Tag: canada

Canadian Music Has Evolved Into a Global Export. Canada Must Evolve With It.

April 11, 2024

As the Canadian Radio-television and Telecommunications Commission (CRTC) updates the country’s Broadcasting Act, it faces a fundamental question: Who counts as Canadian?

This question arises in the midst of unprecedented success for the Canadian music industry, especially on streaming platforms like Spotify. According to our latest Loud & Clear data, Canadian artists were discovered by first-time listeners more than 3.8 billion times last year. In addition, between 2018 and 2023, royalties generated by Canadian artists from Spotify alone more than doubled, exceeding $435 million CAD.

But as it currently stands, the CRTC system designed for radio employs certain criteria to decide whether a piece of audio content qualifies as Canadian or not, focusing on the location of production or performance and whether the writers and featured performers are exclusively Canadian.

This setup means that some of the most recognizable Canadian cultural success stories in recent years—many of them up-and-coming artists and those from diverse and historically marginalized communities who have changed the face of Canadian music—wouldn’t be considered Canadian by the CRTC. 

For example, in November 2023, Tate McRae’s “greedy” became the world’s most popular song on Spotify, spending four weeks at the top of the charts and garnering over 860 million plays globally. But despite being headlined by a Calgary-born artist who is one of her country’s biggest cultural exports, the song is unlikely to be counted as Canadian, as it only fulfills only some of the required criteria.

Similarly, through his 4N Records imprint, Punjabi-Canadian producer Ikky has built bridges between India’s exploding music scene, Canada, and the world, engaging over 8.6 million monthly listeners on Spotify. 

For artists like Ikky and many others in genres like country or hip-hop (in which Canadian artists excel), the diverse backgrounds of collaborators are part of what makes their music distinctive and successful at home and around the world. 

In fact, 92% of all royalties generated by Canadian artists on Spotify in 2023 were from listeners outside of Canada. But the Canadian music market’s revenue is also growing. According to the International Federation of the Phonographic Industry’s (IFPI) Global Music Report—which is an assessment of the music industry as a whole—Canada is outpacing the global industry with 12.2% revenue growth last year (compared to 10.2% globally). And on Spotify, Canadian artists are generating revenue at an even faster rate: When compared to 2022, their revenue grew by more than 15% in 2023. 

But for Canadian artists with a global mindset, much of their work falls outside the CRTC definition of Canadian programming today. 

Redefining ‘Canadian’

In light of the success Canadian artists are finding on Spotify today, we think it’s important for the CRTC to prioritize work toward an updated definition of Canadian and Indigenous music, as the Trudeau government directed it to do—especially if Canadian artists want to continue using Spotify to grow their audience. 

More broadly, a definition of Canadian and Indigenous music that works with the global realities of Canada’s contemporary music industry will ensure that Canadian artists continue to succeed at home and around the world.

Spotify Premium Listeners in Canada, Ireland, and New Zealand Can Soon Access More Than 250,000 Audiobooks

April 2, 2024

Attention booklovers in Canada, Ireland, and New Zealand! Listening to your favorite audiobooks is about to get even easier. Beginning April 9, Spotify Premium users in these markets will have access to up to 15 hours of audiobooks per month, seamlessly integrated alongside music and podcasts, on a single platform through a unified subscription. 

Our Premium audiobook catalog, already available in the U.S., U.K., and Australia, is one of the largest subscription-based audiobook-streaming platforms at 250,000 titles and growing—we’re already up from 200,000 titles since late last year. We’re excited for more listeners than ever to discover and engage with books, and to mark the occasion we asked authors from these markets—Canada’s Carley Fortune, New Zealand’s Chloe Gong, and Ireland’s Rosemary Mac Cabe—to share some of their favorites.

Carley Fortune

Canadian Carley Fortune is the best-selling author of Every Summer After and Meet Me at the Lake. Her new book, This Summer Will Be Different, will be published May 7.

What are three of your favorite audiobooks? 

What do you love most about audiobooks?

I’m not sure if this is a positive trait, but I’m a multitasker, and I love to figure out ways to use my time efficiently. I’m a full-time writer and a parent to two young, energetic boys—I will never be able to read all the books I’d like to, but audiobooks help! I can squeeze in reading while I’m driving or washing the dishes. But it’s not just that audiobooks help me read more. A truly excellent audiobook elevates the reading experience, absorbing you in the story and bringing the emotion to life. And they’re so accessible. Listening to an audiobook is reading: Don’t let anyone tell you otherwise. 

Chloe Gong

Raised in Auckland, New Zealand, Chloe Gong is the best-selling author of the Secret Shanghai novels and the Flesh and False Gods trilogy.

What are three of your favorite audiobooks?

What’s your earliest memory of stories’ being read aloud to you, audiobooks or otherwise?

In primary school, we would read a class-selected book quietly, and then we would come together for the teacher to read it aloud while we sat cross-legged on the mat. It was one of the most joyous parts of my day as a five-year-old. I developed such an appreciation for how class read-aloud time held my attention, and I grew more and more intrigued by the act of storytelling until I became an avid reader myself and eventually an avid writer.

Rosemary Mac Cabe 

Irish author and journalist Rosemary Mac Cabe was raised in Dublin and published her book, This Is Not About You: A Menmoir, in summer 2023.

What are three of your favorite audiobooks?

What’s your earliest memory of books’ being read to you? 

One of the few books from my very early childhood that I remember is Smoke and Fluff, a Ladybird book written and illustrated by AJ McGregor, a fact I didn’t even have to look up because it’s now on nightly rotation in my house. I ordered a secondhand copy online for my two-year-old pretty much the month he was conceived.

Opening it up again after so long was weird, though. I hadn’t seen or read it in probably three decades. I remembered it almost word for word. The illustrations were almost as familiar to me as my childhood bedroom, or a scarf my mum has worn every winter for my whole life.

There’s something about reading this same book—which is quite long, for a children’s book—every single night that reminds me just how much time goes into parenting. It makes me feel close to my own mum, too, who put in this same time, this same love, when she read it to me over and over so many years ago. I live in the U.S. now, while she’s still at home in Ireland, but when I’m reading this it’s like she’s there with us.

L’approche globale de Spotify contribuant au système de radiodiffusion canadien

November 30, 2023

Présentation au Conseil de la radiodiffusion et des télécommunications canadiennes le 29 novembre 2023

Nathan Wiszniak:

La mission de Spotify est de libérer le potentiel de la créativité humaine – en donnant à un million d’artistes la possibilité de vivre de leur art et à des milliards d’admirateurs la possibilité de l’apprécier et de s’en inspirer.

Cette mission soutient directement les objectifs du gouvernement dans le cadre de l’actualisation de la Loi sur la radiodiffusion. Nous nous efforçons chaque jour d’accroître la découvrabilité du contenu canadien et autochtone, tant au pays qu’à l’étranger,

Dans notre allocution, nous souhaitons aborder trois questions essentielles dans le cadre de cette procédure.

  1. Tout d’abord, nous pensons qu’il est prématuré d’imposer des contributions de base initiales aux plateformes avant de définir les éléments essentiels de la politique de diffusion, et que cela risque de ne pas tenir compte des nombreuses façons dont Spotify contribue déjà et soutient les artistes canadiens et autochtones.
  2. De plus, il incombe au Conseil de prendre en compte la part importante des revenus que les services de diffusion en continu distribuent immédiatement à l’écosystème musical sous forme de redevance.
  3. Enfin, la Conseil devrait prendre en considération les aspects économiques délicats du modèle commercial du streaming musical et ne pas imposer d’obligations financières brutales. 

Un cadre réglementaire qui ne prendrait pas suffisamment en compte ces facteurs pourrait mettre en péril nos neuf années d’investissements sur mesure et avoir un impact sur la capacité de Spotify à continuer à soutenir les artistes et leur découvrabilité d’une manière qui soit logique pour l’ère moderne de la diffusion en continu. 

