PIctured: Laurie Lee Boutet (middle) with The Beaches

The Beaches are one of the biggest breakout success stories in Canada over the last two years, and their manager, Laurie Lee Boutet, has played an immeasurable role in their rise. That's a big reason why Boutet has been named Manager of the Year by Billboard Canada, which she will accept at this week’s Managers to Watch and Honour Roll event in partnership with Music Managers Forum (where Boutet is an executive director) on June 11, 2025.

The Beaches had a viral breakout hit in 2023 with their song “Blame Brett.” Where many acts would – and have – celebrated that as a success on its own, Boutet and the band orchestrated an even bigger rise – from Coachella to the Junos to their biggest ever hometown concert at Scotiabank Arena coming on November 6 (preceded by two special intimate events at NXNE).

“When a big one hits, you have to go full throttle to capitalize on it,” Boutet explains. “A few weeks after [‘Blame Brett’] went viral, we sat down and said, ‘Okay, the next 18 months are probably going to be some of the busiest of your lives. Is everyone ready?’ And the girls were like, ‘Hell yeah.’” They moved quickly, using the momentum to tour at bigger and bigger stages and plan for their next album, No Hard Feelings, out on AWAL on August 29.

Boutet is passionate about demystifying the role of the manager, especially in a Canadian context. “We’re the bodyguard between the rest of the world and the artist,” she says. “The artist’s job is to be creative. The strategy, the admin, the foresight – all that falls to the manager.” In Boutet’s case, that includes everything from scheduling, release strategy and touring logistics to brand partnerships, data analysis and making the people behind the scenes reflect the identity of the artists she represents. At Wednesday Management, that includes a team of mostly women or women allies who truly get a band like The Beaches.

Boutet has plenty of advice for young managers trying to break artists in Canada, and enough insight to fill a manager's guidebook. Read her full interview with Billboard Canada here.

Breanna Price is the manager and creative strategist behind her husband, recent Billboard Canada Indie Issue cover star Connor Price. After Connor’s music started popping off during the pandemic, she left her role as creative director at a pet company to focus full time on his career as an artist. Since then, she has helped transform his independent journey into a globally recognized brand, overseeing operations, branding, content ideation and digital strategy – all while parenting a toddler and a baby. She helped conceive his viral Spin the Globe series, and contributes on a creative level to the TikTok skits that turned him into a social media sensation. This year, she supported him through his Friends & Family Tour, his biggest headlining tour yet.

She’s an open book when it comes to advice for managers looking to break new artists. Her first advice: “Stop chasing what you think will be the key to success i.e. labels, booking agents, deals, etc. Instead, focus on building as much momentum and leverage as possible to find your artist a dedicated fanbase on your own…Focus on the music and the content to push said music, and all that other stuff will follow.”

Her second piece of advice: “No one actually knows what they’re doing half the time.” She got into music management by accident, but has built the tools she needs by watching YouTube videos, forming friendships with other managers and asking lots of questions. She’s also not afraid to use her voice. “I quite literally had an argument with the COO of a major label because he didn't understand the function of an ISRC code, so that should go to show you that even the ‘high ups’ don't know it all.”

Despite so much 21st century conventional wisdom, don’t overfocus on getting on big streaming services’ editorial playlists, she says, because many of those playlists have passive listenerships. Focus instead on organic listeners. (“For reference, Connor is hovering around 10 million monthly listeners on Spotify and only 1% of that comes from editorial support.”) Don’t put too much pressure on first weekend streams, either, because songs – like one of Connor Price's biggest, “Trendsetter” – can pick up steam from synchs or organic social media discovery. “I should probably stop trying to condense all my advice into a couple paragraphs and actually just write a novel about it. BRB lol.”

Jason Reynolds came from Jamaica and the world of professional live sound to become manager for Jully Black in 2023. Now, he's the right hand man for Canada’s Queen of R&B and Soul, and he has also recently signed Edmonton-based band Melafrique.

