Thank you, Mr. Chairman and committee members, for inviting a dialogue with the live music industry.
I'm honoured to represent this wildly diverse and vibrant industry and to have participated nationally in the industry throughout my career. I was born in Montreal, grew up in Vancouver, and have lived, worked, and toured from coast to coast. I've revelled in the risks and rewards of concert production. I've witnessed first-hand the infrastructure investment, and how it was a catalyst for new economic growth, in my years at Air Canada Centre. I now oversee Canada for Ticketmaster, servicing attractions large and small across the country.
I understand the purpose of this committee is to review and analyze the way music is viewed and supported by government. In industry we must continually do the same. For example, the role of the ticketing company in the live music business today is to connect artists with their fans. At Ticketmaster we've been investing upwards of $100 million annually in product development to keep pace with the speed of change, technological advancements, and the expectations of fans and their brands and the artists alike.
Music discovery, engagement at live events, and the stories that continue to be shared via the digital media sources we have today to relive those experiences are at the palm of people's hands today. In an environment where fans want always available tickets, despite the variance of supply and demand, our goal is to make that link between the artist and the fan, who has an emotional connection to that artist, as frictionless as possible.
With the unprecedented speed of change in the methods of distribution of music, government strategy with the live music sector needs to shift to be current with our 21st century reality. Historically, governments focused largely on financial assistance to the independent music creators, their marketing, and guaranteeing their coverage on radio, for example. Government also focused on cultural infrastructure investments, such as performing arts centres for the symphony, the ballet, and the opera, but it hasn't followed the growth of the commercial music industry.
Music Canada's document, which Mike mentioned as well, “The Next Big Bang”, very successfully outlines how the world of music has changed in this country. I would argue that government's views should also keep pace with the shift of this tide we're all sailing through, and we can do it together. Policy-makers need to follow the industry with this present-day understanding, and I believe this committee is a great step in this direction. Imagine how we could grow exponentially if we collaborated at all levels of government and within this industry to make this sector a priority. Witness what the film industry did decades ago.
Research will also demonstrate that benefits from music education and a vibrant urban music sector deliver a very important competitive advantage worldwide. We know we have a large, diverse music scene here in Canada, but this asset is really not fully harnessed. It is crucial for us as Canadians that we seek to maintain our global position, and our music industry can be a catalyst for this.
All levels of government must be encouraged to make this investment. Policy measures that encourage and support both music education and the sustainable music scene across the country are a critical component to Canada's digital advantage.
From a technology perspective, technology professionals who have been trained in music when they are young become more creative. We find they are better problem-solvers, are more collaborative, and possess the soft skills that are crucial in today's digital economy. Government and organizations like ours which support rich cultural environments are better positioned to attract employers and employees. The high-tech sector provides high-paying skilled jobs for citizens of Canada.
Early education begins a life of engagement in live music. Students continue their participation in music as adults, and this encourages them in their professional careers, not only in a music career. You teach musicians how to be better businessmen and businessmen how to enjoy and to perform music, and we all win. Cities that have vibrant music scenes, both for the listener and the performer, will encourage and retain great employees and great community-minded people.
Recommendations large and small should all be centred around breaking down the roadblocks impacting economic growth of the live music industry in Canada, I believe. The film industry is proving simply that making it a priority decades ago initiated a frictionless environment at that very first industry meets government conversation.
With the guiding principles of making Canada an easier place to play live music, the goal is to consistently make Canada friendlier for the fan, for the musician, and for business alike.
From a musician's perspective, the environment should be friendly to learn, to play, and to grow. Policies that promote music education and access to facilities would go a long way in this regard.
For fans, the access for both residents and tourists alike also goes a long way.
The policies around work visas or tourist visas and, from our perspective, ticket resale laws, for example, would also help encourage a more vibrant live entertainment scene.
From a business perspective, both resident and non-resident, we could look at policies around job creation. Infrastructure has been funded largely by private enterprise, so now how do we prevent barriers to its growth, such as taxes and permits? Cultural tourism and the marketing thereof, which Mike mentioned earlier, play a big part in this as well.
As an industry, we are starting to collaborate. We've already begun this, and we're thinking big. From education all the way to the live event touring business, musicians rely on the live event more today than they ever have in the past.
We are talking about the full life cycle of music, starting with the importance of music education. We also see that there is a federal connection there, too. We had a round table with Minister Glover regarding the Junos just a few weeks ago.
There was a reference made at that point to a music ParticipAction program. That was something we saw years ago in terms of a fitness program. We could think in that regard as well for music.
Music, let's all understand, has a transformative power. It opens minds. It enhances our collaborative skills and changes lives, not only of the musician but of those who listen and engage in the music itself. Music education is not just about producing new Juno award winners. The skills that are learned can be absolutely transferrable to other sectors.
We can grow music fans who will consume. Those consumers buy tickets. They fill the venues that employ people throughout the country. Rabid music fans make for multiple shows. A more vibrant music market would make people say that instead of just doing one show, they'd risk bringing in two shows. When we bring in two shows, it saves a little bit of money, which is more helpful for the concert promoters that Riley spoke about earlier.
Really, it's us building sustainable audiences with some tweaking of policy and through collaborating on a strategy.
In closing, I would like to applaud the government for commissioning the study. Success will come with the collaboration, I believe, in all levels of government, and industry leaders such as ourselves are really willing to partner in this journey.