J’aimerais commencer avec une courte présentation de Spotify, puisque notre histoire témoigne de notre engagement envers l’industrie de la musique.

Spotify a été lancé en Suède à une époque où l’industrie de la musique était en déclin en raison du piratage. Le fondateur de Spotify pensait que pour inciter les gens à recommencer à payer pour de la musique, il fallait leur offrir une meilleure expérience.  17 ans plus tard, le streaming génère des revenus records pour l’industrie de la musique et plus d’artistes que jamais partagent ce succès.

Spotify a été lancé au Canada en 2014 avec le même engagement. Aujourd’hui, l’équipe canadienne de Spotify, forte de 150 personnes, a toujours pour mission de développer la scène des talents canadiens grâce à des listes de lecture, des campagnes de marketing, des partenariats et des formations qui permettent aux artistes, aux écrivains et aux créateurs de baladodiffusions d’accroître leur audience de manière organique. 

Nous sommes fiers d’avoir contribué au développement et au succès de l’écosystème musical canadien. Grâce aux paiements des services de diffusion en continu, les maisons de disques et les artistes qui composent l’industrie canadienne de la musique enregistrée ont tiré 80 % de leurs revenus de la diffusion en continu l’an dernier, ce qui a entraîné une forte croissance de 8 %.

Contrairement à la radio traditionnelle, le streaming interactif a fait de la place aux nouveaux talents. Chaque semaine, au Canada, 83 fois plus de titres canadiens uniques sont écoutés sur Spotify qu’à la radio, ce qui crée plus d’opportunités de découvrir de nouveaux talents. 

Spotify déploie des efforts considérables pour mettre en valeur et soutenir la société diversifiée, multilingue et multiculturelle du Canada.  

Notre équipe éditoriale crée des listes de lecture avec une grande expérience et une grande passion pour les différentes cultures et les différents genres musicaux. Spotify Canada programme plus de 100 listes de lecture éditoriales, avec nos populaires listes de lecture emblématiques locales proposant exclusivement des artistes canadiens et autochtones. 

De plus, Spotify donne aux créateurs et à leurs équipes les outils nécessaires pour réussir, notamment des analyses de données, des ressources pédagogiques, des technologies d’amplification et des outils promotionnels pour avoir le plus d’impact possible sur et en dehors de la plateforme.

Grâce à des partenariats spéciaux et à des campagnes sur mesure, Spotify aide les artistes canadiens et autochtones de genres et d’horizons divers à atteindre les auditeurs de leur pays et du monde entier. Voici quelques exemples clés mentionnés dans nos observations écrites:

  • Nous faisons entendre les voix des communautés marginalisées – notamment les créatrices canadiennes, noires et 2ELGBTQI+ – par le biais de programmes spécialisés combinant rédaction, mise en lumière et publicité. EQUAL, par exemple, est le programme Spotify qui favorise l’équité pour les femmes dans la musique. Il s’agit d’un engagement , pour soutenir, élever et célébrer les femmes par le biais de contenus rédactionnels, de partenariats et d’événements communautaires. Nous collaborons avec des organisations telles que Women In Music Canada, Honey Jam et l’événement communautaire EQUAL avec l’Association canadienne de la musique country.
  • La liste de lecture Spotify’s Indigenous – mise à jour chaque mois par des artistes autochtones – offre une plateforme unique aux artistes autochtones pour présenter la riche diversité des talents et des récits autochtones dans le pays. Notre relation et notre dialogue permanent avec l’Indigenous Music Alliance et l’Indigenous Music Office ont joué un rôle essentiel en nous aidant à identifier les artistes à soutenir et à promouvoir.
  • Grâce à la promotion des listes de lecture Rap québ et Les Nouveaux Classiques de Spotify Canada, les artistes canadiens-français ont développé leurs audiences et leurs carrières au Canada et à l’étranger sans l’aide des radios. Aujourd’hui, sur Spotify, sept des dix artistes canadiens-français les plus écoutés sont des rappeurs canadiens-français indépendants. Seuls deux de ces artistes figurent sur les palmarès des radios canadiennes-françaises. De plus, 2023 a marqué la deuxième année du partenariat entre Spotify et les Francos de Montréal, le tout premier partenariat du festival avec un service de streaming. 

Ces investissements uniques et adaptés portent leurs fruits pour les artistes.

Nous investissons dans le secteur culturel canadien et veillons à ce que des voix diverses puissent être découvertes, car c’est notre mission fondamentale. Toutefois, nous craignons que l’introduction de contributions de base initiales ne nuise au travail progressif que nous accomplissons depuis près d’une décennie. 

Nous pensons que le Conseil avance trop rapidement sans disposer des pièces essentielles du casse-tête, y compris des éléments fondamentaux tels que la définition du contenu canadien et autochtone et les meilleurs outils pour soutenir le contenu musical et audio canadien.

Sans une vision plus globale, il est impossible de quantifier correctement les contributions uniques et innovantes que les entreprises en ligne apportent déjà..

Je vais maintenant laisser à ma collègue Olivia le soin d’expliquer certaines des caractéristiques uniques du modèle commercial du streaming musical qui, selon nous, sont importantes dans cette vision plus globale de la situation.  

Olivia Regnier: 

Merci. Je vais continuer en français, et développer trois points:

  1. Ce que représente la contribution financière des services de streaming pour le secteur musical
  2. Les marges très réduites, voire négatives, du streaming
  3. L’impact de contributions financières additionnelles sur les investissements ou la promotion de la musique canadienne

Nathan a souligné la contribution importante de Spotify à la mise en valeur de la musique canadienne. Les services de streaming jouent également un rôle fondamental pour le financement du secteur musical au Canada, grâce aux 70% de nos revenus que nous payons au secteur sous forme de redevances. Il est essentiel que le CRTC prenne ce point en compte.

Nous versons ces 70% à de nombreux ayants-droits, notamment les labels et sociétés de gestion, qui eux, rémunèrent les artistes-interprètes et compositeurs. Grâce à ces 70%, le streaming musical fournit actuellement presque 80% des revenus de la musique enregistrée au Canada. 

Cette contribution n’est pas un simple coût de fonctionnement, comme certains le suggèrent. Elle est une pierre angulaire du secteur musical au Canada. 

Pour mémoire, les 70% sont hérités de la distribution physique et ont été appliqués au streaming avec largement la même clé de répartition entre ayants-droits et plateformes.

Ils doivent être mis en contraste avec la contribution des autres services de radiodiffusion, dont les redevances bénéficient de taux fixés par le gouvernement, aux alentours de 8%. Ces taux sont plus de 8 fois inférieurs à ceux des services de streaming.

Grâce aux redevances du streaming, les revenus de l’industrie de la musique ont augmenté fortement et régulièrement, et tournent ces dernières années aux alentours de 8-10%. Il en est de même pour ceux des sociétés de gestion. 

Ces redevances du streaming sont la base du fonctionnement du secteur de la musique, et en particulier des investissements des labels dans la production au Canada et dans la musique canadienne.

Cependant, à cause de ces paiements élevés, les services de streaming fonctionnent avec des marges extrêmement réduites, voire négatives. Cela est confirmé par le rapport de l’autorité de la concurrence du Royaume-Uni en 2022 qui a conclu que plutôt que des profits excessifs, les services de streaming musicaux ont des marges de fonctionnement basses, ou négatives. Cet élément est également important pour votre appréciation.

Des 30% qui leur reste, les services couvrent leurs coûts, et font des investissements, y compris dans la promotion du répertoire local et des minorités, des soutiens des festivals et d’autres initiatives en faveur de la musique. 

La Loi sur la radiodiffusion, et les indications du gouvernement à votre Conseil, soulignent qu’il faut prendre en compte des différences entre les services de radiodiffusion. 

Dans cette optique, les contributions des parties ne doivent pas nécessairement être égales, elles doivent avant tout être équitables. 