It's an interesting route that's served him well in the business, as someone who understands the parts that musicians truly care about. After studying Audio Engineering and Music Production at Metalworks Institute, he worked with numerous churches in the Greater Toronto Area, providing design, integration and technical support services. He's also been a lecturer at Metalworks Institute.

Today, Reynolds is an Account Manager at Soundbox Productions in Hamilton, Ontario, and serves as President and equal partner at ReynJer Music. He's been a Production Manager and Monitor Engineer for Shaggy, as well as Tour Manager and Front of House Engineer for Magic!, the band behind the global hit "Rude." He also tours with Stephen Marley and the Marley Brothers as Monitor Engineer.

Reynolds' proudest achievement this year was Jully Black's Songs and Stories tour. "It was our initial goal when we set out, to see Jully back on stage in the capacity of a headline tour. After 17 years, 14 shows across Canada later and we’ve accomplished what we set out to do as our first goal. We’re not stopping." His advice to managers is to "work hard and trust your gut. Your artists trust you for a reason."

Pictured: Jessie Reyez and Byron Wilson

There's a personal story to how Byron Wilson started in his music manager career, and that touch still guides him. He started 1851 House out of the basement of the Vancouver residence (naturally at 1851 east 41st Ave.) where he lived with his best friends. One of those friends was the first artist he worked with, Canadian rapper SonReal.

Now, he has a full team looking after five artists, including breakout Canadian R&B/pop singer Jessie Reyez. In 2016, a young and hungry Reyez sent her music to Mauricio Ruiz on Facebook. It wasn't long before she had her first breakout hit, "Figures," and the two of them managed her together for six years. (Ruiz has since moved to L.A. and started The Manager's Playbook podcast.) "Jessie is a giant," Wilson says. "And Jermi Thomas is the best A&R in the game."

This year, Reyez released her third full-length album, PAID IN MEMORIES, and recently launched a tour that will take her through the United States, Canada and Europe until the end of 2025. It's already sold 100,000 tickets, Wilson says. That's his proudest moment of the year, and it's a reflection of the journey he and Reyez have both taken over the last decade: "If you believe in something, be relentless and never stop being curious."

Pictured: AP Dhillon (left), Kevin Buttar

Kevin Buttar, co-founder of Run-Up Records, has been managing AP Dhillon from his earliest days making music to his rapid rise from India to British Columbia to global fame. “What began as a leap of faith between two complete strangers has grown into not only a powerful artist-manager partnership, but also one of the most meaningful friendships of my life,” Buttar says. “When AP chose to trust me, despite my lack of industry experience or connections, I made a promise to earn that trust every single day. I’ve carried that responsibility with me ever since.” He’s a hands-on manager, which includes creative direction, tour production, brand partnerships and long-term strategy. “The goal has never been to chase trends, it’s to build something lasting,” he says.

In 2024, Buttar helped Dhillon become the first Punjabi artist born in India to sign with Republic Records and Universal Music Canada – a huge step for Punjabi music on the global stage. It’s a step forward for an already global artist, following multiple hits on the Canadian Hot 100, a coveted spot at 2024’s Coachella (where he called for justice for Sidhu Moose Wala) and a huge Brownpint Tour in India, which featured a one-of-a-kind levitating 360-degree stage and surprise performances with legends, setting a new standard for live shows in the country. “Getting AP, Shinda Kahlon, Jazzy B and Yo-Yo Honey Singh all on stage together to create a magical moment in Delhi was a real 'pinch-me' moment that I will never forget,” he says. Together, Dhillon and Buttar show how far Punjabi music and culture can go.

Pictured: Mathew Fruitman, LØLØ, Cole Lanni

Coalition Music has managed some major Canadian acts over the last three-plus decades, from Simple Plan to Amanda Marshall. Cole Lanni and Mathew Fruitman represent the next generation, both as managers and with the talent they work with. Known for spotting fresh talent and thinking globally, Lanni and Fruitman have helped lead some major breakout moments in Canadian music over the past few years.

