Looking Forward: Canadian Music Industry Leaders on the Issues That will Define 2025

As the music industry ramps up in the post-holiday break, the agenda is being set and a number of issues have revealed themselves as the big conversations of 2025: AI, arts funding, government policies amidst uncertainty in Ottawa, support of independent promoters and venues, mental health, the divestment of DEI budgets, and many more.

Started by the late David Farrell, it has become an annual tradition at Billboard Canada and FYI to begin the year by approaching Canadian association heads and other music industry authorities for their reflections, plans and aspirations for the year ahead.

We posed three key questions, and their thoughtful and comprehensive responses are both enlightening and encouraging. We appreciate their contributions at a busy time of year.

What are the biggest challenges facing the music industry in Canada in 2025?

Andrew Cash, President and CEO, Canadian Independent Music Association (CIMA)

Depends on what music industry in Canada you are talking about.

For the Canadian-owned sector, the ability to compete in a functioning market is paramount. However, market concentration among the large foreign-owned multi-nationals labels and tech platforms is now at over-reach. That is why CIMA lodged an official complaint with Canada’s competition bureau after TikTok walked away from its negotiations with Merlin. And it is why independent trade associations in Europe and Australia are raising serious concerns after Universal’s recent purchase of Downtown Music.

Throw in the power of large AI companies to unlawfully use copyrighted music under the guise of fair dealing to train music making models and we have quite a lot of work to do in the global regulatory world

Another challenge for artists and companies is the high cost of touring right now. Political instability in North America as well as the effects of climate change will continue to impact the global music industry and particularly affect Canada in general, including the music industry.

Margaret McGuffin, CEO, Music Publishers Canada (MPC)

Music Publishers Canada (MPC) is concerned about moves by tech companies to find ways to pay songwriters less. We were shocked by the move by Spotify to use a legal loophole in the U.S. last year to find a new way to reduce payments to songwriters and, unfortunately, we know this is not an isolated incident or a strategy that is limited to the U.S. market.

MPC celebrated its 75th anniversary in 2024. Technology constantly changes but we continue to actively work with our members and industry partners to promote legislation and policies that help songwriters, composers and music publishers create the foundation for the entire music economy. After all, it all starts with the song.

Patrick Rogers, CEO, Music Canada

The music sector is always dynamic, always evolving. At Music Canada, our priority remains the same: ensuring that artists and the businesses who partner with and invest in them are able to continue making the great music that we all love. Central to that is ensuring that artists are paid when their music is played or commercialized by others, and that artists can find and engage with their fans of today, and tomorrow.

In 2025, there are two key issues we’re working on that really push on these fundamentals.

First, the CRTC is currently implementing the Online Streaming Act (Bill C-11). Since day one, our team has seen this as a once-in-a-generation opportunity to elevate Canadian music and artists. Throughout this process, we’ve worked to help ensure that the regulation of music streaming services doesn’t interfere with the ability of Canadian and Indigenous artists to reach their fans here and around the world, and to ensure that Canadians can discover and enjoy their favourite music.

Unfortunately, so far, the CRTC has attempted to stitch the old terrestrial framework onto streaming. But radio and streaming aren’t the same. And we worry that the decisions to date pose risks to the investments made by streaming platforms on the ground in Canada and to local teams that are an essential part of the success of our domestic music sector. We remain committed to trying to help shape this new regulatory environment in a way that serves artists and how they reach their fans.

The other challenge we’re navigating is the serious threat posed by AI models and systems that are trained on the works and recordings of artists without their permission or compensation. While AI presents an exciting opportunity as a tool for artists and the industry, we must be clear: ingestion without permission is theft. AI developers must be transparent and keep records on their model and system training for our IP frameworks to continue to function.

In 2025, we’ll keep working tirelessly with our colleagues in Canada and abroad in this space. We’re optimistic that we’re on the cusp of safer, more ethical AI for the creative sector and Canadians."

