Quebec Music Groups Sign Open Letter Demanding Investment in ‘Offline Discoverability’ for Homegrown Acts

Quebec music groups want listeners to find local music beyond streaming services.

In a new open letter, over 30 music organizations — including SOCAN, SPACQ-AE, GAMIQ and Quebec Music Council — have signed the document, which demands that the country focus on “offline discoverability” for local artists.

Additional signatories include ADVANCE, Canadian Music Centre in Quebec, Francos de Montréal, Saint-Jean Baptiste Society of Montreal and SMAQ (Alternative Music Scenes of Quebec), among others.

The organizations claim that the discoverability of homegrown acts isn't just reliant on streaming services. They share a list of places including “schools and educational institutions, shops, restaurants and hotels, tourist sites, public and institutional spaces, performance venues and festivals” where an artist can find a new audience.

Although Spotify has cited Francophone music as one of the top genres on its platform in 2025, streaming numbers in the province only grew by 3% that same year, according to the Observatory of Culture and Communications of the Quebec Institute of Statistics. It wasn't long ago that many organizations were pushing for the approval of Bill 109, a proposed new law to ensure that French-language content was prioritized on streaming platforms operating in the province.

While streaming services aren’t the sole cause of the decline in music listeners in Quebec, many reportedly favour already-popular content, subconsciously keeping Quebec and Francophone artists in a niche category.

“While public policies and regulatory measures implemented over the years must continue and adapt, they have not yet succeeded in reversing the decline in listening to our music among Quebec audiences,” the letter reads.

Per the letter, “Quebec has many levers within its jurisdiction that can be further mobilized,” with signatories pointing to increased collaboration “between the Ministry of Culture and Communications and other ministries” to succeed, noting that “the presence and discovery of our music must be considered beyond just cultural programs.”

One is ADISQ’s Montréal, faites du bruit, a 50-program initiative designed to enhance the promotion, visibility and opportunities for Francophone music through promotion, performances and programs in the city.

Still, Quebec is a hub for many major Canadian music festivals, including Osheaga, Festival d’été de Québec (FEQ) and M for Montreal, which cater to all genres. But there remain genre-specific festivals like LASSO, Montreal International Jazz Festival and Igloofest, drawing in specific demographics.

On the recent Billboard Canada charts, a handful of Quebecois acts have emerged, including Angine de Poitrine, Charlotte Cardin, Patrick Watson, JF Pauzé and most recently, Jean-Michel Blais. In addition, the Heated Rivalry fan base has elevated artists with Quebec ties, including Wolf Parade, Dumas, Philippe B and La Bronze. The show's score was made by Montreal’s own Peter Peter.

With the signatories acknowledging that “public policies and regulatory measures implemented over the years must continue and adapt,” they are requesting that the provincial government put forth “more ambitious action regarding offline discoverability.”

“Our audiences don't live in the computer chips of big tech companies' algorithms. Our audiences live here, in a real, physical environment that we know and understand better than anyone else in the world.”