They were key to Preston Pablo’s success with “Flowers Need Rain,” a collab with production team Banx & Ranx which earned over 100 million streams and became one of the biggest Canadian radio hits since Michael Bublé’s “Haven’t Met You Yet.” They’ve also helped take Punjabi music to the world stage, driving over 3 billion streams with tastemaking producer Ikky and landing major collaborations with artists such as OneRepublic (“Tell Me,” their hit with Karan Aujla, was a big cross-cultural collaboration and charted on the Canadian Hot 100 this year).

As booking agents, the duo also booked Diljit Dosanjh’s first North American arena tour, selling 88,000+ tickets, and are now growing the global career of pop-punk artist LØLØ, who’s sold out headline shows across North America, Europe and the U.K. The key to breaking Canadian artists worldwide, they say, is to start touring at venues with hard tickets – a big milestone in the early career of emerging artists, and something they’ve managed to achieve with multiple acts.

Pictured: Laurie Chouinard with Charlotte Cardin

The success of Charlotte Cardin’s 99 Nights and her breakout hit “Confetti” led to her win as Billboard Canada’s inaugural Woman of the Year and trip to L.A. for Billboard Women in Music event to accept the Global Woman of the Year award. Her momentum hasn’t slowed, as she’s continued to tour the world, score viral moments across Europe and pursue new collaborations with artists like Patrick Watson. Every step of the way, her team is there.

Pictured: Jason Brando with Charlotte Cardin

Jason Brando founded Montreal’s Cult Nation, her label and management company, a decade ago. He is the lead for creative and strategy, which means both high-level career strategy and the music itself – leading collaborative writing and production with a global circle of songwriters and producers. That’s led to the development of not just Cardin, but Lubalin and Alicia Moffet – both artists on the way to their own breakout success.

Laurie Chouinard is head of artist management & business affairs, which includes what she calls “the full operational ecosystem”: tour planning, deal negotiations, release rollouts, brand partnerships and more. Working in collaboration with Jason, she ensures creative and strategic ideas translate into real-world momentum. Together, they’ve created a roster of Quebec artists with genuine buzz, fleshed-out personalities and looks both onstage and on social media. You can see her fingerprints on the career of her “main girl” (as she put it at Billboard Canada Women in Music last year) and in emerging voices too, likeChiara Savasta and Dominique Way. “No one does this alone,” she said as part of Billboard Canada Women in Music last year. “We’re stronger together.”

Pictured: Arkells with Ashley Poitevin

Ashley Poitevin is the manager of two marquee Canadian acts, Lights and Arkells. Both acts debuted more than 15 years ago, but Poitevin has a knack for working with them on opportunities that keep them constantly refreshed and pushing to new heights. That’s her advice to new managers, “Identify the parts of the job you’re most passionate about, and think about how that can complement your artist’s strengths,” she says. “Can you build upon what sets them apart? Can you find ways to make this fun for the team?”

Arkells and Lights are both already having big years in 2025 – Lights with her new electro-pop album A6 and the Canadian radio hit “Alive Again,” Arkells with marquee shows at KEE to Bala in Muskoka and the upcoming return of their beloved hometown stadium show The Rally in Hamilton – but her proudest achievement this year comes from an unlikely spot. “Getting an event permit from the Toronto District School Board is a marathon I never knew I could complete.” Arkells frontman Max Kerman recently wrote his first book, Try Hard, with Poitevin as a key driver.

Pictured: Tamir Schlanger and William Robillard Cole with Kaytranada (middle) and team.

Tamir Schlanger and William Robillard Cole are the powerhouse duo behind WRC MGMT, the independent artist management company behind Kaytranada. The Montreal producer has gone from SoundCloud remixes to working with powerhouse artists from Kali Uchis to Childish Gambino, Chance The Rapper, H.E.R. and more. This year, he joined fashion and celebrity icons at the Met Gala, where he paid tribute to Miles Davis.

Founder and CEO William Robillard Cole launched WRC MGMT in 2013 with just $2,000 and a vision. A native of Bedford, Nova Scotia, Cole discovered Kaytranada early in his career and has since built WRC into a multimillion-dollar business with offices in Montreal, Toronto and Los Angeles. Formerly VP of A&R at Entertainment One (2017–2021), Cole has also helped artists like Sango and Lauren D’Elia scale globally while maintaining full artistic control. Reflecting on his journey, he says, “Enjoy the journey. Once you reach your destination, you’ll find a new one.”