Face à des marges très limitées, appliquer une contribution financière générale, sans tenir compte du niveau des contributions déjà effectués par les services de streaming, de leurs investissements en faveur de la musique canadienne, et de leur situation économique, ne tient pas compte de la réalité et aurait un impact financier négatif. Des charges supplémentaires nous obligeront à faire des choix inévitables pour maintenir la viabilité financière de notre service. Elles pourraient nous obliger à couper dans les coûts, à diminuer nos investissements éditoriaux et de promotion au Canada, ou à augmenter nos prix pour les consommateurs canadiens. 

Toutes ces conséquences seraient négatives pour les créateurs les consommateurs canadiens, et ne servent pas les objectifs de la politique de radiodiffusion.

Nous vous encourageons donc à examiner des modèles alternatifs, tenant compte par exemple des profits des entreprises pour le calcul d’une contribution, ou une contribution basse qui soit viable pour les services de streaming. Et si le Conseil estime qu’une contribution supérieure est nécessaire, nous vous demandons de prendre d’abord en compte toutes les contributions, financières et non financières, effectuées par les services de streaming en faveur du secteur. 

En conclusion, nous demandons au Conseil de saisir l’opportunité de reconnaître que, à tous points de vue, le streaming est une dynamique différente de la radiodiffusion pour laquelle le régime réglementaire actuel a été créé. Le cadre que vous mettrez sur pied doit reconnaître et encourager la poursuite des investissements des services de streaming au Canada et en faveur de la musique canadienne.

Je vous remercie, et nous sommes à votre disposition pour vos questions

 

Spotify’s Holistic Approach to Contributions to the Canadian Broadcasting System

November 30, 2023

Spotify’s Presentation at the Canadian Radio-television and Telecommunications Commission (CRTC) on November 29, 2023

Nathan Wiszniak:

Spotify’s mission is to unlock the potential of human creativity – by giving a million creative artists the opportunity to live off their art and billions of fans the opportunity to enjoy and be inspired by it.

This mission directly supports the government’s goals in the updated Broadcasting Act. We work everyday to increase the discoverability of Canadian and Indigenous content, both at home and abroad. 

With our remarks we want to touch on three critical issues in this proceeding.

  1. First, we believe imposing initial base contributions on platforms before defining critical elements of the broadcast policy is premature, and risks overlooking the many ways that Spotify already contributes to and supports Canadian and Indigenous artists. 
  2. Further, it is incumbent on the Commission to consider the significant portion of revenues streaming services immediately distribute back to the music ecosystem as royalty payments.
  3. And finally, the Commission should take into consideration the delicate economics of the music streaming business model and not impose blunt financial obligations. 

A regulatory framework that does not adequately consider these factors could jeopardize our nine years of tailored investments and impact  Spotify’s ability to continue to support artists and discoverability in ways that makes sense for the modern streaming age. 

I’d like to start with a short introduction of Spotify because it underscores our commitment to the music industry. 

Spotify was launched in Sweden at a time when the music industry was in deep decline due to piracy. The view of Spotify’s founder was that if you are going to get people to start paying for music again, you have to make it a better experience.  17 years later, streaming is driving record revenues into the music industry and more artists are sharing in that success than ever before.

Spotify launched in Canada in 2014 with this same commitment. Today, Spotify’s 150-strong Canadian team’s mission remains to grow the stage for Canadian and Indigenous talent through playlisting, marketing campaigns, partnerships, and training that empowers artists, writers, and podcasters to organically grow their audience. 

We are proud of the success of the Canadian music ecosystem we have helped build.  Thanks to the payments of streaming services, the record labels and artists of Canada’s recorded music industry earned nearly 80% of their revenue from streaming last year, driving robust growth of 8%.

Unlike traditional radio, interactive streaming has made space for new talent. Every week 83 times the number of unique Canadian tracks are listened to on Spotify in Canada compared to radio, creating more opportunities for diverse voices to be discovered. 

Spotify puts significant effort into showcasing and supporting Canada’s diverse, multilingual and multicultural society. 

Our editorial team curates playlists with deep experience in and passion for different cultures and musical genres. Spotify Canada programs over 100 editorial playlists with our popular local flagship playlists programming 100% Canadian and Indigenous artists. 

Moreover, Spotify empowers creators and their teams with tools for success, including data analytics, educational resources, expression formats, and promotional tools to make the most impact on and off platform.

Combined with special partnerships and tailored campaigns, Spotify is helping Canadian and Indigenous artists from diverse genres and backgrounds to reach listeners at home and around the globe. To highlight a few key examples mentioned in our written submissions:

  • We elevate voices from marginalized communities – including Canadian women, Black, and 2SLGBTQI+ creators – through specialized programs combining editorial, spotlighting and advertising. EQUAL for example is Spotify’s program fostering equity for women in music. It’s an always-on commitment to support, elevate and celebrate women through editorial, partnerships and community events. We collaborate with organizations such as Women In Music Canada, Honey Jam and the Canadian Country Music Association’s EQUAL mixer community event.    
  • Spotify’s Indigenous playlist – curated on a monthly basis by Indigenous artists – offers a unique platform to showcase Canada’s rich diversity of Indigenous talent and storytelling. Our relationship and ongoing dialogue with the Indigenous Music Alliance and Indigenous Music Office has played a key role in helping us identify artists to support, educate and promote.
  • Through promotion of Spotify Canada’s Rap québ and Les Nouveaux Classiques playlists, French-Canadian artists have grown audiences and careers at home and abroad without the aid of any radio play. Today on Spotify, seven out of the top 10 most streamed French-Canadian artists are independent French-Canadian rappers. Only two of those artists appear on French- Canadian radio charts. Additionally, 2023 marked the second year of Spotify’s partnership with les Francos de Montréal, the festival’s first ever partnership with a streaming service. 

These unique and tailored investments are paying off for artists.

We invest in Canada’s cultural sector and ensure the discoverability of diverse voices because it is our core mission. However, we are concerned that the introduction of initial base contributions could damage the progressive work that we have been doing for almost a decade. 

We believe that the Commission is moving too quickly without key pieces of the puzzle, including foundational elements like how Canadian and Indigenous content is defined and the best tools to support Canadian music and audio content.

Without a more holistic picture, it is impossible to properly quantify the unique and innovative contributions already made by online undertakings today.

I’ll now hand it to my colleague Olivia to explain some of the unique features of the music streaming business model that we believe are important to this larger picture.  

Olivia Regnier:

Thank you. I will continue in French, and develop three points:

  1. What the financial contribution of streaming services represents for the music sector;
  2. The low to negative margins of music streaming;
  3. The impact of additional financial contributions on investments and promotion of Canadian music.

Music streaming services today form the foundation of the Canadian music industry and its continued robust growth. Spotify not only contributes significantly to the discovery of Canadian music, as Nathan has just outlined, but music streaming services are pivotal to the finances and economic health of the music industry through the unprecedented royalties we pay.  We believe it is not only relevant but critical for the CRTC to take note of this. 

Spotify pays nearly 70% of our music revenue back into the music industry as royalties to rightsholders, who in turn pay artists and songwriters. Thanks to that 70%, music streaming services provide nearly 80% of all recorded music revenue in Canada 

Royalty payments from music streaming services are more than simply a cost of doing business; they represent a fundamental component of Canada’s music sector and of investments in the production of Canadian music. 

The nearly 70% of revenue we pay in royalties – more similar to rates associated with physical retail – contrasts sharply with other forms of broadcasting that pay a far lower rate.  

Terrestrial radio for example has benefitted from government-dictated royalty rates which are nearly 8.5 times lower than music streaming services – or approximately 8% of gross annual income.

Thanks to streaming royalties, music industry revenues have risen sharply and steadily, and in recent years have hovered around 8-10%. The same is true for the collecting societies.  

These streaming royalties are the foundation on which the music industry operates, and in particular the labels’ investment in Canadian production and Canadian music.

However, because of these high payments, streaming services operate on extremely low, or even negative, margins. This is confirmed by the UK Competition Market Authority’s 2022 report, which concluded that rather than excessive profits, music streaming services have low, or negative, operating margins. This is also important for your assessment.     

