La Mar Taylor is a founder of the globally culture-defining XO Records and a creative force shaping The Weeknd’s global aesthetic. His work with The Weeknd, including his record-breaking After Hours Til Dawn Tour — which hit new heights this year, including six sold-out shows at Toronto’s Rogers Centre — cements him as one of the most influential creative directors in music today. His career is multifaceted, from music to fashion, entrepreneurship to mentorship, all with the mentality to keep pushing himself.

Beyond the arena, Taylor is building the next generation of Canadian talent through HXOUSE, the Toronto creative incubator he co-founded to provide mentorship, studio space and networking opportunities for emerging artists, designers and musicians. Known for his philosophy of “No More Dreams” and a refusal to be boxed in, Taylor has become a powerhouse in music, fashion and film, proving that creativity, vision and persistence can transform both careers and communities. “Tough times create strong individuals,” he says of the Canadian cultural climate while offering advice to the next generation. “Lock in and really hone your craft. Be really f–ing exceptional at it. There's no room to be mediocre — be great.”

La Mar Taylor is the winner of the Billboard Canada 40 Under 40 Visionary Award and will accept the special honour at the Billboard Canada 40 Under 40 celebration at the W Toronto on November 20. Head here for a full interview with Taylor.

Justin Bieber has entered a new chapter of independence — defining his career through ownership, intentional decision-making and a more direct creative and business structure. Widely regarded as one of his generation’s most influential artists and cultural figures, he has approached this shift with a renewed sense of authorship, architecting a model that places creativity and long-term vision fully in his hands.

This approach comes into focus through the establishment of The Bieber Family Office, which Justin now uses to take greater control of his creative and business decisions. In 2025, he released his seventh studio album, SWAG — a project he fully owns — which became a global success and debuted at No. 1 on the Billboard Canadian Albums chart. He continued shaping this new chapter with a multi-million-dollar Coachella 2026 headlining deal secured outside traditional agency channels.

Within this framework, COO Will Bracey works closely with Justin to help guide the systems and strategy behind this era of independence. His focus is on building the operational base that supports Justin’s ideas, aligning the Family Office with the values that define it — innovation, excellence, longevity, generosity and a commitment to people. Will’s role sits firmly in partnership with Justin’s leadership, helping turn vision into day-to-day momentum.

Dine Alone Records is one of Canada’s most influential indie record labels, and it celebrated its landmark 20th anniversary this year. As vice president of the label, Heather Crane oversees label operations, artist strategy and release planning. It was her own anniversary this year, celebrating 15 years with the label — there for many of the label’s biggest years as it transformed from its early days as an outgrowth of St. Catharines, Ontario bands Alexisonfire and City and Colour to now include a large roster from Jimmy Eat World, Purity Ring, The Dirty Nil and many more — not to mention offices in Toronto, L.A. and Nashville.

Dine Alone reports that under Crane’s leadership, the label’s catalogue has surpassed one billion global streams and achieved a 25% year-over-year increase in streaming revenue, with multiple artists landing placements on Canadian rock and alternative radio charts. She continues to champion independent music while shaping the next chapter of the industry. As many young execs are taking risks and helping shape, she says it’s opening the door for creativity outside the major label system. “What motivates me most is the energy and innovation coming from a new generation of artists and executives who are redefining what independent success looks like,” she says.

YouTube’s global reach and ability to amplify Canadian artists beyond borders make Gabriel Obadia’s role as YouTube Canada’s head of music a pivotal one. The 37-year-old Obadia works directly with both major and indie labels to support the growth of homegrown artists, including placements in programs like YouTube’s first-ever Well Versed songwriting camp in Canada and a new campaign spotlighting Québecois artist as part of YouTube’s 20th anniversary. Obadia is a champion of the global sounds making waves from Canada, including global initiatives for Punjabi pop star Karan Aujla’s record-breaking album P-Pop Culture and artists in afrobeats, country and Latin genres. Earlier this year, he played a role in Drake’s much-talked-about Iceman livestreams, contributing to strategy and coordination.

“What motivates me most about the future of Canada’s music industry is the continued growth in diversity of music being created artists here, with the rapid rise of Punjabi, French Canadian, country and afrobeat music and a growing Latin industry, allowing us to continue punching above our weight globally across more genres than ever before,” he says. “Ultimately, the biggest opportunity for young people in the industry is the biggest ability ever to reach fans anywhere they are on the planet, no matter how niche or widely appealing their music may be.”

Cody Chapman has helped turn dance music into one of Canada’s most powerful global exports. As senior vice president at Wasserman Music, he represents some of the biggest names in electronic music — including Swedish House Mafia, Rezz, Fisher, DJ Snake, Chris Lake and Zeds Dead — while helping define what modern artist development looks like in the genre. A longtime advocate for artist development, he’s played a role in taking acts from small club circuits to some of the biggest festival and arena stages in the world.