Jennifer Brown, CEO, SOCAN

Music is an important part of Canada’s art and culture, but it is also WORK, and we must protect it.

SOCAN is doing our part to ensure that Canadian songwriters, composers and music publishers are able to make a living working in music in the face of digital micro payments and AI.

Foreign streaming platforms need to play a role in the development and discovery of Canadian talent. These platforms are not yet fully obligated to promote Canadian music, leading to reduced exposure and export opportunity for Canadian music creators. We will continue our advocacy efforts to support a digital space that fosters and invests in Canadian music.

Erin Benjamin, President & CEO, Canadian Live Music Association (CLMA)

These are interesting times. In addition to the uncertainty in Ottawa, the live music industry – especially small and medium sized companies and organizations, continue to manage a range of challenges. Here are some examples:

Financial Strain and Economic Uncertainty: While the news tells us that inflation has decreased, the actual cost of things we buy just hasn’t.The cost of running live music events has significantly increased, particularly for smaller venues. This includes higher costs for security, insurance, transportation and staffing.Ticket prices have not always kept up with inflation and rising operational costs, making it harder to break even or turn a profit for smaller venues. Venues and promoters have been trying not to pass along costs to consumers, but it’s becoming increasingly difficult.

Many venues and promoters have limited access to government grants and funding. While there is some government support (like FACTOR’s pilot Promoters Program which we hope will be renewed and made permanent), the competition for limited resources is intense. For not-for-profit’s, in some cases, grants are being scaled back, envelopes reduced, while competition for dollars increases.

Post-Pandemic Recovery, the Long Tail: No matter how much we don’t want to talk about COVID, the reality is 'recovery’ continues to varying degrees.Audience patterns have shifted, from buying less to consuming less alcohol and more. Constantly adapting to and predicting changes is a permanent reality.Challenging as ever, especially for smaller acts who depend on the local and regional circuits, the cost of touring has increased exponentially and the cost of putting on shows has increased. Pressure continues to mount within the ecosystem itself.

Labour Shortages:There remains a notable shortage of skilled workers in many Canadian cities. The low pay, financial instability, unpredictability, stress, and burnout of working the sector has, in some cases, made working in live less desirable. This CLMA-led research continues to help guide the association’s work in response.

Diversity and Inclusion:Some good work has been done and much more is needed. There are ongoing challenges related to equitable representation and support for Indigenous artists, Black artists, and other marginalized groups within the live music industry. The CLMA continues to leverage its research from the powerful Closing the Gap study to create positive change.

Environmental Sustainability:The CLMA recognizes the urgent and ongoing critical issue of climate change. With the climate crisis rapidly escalating, we all have a responsibility to act decisively. The CLMA created this growing resource for the Canadian live music industry, to actively engage in matters of ecological sustainability in live music, and we continue to provide relevant, cutting edge programming for members. More programming for members is coming in early 2025.

Regulation and Policy: The lack of cohesive and supportive policy from both federal and provincial governments is both a challenge and an opportunity, one the CLMA will continue to address in 2025 especially by leveraging its new economic impact study (coming Jan. 30). In addition to venues facing restrictions due to zoning laws, noise complaints, and increased pressure from urban development, complex social challenges are compounding the reality of running a small live music venue in cities today.

Health and Safety:The mental health of artists, crew members, and live music workers is a growing concern. Organizations like Unison need the ongoing support of the industry.

Paul Shaver, President, CMRRA (Canadian Musical Reproduction Rights Agency) & SX Works

In my opinion, one of the biggest challenges facing the Canadian music industry right now, particularly in the music publishing space, is managing the sheer amount of data and rights information as music consumption continues to grow globally. With more people consuming music across more platforms around the world, there’s an explosion of data being exchanged between music companies, music publishers, and licensee partners. The real challenge is making sure that songwriter metadata stays accurate, up-to-date, and properly licensed across all these different territories.