Of the remaining 30%, the services cover their costs, and make investments, including in the promotion of local and minority repertoire, festival support and other music initiatives.

It would be unfair and contrary to attaining the goals of the Broadcasting Act for the CRTC to take action without considering these radically different economic dynamics. The Broadcasting Act – and the Government’s Policy Directions to the Commission – requires that the CRTC consider the differences between the types of broadcasting undertakings. Contributions should be equitable, but not necessarily equal.

As a result, we believe that using annual revenues as a basis to calculate contributions for music streaming services without consideration of these payments paints a distorted picture. We are concerned that additional payments will lead to serious unintended consequences for the support we offer Canadian and Indigenous artists to ensure their music is heard and discovered. 

If asked to make a burdensome contribution, irrespective of our existing investments, Spotify will need to make financial decisions to sustainably run our business. Additional costs could require us to cut expenses, including reduce 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

All of these effects would ultimately negatively impact Canadian and Indigenous artists, Canadian consumers and the entire Canadian music ecosystem – and it would undermine the very objectives of the broadcasting policy.

We strongly encourage the Commission to consider alternate models, such as using profits or retained revenues (i.e., revenues not already paid back into the music industry) as a basis for calculating obligations.  Or, in this initial stage, it could adopt a low fee approach that is sustainable for music streaming services. If the Commission does determine that a financial contribution higher than this fee is necessary, it should then do so only once it has considered the full range of financial and non-financial contributions that music streaming services make today and that the Commission will ask them to undertake after future consultations. 

The Commission should seize this moment and recognize that the current streaming market is radically different from the terrestrial or satellite radio broadcasting market for which the existing regulatory regime was designed. Now is the time to establish a framework that recognizes and therefore incentivizes the thoughtful and innovative investments made by streaming services in Canada.

Thank you, and we look forward to your questions.

The Snotty Nose Rez Kids Talk Culture and Community for ‘CAN You Hear Me’

October 17, 2023

Snotty Nose Rez Kids Header

September 30 marked the National Day for Truth and Reconciliation in Canada. It’s a day that recognizes the troubling legacy of Canada’s residential school system—a government-sponsored attempt to destroy the culture and identity of Indigenous people—and honors all of those impacted by it: the Survivors, the families, the communities, and the children who never returned home.

The conversation about Reconciliation goes beyond just a single day of the year. That’s why we’re putting a focus on Indigenous artists from different communities as part of the CAN You Hear Me series, which champions the unique music and perspectives of artists in Canada. Right now we’re putting the spotlight on Haisla rappers the Snotty Nose Rez Kids.

Originally from Kitamaat Village, British Columbia, Darren “Young D” Metz and Quinton “Yung Trybez” Nyce first met in high school, where they realized they had a talent for poetry and storytelling. In January 2017, the duo dropped their self-titled Snotty Nose Rez Kids debut, and right out of the gate their single “Skoden” (meaning “Let’s go then”), which features a sample from Kwakwaka’wakw artist Beau Dick, was named one of the year’s 100 best songs by CBC Music. Since then, the duo has consistently released albums with high acclaim and industry nods following closely. Their subsequent albums, 2017’s The Average Savage, 2019’s TRAPLINE, 2021’s Life After, and last year’s I’M GOOD, HBU? were all shortlisted for the Polaris Music Prize.

With tracks like “The Resistance” and “I Can’t Remember My Name,” to “Red Sky at Night” and “KIDS COME UP, IT’S SUPPERTIME!,” the Snotty Nose Rez Kids press hard on subjects of ignorance, stereotypes, climate change, and the ongoing reverberations of colonialism with furiously fast-paced rhymes over bars so sharp they cut.

For the Record caught up with the boldly political duo to talk about growing up, bringing their perspective into their music, and more.

What was your experience like growing up in the Haisla Nation?

Despite what the media and statistics say about living on a Reservation, our experience growing up on Haisla was beautiful. We weren’t just raised by our parents; we were raised by the community. We had the freedom to run around doing anything from fooling around on the playground to swimming down by the bay. We had that freedom because everyone looked out for one another. If one of our parents or grandparents was trying to get hold of us, word would travel fast and we’d eventually find out. Being rez kids may have made us a little rough and raw around the edges, but there’s beauty in that. If there’s one thing that we could do in this life it would be to be able to go back and be rez kids again, for sure. 

How important is it to incorporate your experiences and culture as First Nations artists into your music?

It’s always important for us in one way or another. Many of our community tell stories through carving, painting, through education, or whatever their passion is. And for us, storytelling came in the form of hip-hop. We want our stories to be told the way they were meant to be told and we want them to be heard the way they were meant to be heard. So it’s always important.

We’re two Haisla men that were raised traditionally. By that we mean that we come from the land, and were taught how to respect it and live off of it without taking too much. From those teachings we became land defenders and that’s what Snotty Nose Rez Kids was built off of, the idea that we need to appreciate what we have and project it.

What does Reconciliation mean to you?

It means that we need to put in a lot of work, on ourselves and our communities. However, Reconciliation isn’t for us, for Indigenous People. It’s for settlers and allies. 

For us, the National Day of Truth and Reconciliation has always been tough because we’ve always understood our truth and for many years we’ve been trying to tell that truth and be heard. The job of Truth and Reconciliation is on settlers to reconcile with their own history and acknowledge the truths of how our lands and identities were taken from us. We need that before we can ever begin to reconcile. 

For us as Indigenous people, it’s our job to decolonize and to understand who we are and where we come from and to resurge as we move forward.

Learn more about what drives the Snotty Nose Rez Kids and listen to all the essential tracks in one playlist

Don Amero Talks About Roots and Reconciliation for ‘CAN You Hear Me’

October 3, 2023

Don Amero CAN You Hear Me cover image

September 30 marked the National Day for Truth and Reconciliation in Canada. It’s a day that recognizes the troubling legacy of Canada’s residential school system—a government-sponsored attempt to destroy the culture and identity of Indigenous people—and honors all of those impacted by it: the Survivors, the families, the communities, and the children who never returned home.

The conversation about reconciliation goes beyond just a single day of the year. That’s why we’re putting a focus on Indigenous artists from different communities as part of the CAN You Hear Me series, which champions the unique music and perspectives of Canadian artists. To kick things off, we have Winnipeg-based country and folk singer-songwriter Don Amero. 

Don is a man who wears a lot of hats. Along with being a musician, he’s a published children’s author, podcaster, mentor, and tradesman. In 2006 his life took a turn when his debut album, Change Your Life, received immediate praise from fans and garnered five Aboriginal Peoples Choice Music Award nominations, prompting him to leave his job as a hardwood-flooring installer. Just last month he released a new EP, Six, that includes the singles “Ain’t Too Late” and “Go Girl.” He also gained a CCMA nomination for his collaboration with fellow Indigenous artist Kyle McKearney on the song “Let ’em Lie,” which pays tribute to the victims of the Residential School system. 

Perhaps his most important work, however, is his advocacy efforts within Indigenous communities and beyond. Don, who is of Cree and Métis heritage, often participates as a youth mentor for the Winnipeg Jets and True North Youth Foundation’s Project 11, which helps teach Manitoba youth positive coping skills and encourages them to build a greater sense of self-awareness. An avid public speaker, Don also created the Music Is Medicine workshop, which teaches the healing power of music in mental and physical health. He frequently works with the TOBA Centre, which helps restore the health and well-being of Manitoba children who have been affected by child abuse.

For the Record sat down with Don Amero to discuss his journey of learning his heritage and what reconciliation means to him.

You discovered your Cree and Métis roots a little later in life. Tell us about your reconnection journey.