Recent highlights under his direction include Fisher’s 40,000-capacity Out 2 Lunch shows at San Francisco’s Moscone Center — the venue’s first-ever concert — Swedish House Mafia’s debut at Arthur Ashe Stadium, Rezz’s record-setting 15,000-capacity Tacoma Dome performance and Zeds Dead’s Deadrocks annual drawing more than 30,000 fans. He’s also helped create and expand artist-led properties like Abracadabra, Black Book and Niteharts, turning them into touchstones of global dance culture. “Canada’s music scene has always been defined by its diversity, and what motivates me most is how global our reach has become,” Chapman says. “Canadian artists are topping genre charts and headlining international events, all while sporting our colors with sincere pride. It feels like that momentum will only continue to grow.”

Matt Sousa has built a career on spotting artists before the rest of the world catches on. The Canadian A&R executive has spent the past decade championing new voices and helping them reach audiences beyond Canada — from working with Jamie Fine, Valley and Sukha to leading Universal Music Canada’s first Punjabi signing with thiarajxtt.

Now Vice President of A&R at Warner Music Canada, Sousa is shaping the next wave of breakout acts, working closely with artists like Karan Aujla, Jade LeMac and Crash Adams. His focus is on developing artists with global ambition and giving them the space to build their own creative worlds. “What motivates me the most about the future of Canada’s music industry is collaborating with the next wave of undeniable, world-class talent rising from this country,” he says. "Canada has produced some of the biggest artists in the world, and I believe the next generation of creatives and industry leaders coming up will take Canada's global impact even further.”

William Robillard Cole leads the management firm that is taking Canadian dance music to stellar new heights. As founder and CEO of WRC MGMT, he manages Montreal super-producer Kaytranada, whose international footprint has greatly increased over the past year. In addition to his opening slot on The Weeknd’s record-breaking After Hours Til Dawn shows in Canada, the producer-DJ has embarked on two arena tours thanks to Cole’s partnership with Live Nation CEO Michael Rapino: the Timeless tour in 2024 and a co-headlining tour with Justice this year, reaching a new echelon of representation for Canadian artists in the international dance scene.

WRC continues to grow as a powerhouse, with Kaytranada selling out international tours in America and Europe and its full roster, which includes Lou Phelps, Kitty Ca$h, STWO and Sango, garnering over 1 billion combined streams in the past year. Between collaborations with famed artists like Don Toliver, PinkPantheress and Bryson Tiller and brands like Gucci, Nike and Miu Miu, Cole’s company is carving out an increasing international footprint all while championing innovative Canadian talent. “I stay driven in the music industry inspired by helping my amazing clients create lives for themselves from their art," he says. “Our company and artists are all close knit, and we all support each other as people, not just industry professionals.”

Tamir Schlanger is managing one of the biggest voices in Canadian dance music daily. As COO of WRC MGMT and Kaytranada’s day-to-day and tour manager, he is leading the creative production for many of the Montreal super-producer’s biggest career milestones yet: opening for The Weeknd’s record-breaking stadium shows in Canada this past summer, the Timeless headline tour in 2024 which sold over 250,000 tickets and a current co-headline tour with Justice that has sold out arenas across Canada, the U.S. and Europe. Schlanger is behind the careers of some of Canada’s most innovative voices in dance music: WRC’s roster currently includes Kaytranada, Sango, Lou Phelps, STWO and Kitty Ca$h.

The Toronto-based manager’s priority is championing innovative Canadian talent in an era dominated by algorithms and a lower barrier to entry than ever before. With 1 billion streams between all of its artists and top 10 album entries from Kaytranada on Billboard’s Top Dance Albums chart, WRC is actively defining the dance and R&B markets while checking off increasingly big, global feats. “Whether it’s the artists topping charts, the producers shaping sounds, or the crews bringing tours to life, you’ll almost always find Canadians involved,” he says. “I love that we have a way of finding each other and pushing one another forward no matter where in the world we are.”

Andrew Pupolin founded Sidestage Presents in 2015, which has brought his influence to many major festivals and events including Montreal’s F1 weekend, Calgary Stampede and Ottawa Bluesfest. The 39-year-old has built an internationally-connected company built around Canadian live music and connecting with brands collaborating with international brands like Nike, Adidas, Hennessy and more. Pupolin is a true devotee to the Canadian community, not just through music, but also through philanthropy, offering mentorship and training through Toronto nonprofit initiative The Remix Project.

He also connects artists with Universities and Colleges throughout Canada through Frosh Week and Homecoming seasons and aligns artists for speaking engagements to students about mental health, anti-bullying and wellness. Sidestage is active in Toronto, putting on 250 shows a year, including recent ones with major hip-hop, R&B and electronic artists like Freddie Gibbs, Lil Simz, Bladee and more. For Pupolin, watching artists increase their draw is a major motivator. “Watching artists and their teams grow from performing for 50 to 100 people to headlining arenas and festivals is exactly why we do what we do,” he says.

