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Posted by Karen Bliss | Dec 19, 2024 | Theaters & Clubs
ON GUARD FOR THEE: New funding pot is a pilot program intended to help independents. (Getty Images)
Applications are being assessed for The Promoter Program, a first of its kind federal government grant for Canadian-owned, Canadian-controlled music promoters, through the Department of Canadian Heritage’s Canada Music Fund, which was created in 2001.
The new funding pot is a pilot program intended to help independents who must compete with the giant foreign-owned companies promoting shows in Canada. It’s administered by the Foundation Assisting Canadian Talent on Recordings, or FACTOR, and Quebec’s Musicaction (for the francophone sector).
“Being a promoter is a challenge at the best of times, especially in a major market, so it’s just going to allow us to book more shows, take more risks, and bring things into the multiple venues that we have that maybe we wouldn’t normally take a chance on,” said Sonic Unyon’s Tim Potocic. He owns three Ontario clubs: Hamilton’s 150-capacity Mills Hardware, “our incubator space,” 500-capacity Bridgeworks for “more developed, up-and-coming artists” and the newly opened 230-capacity Sonic Hall in Guelph.
The grant is open to regional players like Sonic Unyon, as well as bigger ones like Modo Live and MRG Live.
Meg Symsyk, president and CEO of FACTOR, which funds the career development of Canadian artists and the competitiveness of the Canadian-owned music sector at home and abroad, did not disclose the budget for The Promoter Program.
“We will announce that when we announce the recipients,” she said. “We also wanted to see what amount of applicants we get this year.” She estimates that number at between 50 and 80, a cross section of newer players and larger ones working in multiple cities and multiple venues.
The maximum amount of contributions provided to an applicant by FACTOR may not exceed $50,000, according to the application guidelines, which notes that amount can increase to $75,000 if “if the applicants and investment table warrant”
“The Promoter Program is responding to a major gap the Canadian Live Music Association has been highlighting for years,” said Erin Benjamin, president and CEO of the CLMA. “Investing in the breadth of Canada’s live music ecosystem is essential—for Canadian artists, as well as live music workers and businesses, from coast to coast to coast. This is a strong new program and it needs to evolve from pilot to permanent, reaching directly into and across our precious, and in many cases precarious, touring infrastructure.”
There are strict eligibility criteria to receive grants — “very honed wording,” says Symsyk. The promoter must have been in operation and presented concerts, successfully, by Canadian artists for at least a full year. They must be Canadian-owned concert venues that promote their own shows, with at least 50% of their annual programming musical performances, of which at least 50% must be by Canadian artists. They also must have earned a minimum of $34,6500 in eligible revenues from the presentation and promotion of concerts by Canadian artists in their last fiscal year. Also of note, they must ensure payments are made to the artists and that fees and salaries are paid to technicians and other live workers.
Sonic Unyon’s Potocic says he isn’t surprised the federal government finally stepped up to help this sector of the music industry integral to the development of Canadian artists.
“There’s been a pretty big lobby on the live side, especially for the independent promoters,” Potocic said. “It’s one thing if you’re Live Nation and you have access to the biggest groups in the world. Not naming anyone specifically but global promoters really rely on the backs of the independents in every market to develop bands. There’s local promoters in every city in North America. Those are the people that are developing talent, working with local people. It’s a much higher risk and lower reward than it is for the big global promoters.”
Sonic Unyon’s 500-capacity Bridgeworks in Hamilton, Ontario, during a show by local band Born in the Eighties. (Photo provided by Tim Potocic)
The federal government funded the commercial live music sector for the first time during the pandemic. The 2021 budget included a historic $48.5 million to support live music venues and the music industry, after the extensive and persistent advocacy campaign #ForTheLoveOfLive, run by the CLMA and amplified by its community. Benjamin says, “The campaign — which had 60 million impressions — saw 45,000 letters sent to government, urging them to support Canada’s devastated live music venues and companies.”
Earlier this year, on March 24, the government announced the allocation of $22.16 million to the CMF over the next two fiscal years. Inside that fund, the Live Music Promoters Program was officially announced Oct. 10 with the deadline to apply by the end of that month. The successful applicants will be contacted in the new year.
“During the pandemic, we saw how valuable the live ecosystem is to Canadian artists building their audience. That’s the most important piece,” Symsyk said. “Many artists completely lost their ability to sustain themselves as a full-time job being an artist because they don’t make enough money from their sales of music anymore and they weren’t able to tour. And touring fed the algorithm, so to speak, on Spotify. That’s where they made their bread and butter to pay their rent or invest in themselves for the next thing.”
She said the pandemic actually gave some insight to see what was needed.
“So, when all that went away because we couldn’t congregate and we had the emergency funds, we had an opportunity because we funded venues and promoters,” Symsyk said. “We actually had more information about that sector and realized how much investment and risk promoters in particular were taking on tours. We felt that when all these foreign-owned entities were coming in, the Canadian element was being pushed out so to speak. We know that having a competitive marketplace is important. And so, for us, we’re trying to give a leg up.”
The Promoter Program will give added consideration to applications from Canadian music companies that present concerts by new Canadian artists, Indigenous artists, and Canadian artists from priority groups: 2SLGBTQIA+ community, women, racialized persons, persons with a disability, and new members of Official Language Minority Communities.
After the funding offer is accepted by the applicant, FACTOR will issue 90% of the contribution amount as an advance payment. The remainder of the funding is paid out when the completion has been received, reviewed, and accepted by FACTOR.
“I have so much empathy for an artist that started their career or was just hitting their stride in 2021 because here we are rolling into 2025 and with inflation and the cost of living, when you look at there’s so many big shows and Canadians are spending their well-earned disposable income on for live entertainment,” Symsyk said. “So, we’re looking to help those mid-level concert promoters and venues that do their own programming, to not only book small artist development talent but a diversity of talent as well. Because, again, we’re trying to make sure that the diverse music that we have in Canada has a full opportunity to be seen by audiences.”
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