As the industry continues to evolve and grow, the need for accurate and efficient metadata management will only increase within the ecosystem. It is the industry’s collective responsibility to streamline this process in order to help rights owners more easily track and collect royalties for their songwriters. CMRRA will remain a vital resource in supporting music publishers and self-published songwriters by providing efficient and transparent end-to-end administration.

Keziah Myers, Executive Director, ADVANCE – Canada's Black Music Business Collective

One of the biggest challenges facing the industry this year will be the divestment of DEI budgets, which have been a big part of the reason we have seen such great diverse talent enter the industry over the last five years. Managing the shift away from Diversity, Equity, and Inclusion (DEI) and reminding the industry that Equity-focused processes should be where their efforts are will be a challenge.

A focus solely on merit, excellence, and intelligence (MEI), often fails to factor in talent from diverse cultures which leaves the industry looking the same way it did in 2019. While our work has never been framed strictly as part of corporate DEI strategies, it has often been placed there due to our advocacy for an equity-seeking group. However, as companies move away from DEI — often due to concerns about performative measures — there is a risk that equity (the "E" in DEI) will be overlooked entirely. This shift could set progress back, making it even harder to build a more vibrant and flourishing music industry.

Black music professionals continue to face challenges such as limited access to funding, fewer opportunities, and a continued decline in platforms that support their music, particularly on radio. Additionally, the Canadian music industry as a whole struggles with access to resources and funding, which are critical for levelling the playing field.

Michael Hollett, President/CEO, NXNE

My focus is on the live music scene and creating a sustainable environment that serves artists, audiences and venue owners. We need to continue to engage with all levels of government to make sure we are aiding and not working against the live music community.

The city of Toronto must continue to actively use tools like zoning changes and tax breaks to support venues while helping mediate with communities to help create an environment where venues and neighbourhoods happily coexist. Unfortunately, Doug Ford's Conservatives have slashed music funding, so its hard to not be concerned about what would happen to federal funding if Conservatives get Ottawa too.

Amy Jeninga, President, Canadian Country Music Association (CCMA)

Country music is on an incredible trajectory, both globally and here in Canada, with record-breaking streams and the genre expanding into new markets. It’s always been a genre that bridges generations, but this past year has been truly transformative. New voices and perspectives have strengthened our community and deepened our connections with audiences in powerful ways.

Meg Symsyk, President & CEO, FACTOR Canada

Creators getting paid fairly for their works. The industry itself has never generated more revenue, and yet artists, especially new artists, have never had a more difficult time getting paid.

Discoverability, especially for the coming generation of artists. Today’s shifting or narrowing consumer habits on global platform services’ make it difficult for Canadian artists, and Canadian companies to cut through, promote their works cost effectively, and be able to compete with global dominant entities.

Overall volatility/unpredictability for where and how to drive business against increasing costs and barriers to entry for creators.

The outcome of the current online streamers pushing back to the contributions legislated will severely affect FACTOR programs that invest in Canadian artists and the competitiveness of the Canadian-owned industry.

Outside of the music industry but perhaps a growing issue for all Canadians is online fraud. FACTOR is in current court proceedings regarding the cybertheft from our Scotiabank account in 2024 which remains a significant challenge for us and the programs it was destined to fund.

What should be the major focus of Canadian music in 2025?

Andrew Cash

Making great music. Making a living from said music. Maintaining a robust investment environment for Canadian owned music companies and Canadian independent artists.

The investments made through the Canada Music Fund and its administrators FACTOR and Musicaction as well as via contributions from Canada’s private broadcasters, some of which flows through the above mentioned not-for-profits as well as Radio Starmaker, have been vital to the development, growth and success of Canadian artists and music companies both here at home and globally. With other countries attempting to emulate this model for their domestic sector, these programs are the envy of the global music community.

Export market development. Developing structures that support companies and artists to build greater as the sector prepares for the next disruption to the ever changing business models in the music business.