Angela De Medeiros helps independent, artist-led labels and imprints under Universal Music’s umbrella reach global audiences while staying true to their creative vision. Since joining UMC’s label partnerships team in 2016, the 36-year-old De Medeiros has guided campaigns acclaimed Canadian artists including Zeds Dead, Rezz, Lights, Ariane Roy and Mac DeMarco. She’s been a key player in launching Rezz’s HypnoVizion Records and growing Zeds Dead’s Deadbeats into a powerhouse electronic label. Beyond her label work, she’s on the board of landmark independent Toronto non-profit music series Wavelength Music.

De Medeiros loves seeing grassroots success stories. “When homegrown talent breaks through internationally, it expands possibilities for emerging artists and strengthens Canada's position in the global music landscape,” she says.

Adam Armit is an important figure behind one of the most anticipated venues in Canada, the upcoming TD Coliseum in Hamilton, Ontario — the expensive reimagining of the city’s arena into a premium music-first venue. As the senior director of marketing at Oak View Group Canada, he’s directing the brand creation and go-to market strategy for the new arena, which launches on Nov. 21 with a concert by music legend Paul McCartney. The 35-year-old marketing executive moved from Maple Leaf Sports & Entertainment (MLSE) in time for the project, following years working on a marketing and brand portfolio of venues including Coca-Cola Coliseum, BMO Field and Scotiabank Arena — including a viral transformation of the latter into Scotiabank Arena into OVO Arena for a Drake concert last year.

Building his career since he was a teenager, including at his own company Go Live Entertainment, he’s developed a multifaceted influence that includes mentorship and development for the music marketing industry, including the next generation. He’s the vice president of programming at the Event & Venue Marketing Conference (EVMC) and also a professor at Fanshawe College’s Sport & Entertainment Marketing program. Armit sees Canada emerging as one of the top live music and entertainment hubs. “Demand for concerts and major events is stronger than ever, and the investment being made in building and modernizing venues across the country shows real commitment to meeting that momentum,” he says.

James Trauzzi works every day to homegrown talent on the world stage.The 39-year-old leads global marketing initiatives and drives international strategy for Universal Music Canada’s roster of Canadian artists, championing acts like pop singer Sofia Camara, indie band Valley and country star Josh Ross, all of whom have had major breakout years. Trauzzi oversees marketing initiatives across classics and jazz and South Asian divisions, while also elevating the legacy of iconic Canadian acts like The Tragically Hip and Anne Murray.

He’s worked across both independent and major label sectors, and has seen a little bit of everything. What excites him about Canadian music is that it can’t be easily pigeonholed.

“What excites me most about the future of Canada’s music industry is our diversity — it’s really what defines us as Canadians,” he says.

Justin Clark is a crucial Canadian voice behind one of the most important independent country labels. As Big Loud Records’ label manager, the 26-year-old Ottawa-born executive has played a key role in launching one of the year’s biggest albums in Canada: Morgan Wallen’s chart-topping I’m The Problem. He’s also ushering in new talent, helping rising acts like Thelma & James, who earned their first gold record in Canada with the viral “Happy Ever After You” this year. Clark’s commitment to his artists’ success and connecting them with their fans is making a lasting impact that transcends the Canadian border.

“From load‑in to label strategy, I’ve seen local moments become global momentum,” he says. It’s been an impressive rise, from becoming one of Cirque Du Soleil's youngest touring members in the company's history (yes, really) to rising through the ranks at Big Loud since joining in 2020.

Jeremy Giacomin is a busy man. He’s personally booked over 800 live performances across Canada in the last 18 months across Canada, the United States, Australia, Asia and Europe. The Paquin Artists Agency agent represents artists such as The Dead South, William Prince, Ocie Elliott and Noah Reid, Giacomin also proudly advocates for Indigenous voices in Canadian music.

The 38-year-old Winnipeg native’s pride in representing local talent extends into prolific footprint as a talent buyer, relaying Canadian talent to major events such as the Canada Games, Manitoba 150, Dauphin Countryfest and Minnedosa Rock in the Fields. Giacomin is fostering a sustaining, lasting impact for both Paquin Artists Agency as well as its individual talent, realizing the potential for Canada’s musical diversity to shine internationally. “The industry feels more inclusive, innovative and globally minded than ever before, and being part of that evolution — helping artists build sustainable careers and share meaningful work — is incredibly motivating,” he says.

Siobhan Woodrow has broken barriers for women in rock and alternative scenes, and she’s now doing the same for multiple genres at SiriusXM Canada. Early on, Woodrow, 38, made history as the first female music director at rock radio station 97.7 HTZ-FM. Now, Woodrow oversees 15 national music channels. She led groundbreaking launches — including the first nationwide hip-hop channel, the first South Asian music channel (Dhamaka) and expanded Indigenous programming. She has also produced original programming for Canadian icons like Shania Twain, Blue Rodeo and Anne Murray, while equally championing emerging talent through national airplay and mentorship. As co-chair of the Juno Awards Rock Committee, she continues to advocate for gender equity and inclusivity.