My dad was from Weymouth, Nova Scotia, with European roots, and my mom is of Cree and Métis descent. Being Indigenous was not celebrated in the past as much as it is now. My mom  grew up in the ’60s and ’70s, when governments ran residential schools with the aim of assimilating Indigenous people into the colonized way of living and being. Indigenous language, culture, and traditions were to be wiped out. So my mom was raised to be ashamed of her roots, and as a result, I grew up being told that I was “Heinz 57,” which is to say, a lot of things but nothing specific. 

Many years later as I was entering adulthood, I wanted to understand my roots more. My mom handed me my grandfather’s Métis card and said that her grandmother was a full-blooded Cree woman. I felt a strong sense of connection from that conversation and began working to understand more of the story of Indigenous peoples here in Canada. That day I decided that I wanted to be a person on the front lines aiming to build bridges between Indigenous and non-Indigenous peoples. 

By this time, many Indigenous communities, leaders, and artists, like Buffy Ste. Marie, Tom Jackson, Robbie Robertson, and Errol Ranville, among many others, opened the door for Indigenous artists like me. I stand on the shoulders of giants. 

How important is it for you to incorporate your roots into your music and life?

While I grew up with loving and kind parents, I was raised without much in the way of traditions or culture. That being said, I’ve been raising my children to understand and embrace all that they are and to understand their roots are also Indigenous. I want them to grow up being proud of that. 

I’ve also found a deep connection with the seven sacred teachings (Love, Respect, Honesty, Courage, Truth, Wisdom, and Humility), which seems to be commonly embraced as part of the spirituality among many Indigenous communities. 

What’s a key lesson that has stuck with you on your journey?

Simply that every single person has value and is deserving of love, kindness, and to feel they belong. 

What does reconciliation mean to you?

Reconciliation in this area is for non-Indigenous peoples in Canada to reconcile the past, meaning they need to look back, educate themselves on the truth of our history, and acknowledge how Indigenous people were unsupported and made to believe they were worthless.

I think until every Canadian takes the time to understand the ugly truth of how their government aimed to “kill the Indian in the child,” we will continue to be challenged with our relationships. Reconciliation between peoples is not done with money, programs, or policies. While those are important pieces to help restore and support Indigenous peoples, I believe to truly reconcile relationships here is for all Canadians to work to bridge the gaps that have been separating us. 

The way to a peaceful future between Indigenous and non-Indigenous peoples is through honest and loving relationships. However, that work falls upon non-Indigenous people here. That is the road to Reconciliation in my opinion.

Keep the conversation going by listening to Spotify’s artist-curated Indigenous playlist:

Spotify Celebrates Toronto’s Caribbean Carnival With Specially Curated Carnival Sounds Playlists

August 2, 2023

From Antigua, Grenada, Bahamas, and Barbados to Jamaica, St. Vincent, and Trinidad and Tobago, Toronto is home to a large Caribbean community from many islands and regions. It’s hard to deny the impact that such a large community has had on the city, particularly its music scene. Genres like calypso, soca, chutney, and reggae are an intrinsic part of Toronto’s framework. And at no time does that become truer than during the Toronto Caribbean Carnival, an annual monthlong event that celebrates the vibrant rhythms and rich heritage of the Caribbean.

Spotify is honoring the impact of Caribbean culture in Canada through an official sponsorship with the Toronto Caribbean Carnival, the event’s first official sponsorship by a music streaming service. And we’re kicking things off with some of the most prominent artists, DJs, and creators with Carnival Sounds—a global home for all things Caribbean, featuring curated playlists celebrating the sounds of reggae, dancehall, soca, and all of the vibes in between. 

Spotify’s Frequency initiative is also teaming up with the “Soca Prince,” Dr. Jay, and the legendary Soca or Die party for our first live event at Carnival. Attendees can catch us at the Cabana Pool Bar in Toronto on August 3 to celebrate. 

Toronto’s Caribbean Carnival has been a part of the city’s history since 1967 and is billed as the biggest Carnival event in North America. Revelers come from all over to celebrate the spectacular display of costume, sound, and color that moves through the city. The event ends with the grand parade on Emancipation Day weekend, which marks the full emancipation of enslaved people in Canada in 1838. And there’s no shortage of music. Past musical guests have included the likes of Machel Montano, Wyclef Jean, Diddy, KES the Band, Wuss Ways, Lil Natty, and Thunda.

“Canada is about diversity and inclusion, and that’s why our theme this year is Diversity and Culture Live Here,” CEO of Toronto Caribbean Carnival Mischka Crichton told For the Record. “In the Caribbean, Carnival is a national celebration and holiday. Every island has its own unique way of celebrating. And what makes the Toronto Carnival particularly special is that it’s representative of so many people. It’s the most diverse Caribbean Carnival in the world.” 

“It’s also important for our young people to see themselves reflected in the multicultural kaleidoscope that is this country.” she said.

The Carnival Sounds playlists include:

For the Record caught up with Dr. Jay to talk about Carnival and his connection to soca.

What’s your personal connection to Carnival? 

My mom (may she rest in peace) was born in Guyana and my dad is from Trinidad and Tobago. I was raised within the culture, and from as far back as I remember, Carnival was a huge presence in our lives. I played mas and even participated in the big costume presentations for Kiddies Carnival. So for my sister and me to now have a section within Saldenah, the band that has won the most Band of the Year titles at Carnival, is such a full-circle moment for me. 

From reggae to soca and everything in-between, the Caribbean is rich with a diverse range of musical genres. Which do you most strongly connect with and why?

I mean, I am “De Soca Prince,” so soca music, for sure. *laughs* 

My strongest connection is probably to the older music. I’ve called it Tanty Tunes or Big People Music. I can remember hearing Lord Kitchener’s “Sugar Bum Bum,” or “Lorraine” by Explainer, and seeing how everyone would react to those classics at house parties and family get-togethers. I’m also drawn to newer soca that’s rich in lyrics and melodies. Honestly, I just love the overall positive energy that soca music embodies. 

What are some songs attendees can expect to hear on your set? 

It really depends when I’m playing. No two sets are identical because you never know what the DJ before you is going to play. However, I try to play soca from across the Caribbean. So whether it’s “The A List” from Pumpa or Adam O’s “Warming Up (Top Soil Riddim)” to the Trinidad and Tobago road march “Hard Fete” by Bunji Garlin, just know that my goal is to make you dance and wine up yuh waist! 

How do you honor your own Caribbean heritage during Carnival and year-round?

This is my life. I’m not the type of DJ who only represents my Caribbean heritage during Carnival. This is 24/7/365. I play soca and Caribbean music all year long, and some of my most successful events take place in the middle of winter! I’ve spotlighted artists, bands, and international DJs throughout the year in Toronto and have been fortunate enough to travel the world thanks to soca. From Australia to Dubai, from Hong Kong to Berlin, it’s mind-blowing when I think about all the places I’ve DJed, and I owe it all to sweet soca music.

Get in the Carnival vibe with Dr. Jay’s House Party playlist.

Famed DJ Rezz Brings Her Dark, Doomy Bass Sounds to ‘Can You Hear Me’

July 20, 2023

DJ Rezz sitting on the floor cross legged in a black and white suit. There are red, black, and white graphic elements bordering the picture

Our series CAN You Hear Me returns to celebrate Canadian artistry and champion the music, unique talent, and diverse cultures found in the Great White North—from the jazz bars in Québec to the dance clubs in Ontario, all the way to the powwows in the West.

In this installment, we’re spotlighting Isabelle Rezazadeh, better known as the DJ with the lit-up eyes: Rezz. She’s one of the most highly regarded producers of downtempo soundscapes and strikes a firm balance between minimal original tech compositions and the all-heavy bass.

The Ukrainian-born artist moved to Canada at a young age and in her teens working as a local DJ in Niagara Falls. Rezz released free tracks online that caught the attention of electronic music icon Skrillex, who subsequently facilitated the creation of Rezz’s debut EP, Insurrection. Her music also caught the ear of famed DJ and fellow Niagara Falls local deadmau5, who put Rezz on his mau5trap imprint. She went on to release her sophomore EP, The Silence Is Deafening, to an ever-growing and appreciative audience.