Based in Toronto, COO Schlanger has spent over a decade helping guide the careers of artists also including Lou Phelps, Kitty Ca$h and Pomo. With a focus on long-term development and creative freedom, Schlanger has helped sell over 250,000 tickets for Kaytranada’s 2024 Timeless tour and played a hands-on role in every aspect of the operation. He believes success stems from “building a team, not staying stagnant and comfortable, taking risks and knowing when you have an opportunity on your hands.”

Pictured: Cormac McGee (second from left) with TALK and Sandy Pandya (middle and middle right)

Cormac McGee is the director of management and publishing at ArtHaus Music, where he cultivates a thriving creative hub from a diverse roster of artists. Since joining the company in early 2020, McGee and CEO Sandy Pandya, who co-founded ArtHaus with acclaimed singer-songwriter Serena Ryder four years ago, have helped their roster generate over 2 billion streams and earn more than 50 award nominations. ArtHaus is also deeply invested in artist education and accessibility of recording and performance opportunities throughout Canada. Whether it’s launching scholarship funds or organizing songwriting programs, the organization bridges generations of musicians.

McGee is best known for discovering and managing TALK, the 2024 Juno Breakthrough Artist of the Year, whose global hits “Run Away to Mars” and “Wasteland” earned multi-country platinum status and charted No. 1 on Billboard’s Adult Alternative Airplay and multiple Canadian rock and alternative charts. Under McGee’s guidance, TALK has sold out tours across North America and Europe and performed at major events like the NHL All‑Star Game and Montreal Grand Prix. Still, it’s the grassroots connection that motivates McGee the most. ”The best moments always happen on the road when you’re face to face with the fans and can see the impact of our artists’ music and the work we do really is. Hearing fans' stories and what the music means to them is so special.”

In addition to TALK, McGee manages rising talent, including Connor Riddell, Sean Sroka (Ten Kills the Pack), Paesler, and Mitch Gorman, while adding artists such as Cole Allen and Raymond Salgado to the ArtHaus roster. At the core of his work is a commitment to long-term artist relationships. “You don’t need to know everything or have all the answers early in your career. You can learn the business as you go,” he says. “But you do need to show your artist that each day you are fighting harder for them than anyone else.”

Pictured: Tour Manager Drew Ochran, Carlos Pineda, Haviah Mighty, Andrew Thompson

Carlos Pineda and Andrew Thompson are the duo leading MCMXVI INC., a Toronto-based artist management and cultural agency. To succeed without a label requires a powerhouse team behind you, and Haviah Mighty has made impressive inroads as an independent rapper including a prestigious Polaris Prize win, multiple Juno nominations and festival gigs throughout the continent. “Trendsetter,” her 2023 collaboration with Connor Price, went Gold in Canada – a rare achievement for a collab between two indie artists.

Pineda, founder and CEO, is a Canadian-Latino executive, has worked with major artists including Kardinal Offishall. With over a decade in music, nightlife, and brand strategy, Vice President Andrew Thompson, a.k.a. Drew Smoothy, brings a lifestyle-forward vision to MCMXVI INC. Their roster now includes KTOE and BEDRM, who have produced hits by Drake and Jack Harlow, Cardi B, Megan Thee Stallion and more. They also work with rising artist John Fellner and has helped shepherd the career of Emanuel, a Motown/Universal signee co-signed by Idris Elba.

The key to breaking Canadian artists, they say, is “likability, talent, work ethic, consistency and teamwork – plus involving the right partners.” Both are known for ventures outside of music as well, with Pineda partnering on the now-closed Toronto hotspot Regulars Bar and Thompson working on cultural programming at spots like the 1 Hotel and brand sponsorships with professional athletes in the city. Together, they are creating an atmosphere where music, culture and global influence cut through the industry’s noise.