Woodrow says the biggest growth opportunity for the Canadian music industry is in payment for creators. “I’d like to see the industry move toward fairer compensation and recognition for artists, especially those whose work shapes our cultural identity,” she says. “Musicians deserve to be paid equitably for their creative contributions, not treated as an afterthought in the value chain. A thriving future for Canadian music depends on ensuring that artistry and sustainability can coexist.”

Simon Gebrelul bridges the worlds of music and sports management, overseeing some of the most influential names in both fields. As founder & CEO of Isla Management, Gebrelul, 34, works with some of the world’s biggest music producers – including Boi-1da and OZ, both named by Billboard as two of the top producers of the 21st century, shaping the sound of modern music in their work with Drake, Travis Scott and more — plus major artists like R&B star Giveon. He also manages Canadian basketball star Shai Gilgeous-Alexander, who is the reigning MVP of the NBA. Gebrelul started in sports, where he learned the discipline and structure that now shape his approach to artist development and brand strategy for both musicians and athletes — all of which represent a knack for pushing culture in general and working with visionaries who create their own lanes.

Gebrelul encourages young creatives to bet on themselves and take risks, not letting fear get in the way of experimentation. Through Isla, he supports producers and artists who are helping define Canada’s next chapter in global music. “I’m motivated by how much talent continues to come out of Canada,” he says. “The producers and artists I work with are helping shape what the next era of music looks like here.”

Heather Gardner brings worlds together. She’s a bridge between the music industry and film, television and advertising, helping both come together in meaningful ways. As head of music supervision and licensing at Vapor Music Group/Long Division, she’s placed music for Netflix’s global top 10 hit Bet, Hallmark’s Mistletoe Murders, Director X’s Robyn Hood and TIFF-premiering films Paying For It, Young Werther and Hell of a Summer. A two-time Canadian Sync Award winner with ten nominations to date, she’s helped elevate the visibility of Canadian supervision work on the global stage.

Earlier this year, Gardner was appointed president of the Guild of Music Supervisors, Canada, where she’s advancing advocacy and education across the country’s screen and music sectors. Music syncs are a major financial and promotional opportunity for artists, which is something she’s passionate about showing independent creators. She’s also an advocate for bringing humanity to work. “We’re seeing this generation in the music industry refusing to accept that ego and bullying are the only ways to get ahead,” she says. “I frequently say that I just want to work with good humans, and I truly believe that there’s no excuse in today’s industry in being anything else.”

Shivam Malhotra has become a central force in taking Punjabi music from Canada to the world while helping redefine how Canadian music, film and technology intersect. As founder and CEO of Malsons Media, he’s built a company operating across artist management, original content and investment — giving creators the tools to grow globally without sacrificing creative control. Malhotra, 33, played a pivotal role in the worldwide rise of Brampton-based Punjabi artist Shubh, whose songs have amassed billions of streams and filled arenas from Vancouver to Toronto.

Through Malsons Media, he continues to back artists who are shaping Canada’s evolving cultural identity and expanding the country’s creative footprint abroad. “I’m endlessly inspired by Canada’s artists, collectives and cultural builders and have been lucky enough to watch community-driven creatives grow into industry powerhouses,” he says. “Recognizing and platforming talent, sounds and perspectives early on drives what I do. Spotlighting greatness has always been the goal and Canada has no shortage of it.”

Latin music is one of the fastest growing categories in Canadian music, and when it comes to live music in the country Ricky Taco is the go-to guy. The director of Latin music at Live Nation Canada, a role that was created for him in 2022, the 39-year-old turned a career as an independent promoter and marketer for major artists like J. Balvin, Ozuna, Maluma, Rosalía and more into a major role at the country’s biggest live music company. Directing Latin music strategy, he’s helped accelerate the explosion of concerts by Latin artists into arenas for superstar artists like Bad Bunny as the genre surges by 48% year over year in streaming and a 2,100% jump in airplay.

Taco was also a key force behind the introduction of the new Latin music recording of the year category at the Junos and serves as the committee co-chair for the award. He loves to champion artists who stay authentic to their identity and voice as the demand grows. “I hope to see the Latin music industry continue to evolve beyond genre and language barriers.In Canada,” he says. “My goal is to help build the infrastructure that allows Latin artists to tour nationally, headline major festivals and reach broader audiences.”

In a field dominated by a small number of big players, Lucas McCarthy has built one of North America’s fastest-growing ticketing and event technology companies out of Calgary, Alberta. A major player in Western Canada and growing across the country, Showpass handles thousands of events per year in several countries, delivering over 20 million tickets per year. “Every roughly 2.5 seconds, we sell a ticket to a Canadian,” the 34-year-old founder and CEO says.

Built out of simple frustration — long lines and clunky ticketing — the company has become a lifeline for many independent organizers while offering refreshing tools like face-value resale and predictive analytics that make live experiences more transparent and human than some of the more faceless alternatives. “We're watching the old gatekeepers lose their grip and that’s exciting,” says McCarthy. “What motivates me is seeing artists, promoters, and fans take back control through technology that actually works for them.”