Rezz’s highly anticipated debut album, Mass Manipulation, was released in 2017 and raised her to the upper echelons of the electronic world. It even won a coveted Juno Award for Electronic Album of the Year. Since then she has kept her fans well-fed with a steady stream of music on mau5trap and her own HypnoVizion imprint. This includes the albums Spiral, Nightmare on Rezz Street 2 Mix, and countless tracks and EPs that have seen the Canadian DJ collaborating with the likes of Metric, PEEKABOO, and fknsyd. And that’s in addition to the constant touring for festivals and sold-out concerts.

Rezz continues her rise in 2023. She moved to Toronto and announced her first HypnoVizion-branded event, Frostvizion, in Stanford, California. She will be sharing the stage with her now friend and longtime collaborator deadmau5 at VELD Music Festival. The latter is particularly notable among longtime fans as Rezz has cited that it was a deadmau5 set at VELD that inspired her to pursue music.

But it wouldn’t be Rezz without a release, and since April the artist has teased her EP IT’S NOT A PHASE, which marks a return to the DJ’s emo and goth roots. Singles such as “Signal” and “Embers” certainly make good on that claim, with heavy tones of goth rock and her signature deep bass sounds.

For the Record caught up with Rezz to talk a bit about her musical foray, the Canadian scene, and her creative process.

Can you tell us a little bit about your journey into music? 

I was originally a big fan of punk/rock music growing up, but around 12 I was introduced to electronic dance music. Artists like deadmau5 inspired me to create music of my own, and I became endlessly passionate toward it. Since then I get to tour and play my music everywhere and I feel really fortunate.

What’s your typical process for creating a track?

It’s different each time. Most of the time, however, it is just a process of searching for new sounds, creating the drums, adding some sort of melody, and then the track flows really quickly after that. Sometimes the searching for sounds or to find something to inspire me can take some time, so sometimes I either force myself to continue trying or wait a bit for inspiration to potentially come in other ways—like through watching a movie, etc. It depends on the day.

On your side of the Canadian dance community, what is it like? Do the scenes change throughout the country as you tour? 

The Canadian dance community is pretty awesome! I think being raised in a city so close to Toronto was hugely influential for me and the music I create. The crowds are very enthusiastic and awesome as well.

You’ve recently moved back to Toronto. What are you excited about in the music scene there that you haven’t been able to find abroad? 

My close friends! They are all here, and that alone is something exciting for me in relation to the music scene and also personal life.

You’ve often cited deadmau5’s VELD Music Festival set in Toronto as what inspired you to make music of your own. How has it felt working with him all these years? And how does it feel knowing you’ll be joining him onstage at VELD this summer? 

It’s definitely been pretty surreal. I’ve known him for a while now and most the time I am just going with the flow and not thinking too much about how big of a fan of his I am, but some moments it hits me, especially recently, as I have been working on this back-to-back set with him, alongside making an edit/remix of his favorite song of mine, called “Superliminal.”

Tell us about your upcoming EP. 

My upcoming EP, IT’S NOT A PHASE, is a punk/emo Rezz project. It really allowed me to reminisce on some of the music that I was initially drawn to. It’s made me grow so much as a producer working with all of the people on this record. It’s been extremely fun and I’m excited to show people a different side of Rezz, all in theme for the goth era.

What message do you hope your fans will take away from IT’S NOT A PHASE? 

Hopefully they can share in some nostalgia and remind themselves that IT’S NOT A PHASE.

Who are some fellow Canadian artists that have inspired you? 

deadmau5, Zeds Dead, and Metric.

What songs are on your On Repeat playlist? 

I actually love the new Melanie Martinez album, PORTALS.

Explore the dark world of Rezz by listening to IT’S NOT A PHASE now.

Palestinian Canadian Pop Star Nemahsis Brings Her Vulnerable and Healing Pop to ‘CAN You Hear Me’

July 7, 2023

Nemahsis Cover

We’re back again celebrating Canadian artistry with CAN You Hear Me, a series championing the music, unique talent, and diverse cultures found in the Great White North—from the jazz bars in Québec to the dance clubs in Ontario, all the way to the powwows in the west.

Our latest featured artist is Nemah Hasan, known better by her fans as Nemahsis. The 29-year-old Palestinian Canadian pop musician garners global attention with every move she makes, with her previous work as a fashion and beauty influencer and her hauntingly beautiful and relatable music.

Hailing from Milton, Ontario, Nemahsis first found her following online with her single “what if i took it off for you?,” a biting song that sparked a conversation within the Muslim community and encouraged women to talk about their personal relationships with the hijab. Her 2022 debut EP, eleven achers, named after the farm she grew up on back in Milton, is filled with minimalist yet lush folk-futurist ballads addressing topics such as immigration and depression. 

Moving ahead with singles such as this year’s “i wanna be your right hand,” Nemahsis is showing signs of shifting in a whole new direction with her music.

For the Record sat down with Nemahsis to talk about finding her sound, her new direction, and who her favorite Canadian artists are.

Tell me about your journey into making music.

I started making music in late 2017, and at that time I was working a lot, sometimes even taking on three jobs at a time while also freelancing. At the time, being a music artist wasn’t even an option for me. I come from an immigrant family, so there was always this pressure to have a “real” job. But once I got into my mid-20s I felt that I had proved to my family that I could keep a job, make a sustainable income, and can always come back to that if music didn’t work out.

So I wrote my first song, “what if I took it off for you?,” and quit my job two weeks later. But honestly, I didn’t actually like the song. I kept listening to albums like Sam Smith’s The Lonely Hour and Adele’s 25 and felt like their songs were all hits and sounded nothing like mine.

So music was put on the backburner while I continued to freelance, and I didn’t take it seriously until the pandemic hit, where I wrote my EP, eleven achers.

How would you describe your sound? How has it evolved since you first started writing and performing?

When I discovered that first level of Nemahsis, the sound was very stripped back, minimalist, and almost feminine and dainty, but with lyrics that touched on a lot of heavy topics. Whereas my new sound feels like kind of a reversal, where the lyrics are more poetic and more relatable, but the production and tone of voice play around in discomfort.

But regardless, I feel like there’s room for me in the pop world so long as I’m making a difference in history, and I’d love to see if I get as much recognition and appreciation by being relatable and trying to fit into the same world as Taylor Swift and Selena Gomez. I’m an artist of analytics and data, and I’d just love to see if I’m appreciated as an artist if I’m not writing music that could be tokenized by the wrong demographic. It’s exciting, but also a challenge.

What has reception for your music been like in Canada from the Palestinian and wider Muslim communities? How about from white communities?

Honestly, it’s very weird. I feel like the Palestinian, Muslim, and Arab communities have known about me for quite a few years and that I was seen and recognized as an artist before the rest of Canada and the world had acknowledged me as one. But I feel like my music and career have sustained because of all the new people that have joined throughout Canada that don’t look like me.

What message do you hope listeners will take away from your music?

That there’s no point in trying to be the best in every single situation. You don’t have to be the prettiest, coolest, or the funniest one in the room all the time. For so much of my life I felt like I had to dance, doing the most to stand out so I could be accepted. Whereas now I just think there’s so much room for not having to be like that.  

How has Spotify for Artist tools helped you?

I actually navigated my last tour with Spotify Artist tools. My manager and I would just go through the analytics and make decisions on what to hold off on and what to do. It’s funny, when it comes to my songwriting, I’m very free-spirited with no real strategy, but when it comes to using Artist tools, I become very analytical and strategic.

Who are some fellow Canadian artists that have inspired you? How about other Arab or Palestinian artists living in the diaspora?

Oh my gosh, there are so many. I love Nelly Furtado. I think she’s so good that I even forget that she’s Canadian, and the impact she’s had on us all has been enormous. I also love Joni Mitchell.

