bar Song (Tipsy)’ Hits 16 Weeks at No. 1 on Billboard Canadian Hot 100
Shaboozey has this year’s longest-running No. 1 hit on the Billboard Canadian Hot 100 with “A Bar Song (Tipsy), and last week he got to celebrate it in a big way.
At his concert at Danforth Music Hall on Friday (Sept. 13), he welcomed Billboard Canada‘s Richard Trapunski, Mo Ghoneim and Jackson Turner onstage to present him with a plaque for the achievement.
“This is crazy man, this is nuts,” he said, raising the plaque triumphantly as the crowd cheered. “Y’all did it first!”
Shaboozey played the hit three times a row during his encore, with the crowd clearly loving every second of it.
The song has now spent 16 weeks atop the Canadian Hot 100, surpassing last year’s 15 weeks for Miley Cyrus’s hit “Flowers.” Lil Nas X has the current record at 19 weeks for “Old Town Road.” Shaboozey only needs three more weeks to tie it and four more to beat it.
“Let’s see if we can do it,” said the country star in his green room before the show, sitting backstage next to a portrait of Charley Crockett.
“A Bar Song (Tipsy)” hit No. 1 in Canada before the U.S. Hot 100, where it currently sits at 10 weeks at No. 1.
“I guess you guys got a lotta drinkers here, huh?” he joked, when asked why the song was resonating in Canada. “It just shows that you guys love to have fun. Every day is a celebration when people are listening to this song.”
The song is an ode to forgetting your troubles with a double shot of whiskey that interpolates rapper J-Kwon’s 2004 song “Tipsy.” An addictive country song that plays with elements of hip-hop and is easy to sing along to, “A Bar Song (Tipsy)” has shown to unite different kinds of listeners and get airplay in a variety of different radio formats.
Evidently, it also has a lot of staying power. -R.T.
Lisa Grossi Named Director of National Radio Promotion & Media Relations at Warner Music Canada
Warner Music Canada has announced the appointment of Lisa Grossi to the position of director, national radio promotion & media relations.
Grossi joins the company from Bell Media, where she served as the national music director for Virgin Radio & Move Radio, as well as music director & assistant program director for CHUM 104.5. She becomes the first woman ever to lead Warner Music Canada’s promotion department.
“Music is my passion. I live and breathe it,” Grossi says. “Growing up, it was my dream to work for a record label and I am so excited that this is now a reality. I’m thrilled to join Warner Music Canada to help break new artists and have continued success with their roster of established artists.”
Grossi has over 18 years of experience as a radio programmer, and the label heralds her appointment as a step to bring “Warner Music Canada’s radio team into the future.”
Madelaine Napoleone, vp of marketing, says “Lisa is a highly respected leader in the radio industry, bringing a fresh perspective on how we can enhance our partnership with radio both now and in the future. I’m also proud to share that with her appointment, we are the only major label in Canada to have an all-female radio team.”
Lisa Grossi was recently celebrated in the Industry Spotlight of Billboard Canada Women in Music. She gave this advice to the next generation of women in the industry: “Trust your gut. Speak your truth. Be authentic. Always give your honest opinion even if it’s not the popular opinion.”
That advice has led her into new terrain as she moves into the new role at Warner. –Kerry Doole
Billboard Canada Women in Music was a star-studded celebration in Toronto last Saturday night (Sept. 7). Rising stars, Canadian legends — and some of their parents — were on hand to honour the myriad achievements of women on stage and behind the scenes in the first-ever edition of Billboard Women in Music in Canada featuring guest of honor Alanis Morissette.
Morissette received the Icon Award, honoring her as one of the country’s all-time greatest artists. Morissette celebrated femininity and emphasized its importance to people of all genders. “Matriarchy takes care of everybody,” she told the crowd, to a round of cheers.
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She was introduced by two Canadian stars — broadcaster George Stroumboulopoulos and Woman of the Year Charlotte Cardin, both of whom spoke to her massive influence.
Taking the stage to accept the award, Morissette — who has sold over 60 million records, with her breakthrough album Jagged Little Pill widely ranked as one of the best albums ever made — had her own thoughts to share on what it means to be an icon. She joked that even cereal boxes are called iconic these days. For her, though, an icon is someone who serves as a symbol of the safety to explore. Morissette reflected on how icons can inspire fans and listeners to probe the unconscious and to express themselves in new ways.
She also considered what it means to be a Canadian icon, enumerating some Canadian qualities that have helped her to succeed: curiosity and humility. Fame can be an isolating experience, Morissette shared — especially in the ‘90s, when there wasn’t a big girl-squad mindset, but fame has allowed her to also support and connect with people.
The night was filled with highlights, from Jessie Reyez dedicating her Trailblazer Award to her mother, who was in attendance, to performances from artists including Haviah & Omega Mighty, Tia Wood, Anjulie and more.