Patrick Rogers

We are undoubtedly in an entirely new era of digital evolution and issues. From a policy perspective, Music Canada’s focus in 2025 is on digital regulation, whether it be a broadcasting framework that extends to streaming, or meaningful guardrails on AI.

In many ways, this moment is not unlike the challenges of the past. It wasn’t that long ago that academics and anti-copyright voices told our industry and policymakers that consumers would never pay to stream licensed music — and so artists should give up on copyright and rely on touring and merch sales to make a career. They said that licensing in the digital space was too complex, involved too many rights and parties, and would only slow down tech innovation.

Our industry and rightsholders stayed strong on copyright, invested in infrastructure and teams on the ground, and built relationships with these streaming platforms that deliver the music we love. Fast forward to today, licensed, subscription-based streaming has driven the return of revenues to our sector, now being reinvested in the next generation of talent.

There is no reason that we should treat AI or other digital regulation differently. Those same foundational principles — a respect for copyright and an understanding of how consumers find, engage with and love music — remain at the forefront of how we address today’s newest digital challenges.

Margaret McGuffin

AI is being discussed every day and it holds great potential to make our music publishing companies more innovative and efficient. At the same time, Canadians need to understand the value of human artistry and resist legislation that unfairly penalizes songwriters, composers and music companies. Copyright allows songwriters and composers to build their careers and music publishers to invest in emerging creators. We need to work collaboratively as a sector to promote a future where shiny new technologies are not boosted at the expense of human creation.

Jennifer Brown

We continue to tackle the issues that are impacting the Canadian music market, copyright principles and human-created music.

The fundamental principles of copyright continue to be challenged by artificial intelligence and the platforms that exploit it. Canadian music creators stand to lose more than 20% of their annual revenue to generative AI platforms by 2028 if safeguards aren’t put in place to protect their copyrights. We are proud to stand arm-in-arm with other music organizations lobbying to ensure there is a proper framework for AI, because a future without principles to safeguard human-created music devalues the hard work of Canadian songwriters, composers, music publishers and Canada’s unique culture.

We are continuing to fight for the rights of our music creators and publishers to improve royalties. We’ve seen some key players in the market look to reduce what they pay for music even as so many of our creators are struggling to make a living.

We see how the roles of our music creators and publishers have expanded; they are taking on more business responsibilities and looking for more help and information. We are working to deliver that much needed and valued education and support to work in today’s music industry."

Erin Benjamin

Our greatest opportunity, to positively impact these and other challenges, is to continue to entrench the value of live music activity. In one word: advocacy.

Paul Shaver

In 2025, I believe the music industry will continue to face several key challenges and opportunities related to the evolution of AI. Establishing guardrails and a framework that works for both AI technology companies and rights owners will be essential. Layering in the various territorial frameworks and government legislation will both support and slow progress. We believe that rights-owners should have the choice to allow whether and how their IP is to be utilized, and when utilized, should be compensated accordingly.

Collective Management Organizations (CMOs), such as CMRRA, are already involved in ‘fractional’ licensing, and with the relevant data identifiers being tracked from input, it will be possible to enable attribution tracking on output. This will create a viable monetization model for all stakeholders in the value chain.

Ultimately, the industry will need to establish a simplified and workable path to license and administer music at scale.

Michael Hollett

If the federal government changes, the industry at all levels will have to make its case anew to show the economic as well as societal benefits of a robust music industry. And we have to continue to engage with audiences to ensure they are connecting with live music at the “entry level” as well as with superstar shows.

Keziah Myers

In 2025, we will continue working to create more opportunities for Black professionals in the music industry. A major priority will be ensuring that Black entrepreneurs receive the resources they need to thrive, including initiatives like The B.A.G., which injects approximately $200,000 into Black businesses. We aim to work with provinces to secure dedicated funding for Black businesses and increase awareness of these opportunities.

Another key focus will be the 12 recommendations outlined in the ADVANCE Industry Analysis & Value of Black Music report. We will also engage with government bodies to advocate for incentive programs that support businesses in prioritizing equity. With companies operating on leaner budgets, there is little financial motivation to address systemic barriers, making municipal, provincial and federal support essential. Additionally, we will closely monitor changes in government and their potential impact on the music industry at large.