Premium experiences are the new frontier of live music, as venues and festivals implement more VIP and member options for fans looking for some extra hospitality at concerts. As the manager of premium sales & marketing at Maple Leaf Sports & Entertainment, Madeleine Moniz is leading the charge. The 30-year-old executive started at Live Nation, supporting the season seat membership program at RBC Amphitheatre (then Budweiser Stage) until a partnership with MLSE let her move to the Toronto Maple Leafs and Raptors owner, bridging sports and music audiences and memberships. Now, Moniz leads a high-performing team of sales reps selling premium experiences at some of Toronto's biggest venues.

A creative force behind projects like the members-only restaurant Lake House at RBC Amphitheatre and the premium program at Toronto’s History, Moniz recently helped launch the hospitality experience at the city’s largest open-air venue, Rogers Stadium. With a passion for business, culture and community, Moniz is redefining what premium means for live entertainment. “From a live entertainment perspective, we’re already seeing it, but [it’s important to prioritize] a continued focus toward designing and reimagining venues with music at the forefront – spaces that serve both the artist and the fan,” she says.

Some of the most exciting music of the past year has been amplified by Vanessa Adams, Sony Music Canada’s associate manager of marketing. The 35-year-old creative has led key marketing initiatives for the likes of Doja Cat, Tyler, the Creator and Tyla. In the past year, Adams led the marketing for Aqyila’s viral Juno Award–winning single “Bloom” and played a pivotal role in the global rollout Canadian pop star Tate McRae’s 2025 album So Close To What, which debuted at No. 1 on the Billboard Canada Albums chart and held the top spot for two weeks.

A passionate advocate for equity and representation in music, Adams co-created Sony’s Listen with Pride campaign, spotlighting artists across the queer community. She says she envisions a mainstream Canadian music industry that fully reflects the voices of young artists and professionals shaping culture — with grassroots movements, particularly within marginalized communities, leading the way. “These creators are not only pushing boundaries but also redefining what Canadian music can be,” she says. “Their contributions deserve recognition and inclusion in the national narrative. By amplifying the breadth of talent and sonic diversity emerging from these spaces, we affirm that Canada is not just a cultural mosaic, it’s a sonic one too.”

Anne Stirk has spent her career redefining how fans connect with artists. As director of marketing & brand strategy at Republic Live, the 39-year-old marketing executive has worked to evolve how festivals can build and sustain fan relationships – connecting live events, digital platforms and the music industry. She helped power flagship festivals Boots & Hearts and All Your Friends Fest to Republic Live’s reported 1.7 billion impressions and helped two of RLive’s first country management clients, Zach McPhee and Tyler Joe Miller, to CCMA and Juno nominations and top 10 radio singles.

Her work with Republic follows years at Universal Music Canada and Spotify Canada, where Stirk has led campaigns and partnerships for artists including Drake and The Weeknd while launching initiatives like Spotify’s EQUAL Canada and the Indigenous Creator Strategy. Her innovative activations have proven that resonance drives loyalty, not just revenue. It’s a mindset that Canada is in a unique position to capitalize on, she says. “We’re close enough to the biggest market in the world to learn from it, but small enough to move faster and take real risks,” she explains. “I’ve seen it again and again: ideas that start here end up shaping how artists connect, how fans engage and how the business grows.”

Streaming has defined the way fans listen to music over the last decade, and as editorial lead at Spotify Canada, Kerry Martin ensures that Canadian artists get the spotlight. Martin oversees the country’s editorial strategy, spotlighting English and Francophone artists through playlists, campaigns and storytelling that reaches millions of listeners.

Over the past year, the 35-year-old has spearheaded Spotify’s collaborations with the Canadian Country Music Association (CCMAs), helping establish the Francophone album of the year category, and extended global programs like EQUAL, Radar and Glow to better represent Canadian creators, and will be integral in Spotify’s popular Wrapped campaign this year.

From college radio in Halifax to driving national music discovery at Spotify, Martin’s career has followed one philosophy: “I’m inspired by how the next generation of Canadian artists are defining their own paths — blending genres, cultures and languages in ways that reflect this country’s diversity,” he says. “The future of Canada’s music industry lies in amplifying those authentic voices and ensuring they have the platforms to reach the world.”

Matt Maw is helping define the future of Indigenous representation in Canada’s music industry. As president and lead artist manager at Red Music Rising, he oversees a roster that includes Sebastian Gaskin, Boogey the Beat, Nimkish, Wolf Saga, Drives the Common Man and LOR — artists expanding the reach of Indigenous music across the country and beyond. Over the past year, Gaskin celebrated his first Juno Award win and became the first artist in residence at Massey Hall and Boogey the Beat toured extensively with Snotty Rose Kids.