One of the most powerful moments came from Jully Black, known as Canada’s Queen of R&B, who took the Billboard Canada SiriusXM stage for a deeply impactful cover of Bob Marley’s classic “Redemption Song,” keeping the audience rapt for her 11-minute rendition.
In an elegant white and yellow gown, she commanded the stage, accompanied by a pianist and guitarist. She began with a moment of silence — no small feat, in a packed room full of industry honourees — reminding the crowd that though this was a celebration, many women around the world don’t get the opportunity to celebrate themselves.
“I stand here as my ancestors’ wildest dreams,” Black told the crowd, before leading a sing-along of “This Little Light of Mine,” bringing the crowd together as a community.
Adding a new lyric into Marley’s song about bondage and freedom, she asked a new question: “how long shall they kill our women?”
She descended into the audience to connect with fans and peers on the floor before returning back to the stage, and reflecting on her own beginning in the industry.”29 years ago I sang a hook called ‘What It Takes,’ by Choclair,” she remembered. “There was no infrastructure, there was no radio, for people, women, that looked like me,” she continued. “Women are paid less, if you don’t have a seat at the table build your own.”
She finished with heartfelt, hard-hitting vocalizations on Bob Marley’s refrain, closing out a performance that emphasized how far Canadian women in music have come, and how much there is left to do.
Watch the whole video here.
Selena Gomez, The Tragically Hip, Pharrell Williams Make Headlines at the Toronto International Film Festival
Some of the music industry’s biggest names have been descending on Toronto over the past week for the Toronto International Film Festival (TIFF).
The film festival has transformed downtown Toronto into a hub for celebrities, high fashion and red carpet glitz. It’s also brought many of music’s biggest stars to town, including Selena Gomez, Bruce Springsteen, Elton John, Pharrell Williams and more.
Selena Gomez came to Toronto for her new movie Emilia Pérez, a musical crime comedy that follows a Mexican cartel leader who comes out as a trans woman. Gomez plays the title character’s wife.
In an interview on the red carpet, Selena Gomez told Billboard Canada how her pop career actually worked against her for the role as she was learning the dance style of the film.
“I think it was really important that I let go of the pop star thing and kind of focus on more intricate dance that I’ve never really done before,” she said. “So it was really fun.”
Beloved Canadian rockers The Tragically Hip premiered a new four-part docuseries at TIFF, The Tragically Hip: No Dress Rehearsal. The series features new interviews and archival footage of the band, recounting their rise to stardom and the diagnosis of lead singer Gord Downie, who died in 2017 of brain cancer. Outside the screening, local choral collective Choir! Choir! Choir! led a massive sing-along of one of the band’s classic songs, “Ahead By A Century,” reminding attendees that love for The Hip runs deep.
The premiere of Pharrell Williams‘ LEGO-fied animated biopic Piece By Piece on Tuesday night (Sept. 10) was interrupted by an animal rights protester who stormed the stage during a Q&A session waving a sign that read: “Pharrell stop supporting killing animals for fashion” and shouting “Pharrell stop torturing animals!” Pharrell Williams is the creative director of the Louis Vuitton men’s collection.
Rather than move past it, Williams addressed the protester directly and said “You know what? You’re right.” He continued on that it wasn’t the right way to make her point, but that she did have a point. “…We’re actually working on that. And if she would have just asked me, I would have told her. But instead she wanted to repeat herself.”
Elton John was at the festival with his Canadian husband David Furnish, as was Bruce Springsteen and musician K’naan, who made his feature directorial debut. Check out more of TIFF’s top music moments here. – Rosie Long Decter
Hailey Benedict Signs to Big Loud Records
Rising country artist Hailey Benedict is making some big moves, as she inks a deal with Nashville’s Big Loud Records.
The Alberta singer announced the signing at Billboard Canada Women in Music celebration on Saturday, September 7.
Taking the stage in a sparkling silver fit, Benedict revealed that she’s signed with Big Loud and its Canadian-based imprint Local Hay, helmed by country star Dallas Smith. She followed up the announcement with a performance of her upcoming single “Things My Mama Says,” set to be her first release on Local Hay on October 4.
Benedict has been building to this moment since she was a kid — she first rose to national attention at the age of 14, when Keith Urban invited her on stage at a sold-out show in 2016 to perform an original song.
Since then, she’s released successful singles like 2021’s “Wanted You To,” built up an online fan base including 250K TikTok followers, and performed at major events like the Country Music Alberta Awards. In 2023, she won the SiriusXM Top of the Country competition and she’s heading into this fall’s Canadian Country Music Awards with a nomination for Breakthrough Artist.
All of that makes the timing right for Benedict to shift from an independent artist to working with a label that knows how to navigate the country landscape.
“I’m ecstatic to begin this new chapter with such an incredibly creative and dedicated team that shares my vision for my songwriting, artistry and career,” Benedict said in a statement. “After a decade as an independent artist, it was crucial for me to partner with a record label that aligns with my values and passion for music.”