Meg Symsyk

Survival of Canada’s club-level music venues and costs of touring for artists. This crucial nexus for artists and audiences must have commercial viability. Strains for both venues and artists have never been more hampered by costs.

The appeals by online streaming services relating to Bill C-11 and CRTC-mandated financial contributions could have significant impact on our investment budgets, so the outcome of those ongoing legal proceedings is certainly of interest.

The CRTC’s continuing consultations on a modernized regulatory framework, including the updated definition of “Canadian program” and discoverability of Canadian and Indigenous content.

FACTOR also hopes for greater clarity regarding the use and regulation of artificial intelligence, and the outcome of ongoing lawsuits in Canada and around the world. That type of technology will continue to impact all rights-holders working in creative industries, and so any legislative, regulatory or legal updates regarding AI will be of interest to FACTOR and other stakeholders.

Canada’s looming federal election could have policy implications which affect our industry.

What are you most looking forward to in 2025?

Andrew Cash

2025 is CIMA’s 50th anniversary. I’m looking forward to taking the opportunity this year to tell the story of CIMA as we lean in to what the future holds for the organization and the Canadian owned music sector writ large.

I’m also very excited about the 3rd annual Make It Music conference this November as well as a bunch of new initiatives we’ll be rolling out as part of our 50th.

Patrick Rogers

We spend a lot of time here thinking about and working on policy, regulation and IP enforcement. This work can be complex but our team gets its energy to tackle these challenges from so much in our industry.

One of the things I’m most looking forward to this year is our celebration of the Gold & Platinum Program’s 50th anniversary. We will be highlighting important milestones and moments on socials and in person at some key industry events. The program celebrates what Canadians listen to and love — and it has offered a unique snapshot of Canadian cultural life for the past five decades. I’m excited to dig into that history, while looking ahead to what the next 50 years of the program may bring.

Jennifer Brown

There are a few key initiatives that we’re excited about in 2025. We are getting ready to launch the single most important technology application in SOCAN’s history. It’s going to provide more data, more transparency, members will be able to better see where their royalties are coming from, and it will allow us to increase distribution frequency. We understand that songwriters and composers, like anyone else, benefit from a regular source of income to establish credit and have access to things like mortgages, utilities, better interest rates and general stability. Monthly royalty distributions from SOCAN will help achieve that outcome.

We’re looking forward to connecting and celebrating with more members across the country to recognize SOCAN’s 100th anniversary. We’re building the SOCAN of the next 100 years and hope members feel like they belong to something special when they join SOCAN – that they feel supported with the education and information they need to work with us, and that they trust in our ability to do our job well.

And finally, we’ll be releasing the results of Canada’s first comprehensive study on mental health across all music work in Canada. We helped to fund the initiative in partnership with research group Revelios and Unison Fund. Canadian Music industry professionals can still participate in the Soundcheck Survey, here, and final results will release late this year and include meaningful actions to support them through the important work Unison Fund is doing.

Margaret McGuffin

Music publishing is global business for Canadian music publishing companies, with 81% of the revenue of Canadian independent music publishers flowing to Canada from foreign sources in 2024. We look forward to supporting our members with their export priorities in 2025.

We are also excited to see both our NXTGen membership program and Women in the Studio Accelerator grow. NXTGen offers a space for our future music publishing leaders to learn new skills, network, and build community. The Women in the Studio National Accelerator is designed to provide these producer/songwriters with opportunities for skills development and mentorship they may not otherwise be able to access. Finally, I am excited to work with Women in Music Canada [non-profit organization] as we prepare to launch a national survey soon for caregivers in the music sector.

Erin Benjamin

Without a doubt, the CLMA is looking most forward to leveraging the findings in our economic impact study, “Here and Now,” something we have been working towards since our inception – ten years ago – so that we can move the needle even further on key issues.