Maw also collaborates with MusiCounts, the Indigenous Music Office, CARAS, SaskMusic, Manitoba Music and other national organizations to support mentorship and education for emerging Indigenous artists and communities. “My prime motivation is the exponential groundswell of support and attention paid to emerging Indigenous talent in this country,” he says. “We’re reclaiming our stories, maintaining autonomy and actively challenging the narrative around what ‘Indigenous music’ looks and sounds like in this country.”

It’s been a winding road that has led A. Harmony Harry to her role at Amazon Music — from being a recording artist herself to publishing, print journalism, broadcasting and, for a time, radio DJing as the host of the R&B show Marvin’s Room on CBC Music. What’s guided her, she says, is her pure love of music. “I’m just a hardcore music nerd at heart and love sharing great songs with people.” Canada has “come of age” over her 15 year career, she says, and “stepped confidently onto the global stage.” She’s excited to be part of the next phase.

At 39, Harry leads Canadian strategy for some of Amazon Music’s most high-profile initiatives, including Artists to Watch, Breakthrough and On the Record. Over the past year, she has launched multiple diverse flagship playlists, including the South-Asian-focused The Port and served as the Canadian lead on the critically acclaimed I Am: Celine Dion Prime documentary campaign. She’s also led marquee campaigns like Amazon Music Originals for Billy Talent and Jamie Fine and an international celebration of D’Angelo’s “Brown Sugar” with Dylan Sinclair and Leon Thomas. A connector and mentor, Harmony continues to champion access and representation in music, championing marginalized voices, creating pathways that amplify Canadian artists and strengthening the industry at every level.

At 39, Joel Baskin books some of Canada’s most prominent live tours and festival lineups. After 14 years at The Feldman Agency, the longtime booking agent was promoted to senior vice president – a major leadership role while still under 40. This year, he was instrumental in tours and festival dates for Canadian legends Avril Lavigne and Shania Twain, rock chart mainstays Three Days Grace, homegrown country stars Owen Riegling and Josh Ross, pro wrestling company AEW and much more. He was also the agent for one of the feel-good stories of Canadian music this year, The Beaches’ arena tour, which brought the long-running Toronto band to new heights including a recent hometown show at Scotiabank Arena.

Baskin’s focus is on creating long-term touring strategies that grow artists’ careers throughout the world. “It’s great to see so many new managers and artists coming out of Canada and exporting globally,” Baskin says. “The walls here feel less closed-in, and we are seeing more and more success stories with artists playing in Asia, Australia, U.S. and Europe.” The sky is the limit.

At 36, Samantha O’Connor is one of the most prominent independent voices in live hip-hop and R&B in Canada. As the sole talent buyer for RAPSEASON, O’Connor has spent the last four years booking more than 100 shows annually and generating a reported $2 million+ in revenue across touring markets. This year, she moved from INK Entertainment to MRG Live, bringing the entire RAPSEASON brand and show roster with her. With the resources of one of Canada’s biggest independent promoters, she plans to grow RAPSEASON — a platform that has already eben responsible for shows by Future, Central Cee, Cardi B, Post Malone, Summer Walker, Daniel Caesar and many more.

“I’m endlessly inspired by Canada’s artists, collectives and cultural builders and have been lucky enough to watch community-driven creatives grow into industry powerhouses,” she says. “Recognizing and platforming talent, sounds and perspectives early on drives what I do. Spotlighting greatness has always been the goal, and Canada has no shortage of it.”

Racquel Villagante is shaping how Canadian creators find community and opportunity beyond borders. Based in Los Angeles, the 38-year-old elevates Canadian talent in the U.S. market and leads SOCAN’s North American team of creative executives. Across Toronto, Vancouver and L.A,, she connects songwriters and producers to new collaborations through showcases, songwriting camps and international partnerships.

Her focus is on mentorship and access, helping artists build sustainable creative lives while expanding Canada’s cultural footprint across the globe. “The vision of a thriving Canadian music community where creators who pour their time, talent, and skill into their craft can build sustainable livelihoods for themselves and their families is what motivates me,” she says. “The music emerging from Canada today reflects an incredible diversity of cultures, sounds and voices, and it’s inspiring to work alongside the gifted creatives who are shaping and celebrating our cultural identity on the world stage.”

A champion of equity, research and innovation in Canada’s music ecosystem, Dr. Charlie Wall-Andrews bridges academia and industry to create meaningful change. As executive director of the SOCAN Foundation and an assistant professor at Toronto Metropolitan University (recently named one of the world’s top music business schools by Billboard) she continues to connect theory to practice. The 39-year-old scholar and industry voice worked with ADVANCE, Canada’s Black Music Business Collective and Speaking Non-English on landmark studies on the value of Black music in Canada and the rise of Latin music — the latter of which led ot the Junos’ first-ever Latin Music category.

Wall-Andrews also partnered with CBC to launch the Reverie Program for Indigenous artists and helped shape the first graduating class of TMU’s Professional Music program. “Canada’s music industry is entering an inspiring new era,” she says. “It’s a vital force for connection, culture and economic growth.”

