Once characterized by rich artistry and creativity, the Canadian music scene is slowly dwindling toward the meridian of its existence. This regards a viral tweet from Claire Lehmann (@clairlemon) that discusses, “the death of a business model, an ‘arts’ bureau that insists on domesticating politics, and an absolute outrage culture on social media.”
Canada’s music industry is being hollowed out by a three-pronged threat: Business model collapse, an arts bureaucracy which demands political conformity, & the chill which results from social media hysterics https://t.co/N1waQ20Q82
— Claire Lehmann (@clairlemon) September 30, 2018
This reminds me of the modern-day Canadian Music history that begs the question: What can be done, if anything, to revive the country’s music ecosystem?
A Business Model on the Brink
In the previous year, it was reported that the Canadian music industry was on track to hit an all-time low. Ever since 2013, artists are finding it extremely difficult to earn a living, let alone a sustainable one.
Further, during these past few years, there has been a steep increase in the use of online streaming; while it allows many to share their work across the globe, it has tremendously hurt the overall revenue of music musicians.
Among many, it feels as if the industry is in its dying throes as albums are no longer purchased, and even live gigs, which were the most beneficial segment for performers, are losing their charm due to higher venue prices and changes in the audience.
To solve those problems, artists and industry people are developing new business models. Some potential solutions include crowdfunding, selling directly to audiences, and using blockchain technology to track royalties.
Independent artists, on the other hand, are using social media and virtual concerts to reach new audiences without needing permission from traditional industry gatekeepers. Is decentralization the solution?
Political Conformity in the Arts Bureaucracy
Many artists and industry people would tell you that funding and institutional support come with an ideological agenda today. Andy Waters (@AndyWaters1000) captured the essence of government-approved music perfectly— it seems like there is always an associated social narrative, leaving no space for an alternative and apolitical art.
He tweeted that, “gigs advertised as favoring women, ‘gender non-binary’ etc,” which shows how concern that diversity mandates sometimes seem to give the direction rather than artistic merit sometimes take over creativity.
Happening in Australia too
– Local govt approved & funded rock (snore)
– Political orthodoxy, centred around fantasies of exclusion & victimology
– Aggressive measures to combat this phantom bigotry
– Moral panic re sex
– Quotas at gigs
– Public shaming of transgressors etc
1/3— Andy Waters (@AndyWaters1000) October 1, 2018
Some industry experts suggest that policy changes could make a difference in subsidizing the arts. There could be more positive added if there was a system that subsidized the quality and not the identity of the artist.
This policy could also help create a more balanced music climate without restricting artistic diversity. Moreover, political subsidies could also help musicians achieve greater freedom in… music styles and themes.
The entertainment world is now more complex than it was a few years ago. Musicians have to be very careful about the content they create in order not to annoy their audience. It seems there’s no winning for self-censorship as artists stay clear of controversial topics and popular sentiment.
Self-proclaimed critics seem to have declared that “toxic politics destroys everything it touches – from music to movies and sports, and everything in between. If you try to get woke, you go broke.”
The same formula of toxic politics destroys everything it touches from music to movies and comedy, sports, etc. get woke and go broke
— Paisano (@Paisano) September 30, 2018
One way may be for artists to regain their autonomy and personal freedom. After all, Substack and Patreon have shown how greatly musicians can distantly engage with their fans while reducing dependencies on the media and industry approval.
In addition, allowing space for open conversation instead of cancel culture could allow for more marginal and resilient music to emerge.
Hurdles On The Sky’s The Limit Path For Canadian Artists
Challenges are galore, however, the Canadian music industry does retain a glimmer of hope. Already, there are a few artists and organizations daring enough to look outside the box in order to sustain their careers and interest in them.
The emergence of virtual concerts and immersive experiences, as well as AI music production, could prove to be what turns the tide.
While this is happening, advocates for policy reforms are pushing for them to be more favorable for independent musicians as well as small venues, which are the heart and soul of the grassroots music movement.
Putting money into music education and mentorship can also be very important, especially in bringing life back into this sector.
If Canada helps young and emerging musicians tackle modern-day issues, both financially and ideologically, the country would be able to foster a new generation of innovative and tough young musicians.
Can Canadian Music Survive?
The discussion sparked by Lehmann’s tweet will not end here. While some people defend their position arguing that there should be a form of action to make art practice socially progressive and diverse, other people at the other extreme argue that too much regulation and ideological censorship can kill innovation.
The survival of Canadian music is in its flexibility to change—be it through economic creativity, policy reengineering, or even cultural transformation.
Will Canada’s music industry cave into this pressure, or will it discover new ways of surviving? Achieving this can only be done through musicians, policymakers, and citizens. One thing is obvious; the tempo of change is being set already, and the industry is the one to find the right beat.
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