The report makes it clear that protecting and growing Canada’s live music infrastructure directly results in more jobs, major economic impact for cities and towns, and more performance opportunities for Canadian artists. It means more fans choosing Canada when deciding where to spend their (billions of, as it turns out) music tourism dollars. It means sold out hotels, fully booked flights, bustling shops, and restaurants. It means togetherness and social cohesion. It means better mental health. It means thriving downtowns. It means attracting and retaining other industries and talent to our cities. It means more revenue for artists and musicians. It means more music and memories with family and friends that change our lives.

The CLMA was founded in 2014 to drive the narrative of the power of live music, and to collaborate with members and government to stimulate increased sector capacity across the ecosystem. With this new data in hand, we hope the hard evidence in this report will incentivize forward and innovative thinking about the industry’s true place and potential for growth within Canada’s cultural and economic framework.

Paul Shaver

This year is especially exciting for us at CMRRA as we’re celebrating our 50th anniversary! It's a huge milestone, and we’re really looking forward to reflecting on our journey while also focusing on the future. One of the things I’m most excited about is the launch of a special 50th anniversary edition of The Pulse, our monthly newsletter. This edition will look back at how far we've come— from our early days in licensing physical products to our adaptation to the digital age and now AI era. It’s a chance to celebrate all that we’ve achieved over the last five decades, but also to think about where we’re headed in the next 50 years.

On the business side, we’re continuing to build on the work we’ve done on expanding the licensing of post-sync audio-visual activity. The term “post sync” refers to all downstream reproduction activity that occurs subsequent to the initial synchronization of music within audio-visual productions, such as streaming on platforms like Netflix, Hulu, Disney+, etc. Monetizing the reproduction right for these uses is an established source of revenue within several European territories, and we are excited that the Canadian market will also soon benefit from this activity. It’s an exciting time in the industry and CMRRA remains focused on evolving to meet the needs of our clients and licensee partners over the next 50 years.

Amy Jeninga

At the CCMA, we’ve had much to celebrate. Coming off an extremely successful, sold-out show in Edmonton that delivered $16 million in economic impact to the community, we are gearing up for an even more exciting 2025 in Kelowna, with a show already sold out months in advance. The fans are showing up, and our community is eager to engage. These milestones highlight not only the passion for Canadian country music but also its potential for even greater impact as we continue to grow.

As we navigate a rapidly evolving market, our challenge lies in aligning our long-term strategic planning with the industry’s ever-changing landscape. Through all of this, the CCMA is committed to fostering innovation, creating opportunities, supporting our members through education and connection, and ensuring that Canadian country music reflects the diversity of the audiences it inspires. By opening doors for all, we’re building a more inclusive and sustainable future for the genre.

Keziah Myers

We’re excited to build on the momentum of the ADVANCE report released in November 2024 by working with companies and organizations to drive meaningful change toward a more equitable music industry. We’re also eager to support new research initiatives, particularly those focused on the live music sector and caregivers within the industry. These studies will provide valuable insights that can shape future policies and programs, ensuring that the music industry is more inclusive and sustainable for all.

Michael Hollett

I can't wait to present the 30th Anniversary Edition of NXNE, June 11-15 in Toronto, building on its three decade legacy with fresh ideas, energy and impact from our new partnership with Billboard Canada. Our 30th year will celebrate our amazing history while also doing what defines NXNE best, presenting the best new acts and future stars from Canada and around the world. I promise a few major surprises too.

Meg Symsyk

There are very talented Canadian artists with incredible projects we can’t wait to have shared with Canadians and the world.

Last year’s launch of the Promoter Program has put FACTOR in a live space we weren’t regularly able to collaborate with and we’re optimistic about potential for continuing and deepening this area of our investment support.

FACTOR is continuing to modernize our programs, casting an ever-wider net to ensure we have a breadth of Canadian talent participating, and identifying needs in the sector where we could have greater impact.