Julien Boumard Coallier is passionate about supporting music creators in Quebec and across Canada. Through his work at the SOCAN Foundation, the Montreal-based program manager has supported the music organization’s musicians, producers and composers, developing programs that bridge opportunity gaps and celebrate diverse talent. Last year, the 37-year-old exec established the Screen Music Lab, a program that elevates emerging Canadian composers and teaches music creators how to write for television and film — a key cross-industry opportunity. He also established a French-language residency for artist-entrepreneurs.

“What excites me most about the future of Canada’s music industry is its cultural diversity and artistic excellence — this richness can’t be ignored,” he says. “I’m inspired by the growing collaboration across the industry — these creative bridges strengthen our social fabric.”

Tonisha Bath played a critical role in one of the most high-profile venue projects this year: the launch and opening of Toronto’s Rogers Stadium, which became the city’s biggest music venue and hosted shows by Coldplay, Oasis, Blackpink and more. At Live Nation Canada, the 37-year-old leads nationwide communications and oversees marketing for the company’s 11 owned and operated venues across the country – an important growth market for one of Canada’s leading live entertainment companies. Growing up in Saudi Arabia and rooted in Toronto, Bath has previously worked at boutique agencies and with the Juno Awards, and has built a career based on enthusiasm, passion, storytelling and connecting audiences through shared experiences.

Bath sees the growth of live music as an opportunity to both export Canadian artists and bring the world to Canada – a story she loves to tell. “Our artists are shaping the sound of music worldwide, and our cities are thriving as major touring and entertainment hubs that bring global audiences home,” she says.

Karin Visser has an important role within the Canadian industry: ensuring Canada’s music creators are paid fairly and efficiently for their work. As licensing & distribution operations coordinator at the Canadian Musical Reproduction Rights Agency (CMRRA), the 34-year-old plays a key role in improving royalty distribution systems and strengthening communication between publishers and rightsholders across the country. A trained jazz vocalist who later studied music production, she brings both creative and technical insight to one of the most complex parts of the business — turning artistic output into measurable value.

Visser has also served on the Hamilton Arts Council from 2023 to 2025, supporting community arts programs and local creators. She’s motivated by music’s ability to connect everyone, she says. “Music doesn’t see age, gender or race,” she says. “It’s something every Canadian experiences, often without realizing how deeply it connects us. From small towns to global stages, Canadian music…remains one of our strongest cultural bonds.”

Amanda Ste-Marie started as an intern in radio, rose to program some major radio stations in Montreal and rose through the ranks to become programming manager at Stingray, one of Canada’s biggest radio companies. Ste-Marie, 34, leads the curation strategy for the Stingray Music digital platform and app, overseeing global content and creation and making sure playlists reflect the diversity of Canadian music. Listener engagement and market share have grown significantly, while Stingray’s social presence has doubled in reach. She’s a curator for some major partners, including Air Canada and TikTok, while also conducting artist interviews herself – everyone from major international stars like Hozier to rising Canadian talent like Cameron Whitcomb and Aysanabee.

Beyond her main role at Stingray, she’s also a juror for the Polaris Music Prize, the Juno Awards and Canada’s Walk of Fame Emerging Artist Program – spotlighting Canadian artists everywhere she can. She says she’s impressed by the talent that continues to emerge across the country in every genre, and she loves to be able to amplify it to bigger audiences. “I’m especially inspired by the growing visibility within the Indigenous music scene, which continues to bring powerful new voices to the forefront,” she says.

While TikTok faces uncertainty in Canada amidst a shutdown order, Erin Lowers continues to make an impact both at home and on the global stage. Since starting in music media, Lowers — also a founding board member of ADVANCE, Canada’s Black Music Collective — has dedicated her career to amplifying Canadian artists and building an inclusive and equitable music culture. A passionate advocate for underrepresented talent, Lowers represents artists and TikTok as she works with governments and policy throughout the world. This year, she was part of a meaningful initiative to redirect TikTok’s Grammy event resources to FireAid following the L.A. fires that left many in and out of the music industry losing their homes, property and livelihoods.

“We’re finally seeing generations come together to exchange the knowledge and experience needed to sustain our music ecosystem, while also striving for much, much more,” she shares. “I'm excited to be part of a collective music community that refuses to be underestimated, and where new paths are being built for thriving music careers.”

Baldeep Randhawa has been instrumental in bringing South Asian music to global stages. As tour promoter at Live Nation Canada, he has led landmark projects, including the first major arena tour by a Punjabi artist and Diljit Dosanjh’s stadium concerts at Vancouver’s BC Place and Toronto’s Rogers Centre — the largest Punjabi show ever staged outside India. His path has spanned early years booking college shows to a tenure as a talent agent at APA, shaping a career focused on building visibility for South Asian talent. This year, he served as the global promoter for Punjabi- Canadian superstar Karan Aujla, who played massive shows in India and arena shows in Canada and is about to headline influential hip-hop festival Rolling Loud for its first-ever edition in India.