And of course, Céline Dion! I always say that she’s like the Coca-Cola of music in that no matter where you go, Ethiopia, Jordan, Palestine, or China, everybody knows “My Heart Will Go On.” They know what movie it comes from, who sang it, and they’ll even belt it out word for word. There’s a lot of power in being an artist like that.

Outside of Canada, Yuna is a big one that I’d like to mention. When I was in grade 10 back in 2011, she had just released “Decorate,” and I emailed her to tell her that I thought what she was doing was great, and the fact that there was a woman singing in a hijab in pop music blew my mind. She later emailed me back with a lot of encouraging words, and honestly, I wouldn’t be where I am if it wasn’t for that email.

Start listening to the sound of Nemahsis with her eleven achers EP.

‘CAN You Hear Me’ Spotlights Northern Cree, a Legendary Canadian Powwow Act Preserving Indigenous Culture Through Music

June 21, 2023

In celebration of Canadian artistry, For the Record recently launched CAN You Hear Me, a series championing the music, unique talent, and diverse cultures found in the Great White North—from the jazz bars in Québec to the dance clubs in Ontario, all the way to the powwows in the west.

Next up in our series is Northern Cree, a powwow and round dance act based in Maskwacis, Alberta. Widely regarded as one of the best acts in powwow music, the group was formed in 1982 by the Wood brothers—Steve, Randy, Charlie, and Earl of the Saddle Lake Cree Nation. Today, most of its 15 members originate from all across the Treaty 6 territory and are members of the Cree Nation.

Forty years in, the legendary act has recorded dozens of albums—and their influence has reached far and wide. The DJ Shub track “Indomitable” featuring the band was selected by Sacha Baron Cohen as the theme song to his Showtime series, Who Is America?, while M.I.A. and Santigold sampled Northern Cree for their 2008 song “Get It Up.”

Since 2002, Northern Cree has been nominated for nine Grammy Awards and three Juno Awards. In 2017, the collective made history when it became the first powwow group to perform at the Grammy Awards ceremony in Los Angeles. Most recently, they played at the 2023 Juno Awards ceremony alongside Aysanabee in Edmonton, Alberta. 

For the Record spoke with Steve Wood and his son Joel Wood to discuss powwow traditions, their greatest inspirations, and the importance of preserving Indigenous history and culture through music.

What are some of the traditional elements of powwow music and dance? How do these come through in your music?

The instruments are created from things that are natural and land-based. The music’s vocals and lyrics are connected spiritually to our history and ancestors. The drum is referred to as “the heartbeat of Mother Earth,” and that is what connects all human beings to one another, everything living on the planet, and the earth itself. The outfits—or regalia—reflect our history, spirituality, and cultural teachings. These are also created from objects that are land-based, such as plant and animal life.

This type of music is so different when you’re able to hear it in a live setting, because you can really feel the energy. We often hear from people who are standing around the drum or near the drum or in the area that you can feel the energy that’s being made there—it’s doing something to them. If we’re doing that, if we’re making people feel good, then we’re doing our job.

How has Spotify helped you expand your music to a broader audience or connect with other artists?

Spotify has helped us reach audiences, within the borders of Turtle Island [North America] and all over the world, that have never heard our type of music before. It helps connect our group to various First Nations communities, as well as other communities in Canada and the U.S. 

Spotify has also played a part in enabling mainstream artists to sample our music, which has led to collaborations that create a new, unique sound. 

Who are some fellow Canadian artists that have inspired you? How about Indigenous artists from areas around the world?

Our biggest influences are our grandfathers and fathers, who used to play or create this type of music in our homes when we were children. Another one of our biggest influences is Ms. Buffy Sainte-Marie. Whenever we cross paths, we affectionately refer to her as “Mom,” and she refers to us as her “boys.” 

There’s also the late great Gord Downie of The Tragically Hip, whom we had the pleasure of opening for on Canada Day in Trafalgar Square in London. He was one awesome musician, not to mention an extraordinary human being. Other spectacular musicians that have influenced Northern Cree are Robbie Robertson, as well as Pat Vegas and his First Nations band Redbone.

Can you speak to why it’s so important to preserve Indigenous cultures and traditions and pass those down to future generations?

Passing down our culture helps us in maintaining our language, which is something that we’re really striving to hold on to as First Nations peoples. Everything is rooted in language for us—our identity, culture, histories, ceremonies, and where we come from.

One of the ways that our young people, and even other people, are picking up our language is through music. Having our music out there sends a message to our young people. They can aspire to pick up a guitar or a fiddle, or play the piano. So, if we can spread our language amongst our people—or even further—that’s a good thing for our people in general.

When they see what we’re doing—performing at the Grammys, at the Junos, at powwows in various parts of the country—it sends a message that they can believe in who they are, where they come from, their culture, their identity, and most importantly, their language. They can be who they are, they don’t have to emulate anyone else, and they can still aspire to great things. 

That’s one of the biggest messages that we hope to send not only to our young people, but people in general.

 

Check out Northern Cree’s latest album, Ôskimacîtahowin: A New Beginning, to experience the power of powwow.

‘CAN You Hear Me’ Returns as Toronto Music Producer Ikky Creates a Musical Melting Pot

June 15, 2023

In celebration of Canadian artistry, For the Record has launched CAN You Hear Me, a series championing the music, unique talent, and diverse cultures found in the Great White North—from the jazz bars in Québec to the dance clubs in Ontario all the way to the powwows in the west.

Next up in our series is the trendsetting producer gaining international acclaim Ikwinder Sahota, better known as Ikky. Through his 4N Records imprint (pronounced “foreign”) on Warner Music Canada and his 4N Nights concert series, the 22-year-old from the Rexdale neighborhood of Toronto has been effectively bridging the gap between the exploding music scenes in India and the rest of the world.

Growing up Indian in the cultural melting pot that is the Toronto music scene has helped Ikky seamlessly blend Punjabi Bhangra music with hip-hop, pop, and Caribbean sounds into a unique style that highlights the cultural exchange that defines his home city. He has worked with some of the biggest Punjabi artists in the world today, including Diljit Dosanjh and Shubh. The Four You EP released this year with Karan Aujla was an instant hit, taking in tens of millions of streams per track, with “52 Bars” taking the top spot for listens.

For the Record sat down with Ikky to talk about life growing up in Canada, his love of Drake, and what it means to carve out a space for South Asian talent.

Can you tell us a little bit about your journey into music?

My father used to write music and he had a dream of being in the music industry, but since it never happened to him, he shoved my brother and me into it. At the time, I didn’t really want to do it, but I developed a taste for the music and mixes you’d hear in dance music and started remixing when I was around 8 years old. My brother then joined in and we’d do live shows, then we’d start learning some instruments, and by the time I was 12, I’d really started to grasp the extent and joy found in the world of production.

So, from then on, I started working on my craft. I learned lots, made songs either with my voice or someone else’s, began meeting some people within the industry, and by the time I was in grade 12, I had a hit record. 

Your music spans and intersects multiple genres and cultures, resulting in a vibe that’s almost a signature of Toronto music. Can you share a bit about where that sound came from for you?

Here in Toronto, the people I grew up with were Punjabi, Hindu, Muslim . . . there was this fusion of cultures. Even the music was a mix of the traditional stuff we all knew and what we listened to that was part of living in Toronto. So I would listen to Jay-Z growing up and show his music to my Black and white friends. Then they’d show me what they were listening to and everything just kind of blends together.

I feel like with my music, even though it combines a lot of different elements, you’re not consciously thinking that I tried to make an American song, an Indian song, or a Spanish song. It sounds like a natural exchange because that’s what growing up in Toronto was like. You only learn that by literally growing up here.    

What prompted your label, 4N Records?

As production became my calling, I was getting a lot of ghost work for hire, but it really felt like I was working on the client’s dream more than my own. It just became a job that I took so I could stay afloat and afford going to university. But then I met Mathew Fruitman and Eric Lawrence from Coalition Music, and in talking with them, I started thinking that maybe there was a bigger picture to this, and I could really evolve into doing things I want to do and create an entity where other artists and music could live on beyond me.

