Cities can create conditions for live music to thrive

LosAngeles_CST Published 01/10/2018

By Eric Baptiste

From The Carleton in Halifax, to The Silver Dollar Room in Toronto, to The Railway Club in Vancouver, reports that small and medium-size live music venues are struggling across the country are common. Rising property costs in Canada’s urban centres can make it difficult for owners to make ends meet and, increasingly, music creators who perform at these venues can’t afford to live in their own city.

Yet, ironically, live music attracts people to cities.

Recent SOCAN third-party research reveals that 70 percent of city-dwelling Canadians younger than age 35 feel it’s important to live in a neighbourhood that includes live music. If artists can’t afford to live in our urban neighbourhoods, and venues are steadily disappearing, we must ask ourselves: where will live music take place?

Live Music Cities StudyCities like Toronto, Halifax, Vancouver and Montréal have a strong desire to be a “music city” because they understand that music supports the local economy by attracting tourists, and encourages younger Canadians to settle in their communities by creating a thriving employment base. To be a true music city, however, municipalities can do more to actively create conditions under which live music won’t just live but thrive. (Click on the graphic at left to link to the study.)

Cities can start by better supporting live artists with new types of housing options, something they have done with many other arts and culture communities and small businesses. A recent Toronto-based project plans to offer musicians their own building in downtown Toronto, with affordable rental units, rehearsal and recording space. It’s a joint project between a property developer and Toronto Music City, and an excellent example of corporations and not-for-profits working together to foster music creation and performance.

Municipalities can also examine local development fee structures, and consider adding live music venues to the list of capital-cost recipients when a new development is erected. In many cities, developers are required to contribute to the surrounding community’s infrastructure and amenities, such as their libraries, parks, and/or transit. Access to the arts is integral to communities too, and our research shows Canadians support this approach: 91% of Canadians already living in urban Canada who want to live in a neighbourhood with a vibrant local arts scene agree that a portion of development charges should support live music.

Detractors comment that, if a community wants music, residents will find a way to support it. However, they don’t fully understand the obstacles music creators face today, some of which didn’t exist as recently as fifteen years ago.

Yes, streaming services are making significant headway into the Canadian market, but they are still not contributing to the ecosystem at the level last seen during the CD era. Some genres have adapted very well (e.g. urban music), but others are struggling to find space in the new streaming scene. Our country music creators and nearly all the music from Québec are prime examples of this difficulty to find exposure online. Music creators are now also tasked with promoting themselves by building an online presence and personal brand, which can take their attention away from making music. If creators can spend only a fraction of their time on their art, in an environment where the cost of living is too high, how long will it be before they leave urban centres, causing existing local music scenes to die?

Cities that want to attract diverse, thriving populations should look at creative musical culture in new ways and take steps to create conditions for live music to thrive or even continue.

  1. Municipalities must bring culture groups together to find ways to better distribute development charges so that live music venues can benefit.
  2. Music venues should be license compliant, so that music creators and publishers are compensated fairly and legally for the use of their work, creating conditions for yet more music to be made.
  3. Music lovers should frequent only venues that hold live music licenses, which ensure music creators receive what they have rightfully and legally earned, while also supporting local businesses and the economy.

A vibrant live music scene in Canadian cities is therefore even more crucial than before for Canadian creators. Live music makes Canada’s cities and towns more livable and prosperous. Live music must be looked after.

This editorial, written by SOCAN CEO Eric Baptiste, first appeared on Jan. 2, 2018, in The Toronto Star.

About Eric Baptiste

Eric Baptiste is the CEO of SOCAN. In this capacity, he leads the close to 300 staff members coast-to-coast, who connect the 115,000 Canadian composers, songwriters and music publishers who are direct SOCAN members, and their more than three million colleagues worldwide, with more than 125,000 Canadian businesses that depend on music to enhance their activities. A native of France, before joining SOCAN in 2010, Eric led CISAC, the World Federation of Authors Societies for 12 years, had an eight-year stint in radio as COO of Radio France International and then CEO of a Paris commercial station. Eric has chaired music and radio trade associations in France, currently serves on various boards of organizations such as CISAC and the CPCC, and chairs the ISAN International Agency based in Geneva, as well as Radio Neo, a French non-commercial radio network dedicated to emerging artists. As a graduate of École Nationale d’Administration who started his early professional life at the Conseil d’État in Paris, he could have become a government official or even a lawyer, but this is a different story, in a parallel universe… Eric lives in Toronto and music (of course), good food, fine wines and science fiction are passions he’s ready to acknowledge.

Leave a Reply

Your email address will not be published. Required fields are marked *