Pictured: Jason Murray (middle) and the Vector team.

Jason Murray leads Vector Management, the major artist management firm with offices in Toronto, Nashville, Los Angeles and New York. Under his leadership, Vector represents major Canadian bands including The Glorious Sons and Our Lady Peace, while Vector guides the careers of nearly three dozen artists across its roster, including James Barker Band and John Hiatt, and has worked with Peter Frampton and Hank Williams, Jr. The company has special success in Americana and roots, and is also making a big splash in the rock scene.

Following a stint at BMG Canada as head of Canadian operations, Murray joined Vector in 2022, before officially becoming president in January 2023. Known for his artist-first approach, Murray emphasizes teamwork and hard work. It's also a team effort, he says. With four offices in four cities and more than 30 active artists at any given time, it's important that everyone reflects the same values.

“I believe there are no shortcuts,” he says. “You’ve got to be willing to start from scratch in each new market and put in the same time and energy it took to build at home. It’s not easy, but if the data shows an audience is forming, you’ve got to show up and do the work…You have to love the work enough to push through the inevitable bumps, bruises and setbacks. As a manager, there’s no room for self-preservation, the art and artist must come first. Always.”

Pictured: Brodie Metcalfe (middle) with Snotty Nose Rez Kids

Brodie Metcalfe has been a key behind-the-scenes figure in the rise of Snotty Nose Rez Kids, who he started managing in 2018. The Haisla Nation duo have since achieved a series of historic firsts for an Indigenous hip-hop act, including the first to win rap album of the year at the Junos this year (where they also performed) and the first to sign a major label deal with Sony Music Canada. The subsequent album, 2024’s widescreen and ambitious RED FUTURE, has hit over 5 million streams and over 50 million on their music videos. They’ve since expanded into fashion with the Savage Kids clothing brand and TV with an in-development scripted series.

Metcalfe comes from a background of activism and organizing for queer and trans rights, which brings a values-driven approach to artist development. After producing concerts with acts like Nas, Miguel and Marianas Trench as the events manager at Toronto Metropolitan University’s Students’ Union, he transitioned to artist management with the all-women hip-hop group The Sorority, and has kept working with MC Lex Leosis after their disbandment.

Coming from a live music background, he puts a big focus on developing impactful live shows and taking them to an international audience – an approach that has paid off with SNRK, who proudly blend contemporary influences with their Haisla traditions. His advice to up-and-coming managers is to be aware there won't be a lot of personal glory, but to celebrate the successes of the artists you work with. “Managers are the unsung heroes of artists, the behind-the-scenes framework for the front-facing musician,” he says. “It's important to be comfortable with playing that behind-the-scenes role, understanding that your wins are inextricably linked to the wins of others, but that the losses or missteps fall on you. Take your time finding artists to work with and make sure that you could conceivably see yourself working with them for the rest of your life.”

Pictured: Bouba Diallo (left) and AR Paisley

AR Paisley’s nomination for breakthrough artist of the year at the 2025 Junos was a landmark achievement for both the Canadian rapper and his manager, Bouba Diallo. “It was a major milestone we had been working toward for years,” Diallo says, “and it felt incredible to see it come to life.” They’ve been working “since we were kids” and the last two years have been big, with a signing to the Warner Music Canada/Warner Music India collaborative label imprint 91 North Records and a top 10 Billboard Canadian Hot 100 chart placement for “Drippy,” his posthumous collaboration with the late Sidhu Moose Wala.

Diallo began his career working with AR Paisley and Jay Trak, contributing to over 900 million streams and sold-out tours. Currently, Diallo manages a diverse roster, including YouTuber and streamer K Showtime, highlighting his versatility across music and digital media. As operations manager and artist manager at The Revels Group, where he first started as an intern, he collaborates with artists such as Gibson Hazard, Victony and Sainte. Diallo has produced high-profile events including YouTube at Coachella, The Grammy House, and the BET Experience, and has worked on projects involving Drake, Travis Scott, and Kim Kardashian.