And it started off as a Punjabi kind of entity, but eventually I went for it and made it culturally diverse for everybody. Whether you’re from America listening to Indian sounds or in India listening to American ones, foreign music is what we make at 4N. And as a guy from Toronto where we get hit with every sort of culture, I made it a point to make it diverse and unique.

Along with the Canadian scene, you’ve been a big part of the growing worldwide success of Punjabi music. What was your experience in bringing the language to international ears?

I think over the last couple of years, people have really started to pay attention to Punjabi music, and I think I kind of helped close the gap on the producer end of things. We have a lot of artists breaking through, but as a producer I feel like it’s my job to direct them into the lane towards exposure. And honestly, I think I do a good job of that because of the team I have. My dream has become theirs too, and I truly feel like we’re at the forefront of something great.

The Punjabi music community isn’t as big as America’s, and there are barely any collaborations. So I’m trying to shine my light on them, bring them over here, and have our team all work together so that we’re on the same page. To make Punjabi relevant, we’ve got to do this on our own and open the gate. And when that gate’s open, it’s open forever. 

What’s one message you’d like listeners to take away from your music?

I think it’s just to work with a greater cause in mind. Every time I drop a project, I’m thinking of the generation after me as they hold this music until the end of their lives.

How have Spotify’s artist tools helped you? 

Spotify for Artists has been a fantastic tool in researching. It’s helped me understand my demographic better and it allows me to do the right kind of research that helps me plan things out. I know where to book shows based on where my listeners are and can take a look at the streams of my tracks and learn about what’s been working. 

Which fellow Canadian artists inspire you?

I’m kind of biased because I’m also from Toronto, but Drake. He’s able to tell a story, whether it’s through an interlude or a full album. Even when he’s not really singing on it, it’s undeniably his song. Listening to Drake has been my inspiration this whole time because he showed me that there’s more to making music than just whipping up some sounds. He’s really one of my biggest inspirations in terms of music and how he lives his life.

What songs are on your On Repeat playlist?

I listen to Drake all day, man. “Do Not Disturb,” “Keep the Family Close”. . . yeah, it’s those stories for me. 

I listen to a lot of The Weeknd, too, because, again, his pop is not everyone else’s pop. It’s honestly been crazy to see him grow as an artist the past few years.

Hear what Ikky offers to the cultural exchange of music in our This Is Ikky playlist.

Charlotte Cardin Kicks Off ‘CAN You Hear Me,’ Spotify’s New Series Dedicated to Canada’s One-of-a-Kind Music Scene

May 31, 2023

In celebration of Canadian artistry, For the Record is launching CAN You Hear Me, a series championing the music, unique talent, and diverse cultures found in the Great White North—from the jazz bars in Québec to the dance clubs in Ontario all the way to the powwows in the west.

Kicking off our series is French-Canadian artist Charlotte Cardin. Charlotte’s smoky and sensual voice, genre-defying pop sound, and deeply vulnerable songwriting have made her one of the most notable breakout artists from Canada in recent years.

The 28-year-old performer grew up in the French-Canadian music mecca of Montréal, Québec, where legends like KAYTRANADA, Godspeed You! Black Emperor, and the queen of divas herself—Céline Dion—got their start. Charlotte made a strong first impression in 2016 with her debut release, Big Boy. Creating a deeply atmospheric-yet-minimal vibe, the bilingual EP quickly rose the charts and earned her a nomination for the 2017 SOCAN Songwriting Prize. In the process, Charlotte became the first artist in SOCAN history to be nominated in both the French and English categories.

Charlotte continued to build on that momentum, and she hit a career milestone in 2021 when her debut album, Phoenix, spent two weeks at number one on the Canadian Albums Chart. In the months that followed, the album was longlisted for the 2021 Polaris Music Prize, and Charlotte was the most-nominated artist at the 2022 Juno Awards, where she won Album of the Year, Pop Album of the Year, Single of the Year (for “Meaningless“), and the highly coveted Artist of the Year.

Charlotte shows no signs of slowing down. The singer has performed for fans all over the world, and she participated in Spotify Singles, where she delivered an incredible Spanish/English mixed cover of Amy Winehouse’s “Back 2 Black” and a French version of “XOXO” from Phoenix.

Most recently, Charlotte surprised fans with the release of “Confetti” and “Looping,” the first singles from her upcoming album, 99 Nights. She also announced plans for a 40-date world tour kicking off at the end of August.

For the Record sat down with Charlotte to talk about life growing up in Canada, the Montréal music scene, and what songs she’s got on repeat.

Tell us a bit about your journey into music.

I started doing music when I was very young. While neither of my parents were professionally into music, we were a musical family. My dad was—and still is—a huge rock fan, and my mom always encouraged us to have a bit of musical knowledge. When I was eight years old, I started taking singing lessons and it was a total love-at-first-sight situation. I had always enjoyed singing, but to learn how to do it properly and control my voice was like being in a massive playground. 

Growing up, I discovered all these people from my small city who were doing these really beautiful, creative things. Seeing them made me want to both follow in their footsteps and explore my own path. After taking singing lessons for 10 years, I finally started writing music, which also doubled as a way to process my emotions.

How would you describe the music scene in Montréal?

Extremely eclectic and creative. I think that comes from the fact that the city is bilingual, so you have these bubbles of Francophone and Anglophone singer-songwriters with their own little ecosystems who coexist beautifully. They’re always moving and merging and doing new things across so many genres. And when you combine that with all the different international cultures that exist in Montréal, you get something so beautiful, diverse, and stimulating.

Can you tell us about the unique balancing act required to bring both Québécois and English into your music?

It’s always come pretty naturally to me, especially when I’m singing. It’s hard to explain, but growing up bilingual, I feel certain parts of my personality are better expressed in one language or the other, depending on how I experienced the story I’m telling. It all just kind of coexists inside of me. Most of my music is in English, but singing in French is important to me because, being French Canadian, I feel like there’s a huge appreciation from my Francophone fans. And ultimately, that allows me to connect even more to them.

Can you tell us a little bit about your new album, 99 Nights?

I’m very excited about releasing 99 Nights this summer. It’s an album that’s very meaningful to me and was written in a time when I was going through a lot of personal stuff. So the creative process behind the album was very much an escape mechanism, which fans will hear in the extremely vulnerable songwriting and storytelling. It’s called 99 Nights because, for the first three months or so that I spent writing the album, I was just trying to reconnect with the important stuff in my life and make some big changes. It was pretty therapeutic and helped me cope with a lot of big things and make some huge life changes.

Honestly, I just hope that some people can just relate to the experiences I’ve shared on the album and have it help them. 

What was it like working on Spotify Singles?

It was so cool to have so much creative leeway with the music I wanted to cover. I love listening to Spotify Singles because it’s nice to hear artists cover other artists and find a fun way to merge different genres. That really inspired me to be extra playful with my song choices and the styles I performed them in.

What Canadian artists have inspired you?

There are so many, but the first name that comes to mind is Patrick Watson, who has become a very dear friend of mine. I grew up respecting his music immensely and still do. He has such a talent for painting beautiful pictures with his music, so it was wonderful to collaborate with this artist, who it turns out lived just a few streets down from me when I was in Montréal.

And it may be a cliché answer, but as a French-Canadian girl growing up in the late ’90s, Celine Dion is the reason I started singing. There are so many home videos of me singing her songs in recitals and talent shows. Listening to her now as an adult, I feel this deep, nostalgic connection that’s always been a part of my life.

What songs would we find on your On Repeat playlist?

It’s funny because I feel like I’ve been curating this one playlist for the last 10 years, and it’s almost all I listen to. But I feel like one song that comes to mind is “Sideways” by Citizen Cope. It’s just like one of my ultimate favorite songs. Other songs in heavy rotation include “House of Cards” by Radiohead and “I Try” by Macy Gray. 

 

Get ready for 99 Nights by hitting play on Charlotte Cardin’s latest singles.