At 38, Randhawa continues to expand the global presence of Punjabi music while recognizing its importance in Canada. He worked with CARAS to help establish and chair the South Asian Recording of the Year category at the Juno Awards and launched Breaking Borders, the first international Punjabi music festival, in Malta. “The diversity I see in the music industry now, compared to when I started keeps me optimistic,” he says. “We are expanding our reach to new fans and get to promote genres that were previously seen as unconventional.”

As the director of development & partnerships at MusiCounts — the national music education charity associated with the Juno Awards — Regan Harney increases access to music education for young people across the country. The 35-year-old Harney leads initiatives that strengthen national collaborations, uniting artists, cultural organizations and the non-profit sector. A known relationship-builder, she’s brought on new partners and strengthened existing ones, secured funding from all four major financial institutions and gathered stakeholders in nearly every province — leading to a record-breaking $1.1 million dollars for music education programs throughout Canada. That means more access to music for children — something everyone in the music industry can get behind.

“The current landscape of the Canadian music industry is really ripe and exciting — there is so much talent at the artist level, strong managers, advocates and innovative ideas,” she says. “What motivates me about the future is that there's a palpable shift happening with my generation rising the ranks and the industry is starting to feel more equitable, fresh and powerful.”

Chelsea O’Neill oversees key partnerships and major corporate initiatives that shape Canada’s live music landscape. As a promoter, project manager and talent buyer at Live Nation Canada, the 37-year-old drives national booking strategies and leads programming across the company’s network of venues and special events. She’s managed many big recent projects including two major grand openings for Ontario casinos — the Theatre at Great Canadian Casino Resort Toronto and the Hard Rock Live Ottawa — and the CFL Grey Cup halftime show featuring major American artist MGK. Last year, she booked the first hard ticket performance for Shaboozey at Toronto’s Danforth Music Hall last year, where Billboard Canada presented him with a plaque for his historic achievements on the Canadian Hot 100 chart.

“Canada consistently produces some of the most talented and hard-working artists in the world, and exceptional industry professionals,” she says. “It’s motivating to work alongside such passionate and driven people who continue to elevate Canada’s reputation on the world stage.”

Julia Amodeo is the head of streaming at 604 Records, effortlessly fostering sustainable, artist-focused growth in today’s evolving digital landscape. At 29, she leads the label’s global streaming strategy, driving visibility, playlist placements and revenue growth across the label’s top artists, including Carly Rae Jepsen, Marianas Trench, Hotel Mira and more. Since starting as the streaming manager in 2023, the Berklee College of Music alum earned a well-deserved promotion and has helped drive 1.2 billion streams over the last year — about a 68% increase, according to the Canadian indie label.

“I’m inspired by Canada’s diverse music scene, which not only enriches our culture but also gives us an edge in emerging markets, regions set to drive the fastest growth in recorded music over the next decade through rapid streaming adoption,” she says. “Because our market is smaller, we have the agility to experiment and innovate, which excites me about the future as we empower our artists and showcase our creativity worldwide.”

Yonis is part of a new generation of leaders proving that culture can drive change as powerfully as policy. As co-founder of Active Cause, he’s helping artists, athletes and creatives use their platforms to fund community initiatives and social movements. The organization has partnered across music, sport and fashion to launch creative funds, global summits and projects that channel influence into tangible impact. Grounded in both advocacy and artistry, Yonis’ work describes what philanthropy looks like when led by the people who shape culture itself.

He is putting artists first while putting forth the resources they need. He has partnered with Raffa Investment Advisers and Endaoment, connecting artists with funding and charity-related resources. Through collaborations with Toronto artists like SadBoi, Baka Not Nice and Roy Woods for grants and with music platforms like COLORSxSTUDIOS and OnTheRadar for shows and collaborative initiatives around the world, he has created a global legacy for Active Cause in just six months.

“What really drives me right now is watching Canadian artists grow into their global voice,” he says. “The music coming out of this country has always carried something vivid, raw and honest. A kind of emotional intelligence that connects people across borders. Canadians don’t just make songs; we make sense of the world. Our Canadian artists are the new cultural ambassadors, and they’re doing it through authenticity, not permission.”

Julia Hummel is shaping the next era of artist-first business models in Canada’s music industry. After several years in marketing across different sectors, the 36-year-old joined Warner Music Canada in 2014, transforming a lifelong passion into a career. In 2018, she moved to London to join Warner Music’s Global Marketing team, helping craft international campaigns and sharpen a global perspective. She later returned to Toronto to help launch Amazon Music Canada and build its local team before rejoining Warner in 2021 to lead the launch of Warner Music Canada’s digital strategy division.

This past year, after returning from maternity leave, Hummel drove a new wave of digital growth through innovative strategy and high-impact partnerships with Spotify, Apple, Google, Amazon, Meta and TikTok. What fuels her work is leading a high-performing team and empowering the next generation of industry leaders — guided by her belief that when artists and teams have the right tools, they can thrive both creatively and financially. “The next few years,” she says, “should be about giving artists the tools, partnerships and opportunities to thrive financially while creating their best work.”