Recognized in 2024 by the Canadian Consulate’s Black Managers Program, Diallo stresses the importance of trust and commitment in artist relationships: “If you can’t believe in someone 100%, they’re probably not the right client for you.”

Pictured: Emmanuelle Girard (left) and Alexandra Stréliski

As the founder of Comme C’est Beau, Emmanuelle Girard manages acclaimed pianist and composer Alexandra Stréliski. Stréliski has had a major rise, both in Quebec and worldwide, on a nearly unprecedented level for a neo-classical performer. Her album Neo-Romance was among the top selling CDs in Canada when it was released in 2023, and this year she became the first instrumental artist to headline FEQ (Festival d'été de Québec,) playing for 80,000 people on the gargantuan Plains of Abraham mainstage.

Girard is also the co-founder of Festival Transe Atlantique, a former national handball athlete and has a background in public relations – which brings the multifacted skill set an artist manager uses every day. For her, global strategy is vital, but so is being on the ground with her clients. “Travel with the artist. Feel the energy. Read the room,” she says. “That’s where you spot what works – and what doesn’t. Teamwork starts in the field. Alignment happens in motion.”

Once you have the audience at home, she says, you can start thinking bigger. “Take the local wins and turn them into global leverage. If it resonates at home, amplify it abroad. Build momentum city by city, crowd by crowd. Nothing replaces real connection.”

Pictured: Karan Aujla, Deep Rehaan

Karan Aujla has been a key artist in the global rise of Punjabi music, and the man behind him has been key behind-the-scenes. That’s Deep Rehaan, the COO of Vancouver-based Rehaan Records. Aujla’s longtime friend and manager, Rehaan has helped build Aujla into a global force, overseeing chart-topping hits like “Wavy” (No. 7 on the Billboard Canadian Hot 100) and the viral 2025 single “Courtside,” which debuted at No. 59 on the same chart. Aujla also tops global streaming charts as Spotify’s No. 11 most-streamed Punjabi artist in 2024. He made a big splash winning the Juno Fan Choice Award last year, beating powerhouses like Tate McRae and The Weeknd and becoming the first Punjabi artist to win that award.

Rehaan drove major international collaborations, including Aujla’s track with One Republic and Ikky – a crossover English and Punjabi pop hit that also charted on the Canadian Hot 100. These deals have opened doors in key global markets, without sacrificing cultural authenticity. Rehaan has expanded the management team with international partnerships to spread his music even farther.

“The key to breaking Canadian artists worldwide is combining authentic storytelling with global strategy, Rehaan says. “We focus on building a unique brand, producing world‑class content, and forming strategic partnerships that open doors in international markets, all while staying true to the artist’s roots.” His advice? “Know your artist inside out, build real relationships in the industry, and stay consistent. Success doesn’t come overnight. Be patient, stay professional, and always put the artist’s vision first.”

Pictured: Rayn Babber with Sickick

Rayn Babber is a driving creative force behind the global success of viral masked artist Sickick. Also a designer of immersive experiences as the founder of Jestr Events Babber made the leap from creative director to full-time manager for Sickick in 2023. Whether it’s planning albums or remixing with artists like Post Malone and Madonna, Babber is focused on helping Sickick scale without compromising the artist’s vision. “What I’m most proud of is helping build a support system that empowers Sickick to stay true to his vision, while scaling a brand that reaches millions across the world.”

Pictured: Sickik with Daniel Gonzalez

Since expanding his role, Babber has assembled what he calls “the Avengers of independent music.” That includes Daniel Gonzalez of DGL Ventures, a seasoned artist manager and executive strategist handling over $30 million in transactions, from catalogue sales to sponsorships. He manages Sickick’s business operations and oversees legal affairs for Tory Lanez. “Reflecting on the past year, he says, “guiding my client, Sickick, through the complexities of scaling his business as a fully independent global artist… It’s been a masterclass in creative entrepreneurship and strategic execution.”

Together, they’ve established a holistic management model – balancing meticulous deal-making, artist protection and memorable live shows. Their advice to future managers is unified and clear: “Know your client – not just as an artist, but as a human being.”