Mr. Chair, committee members, good morning.
During the latest public hearings of the Canadian Radio-television and Telecommunications Commission, or CRTC, we stated that the ability of French‑language music radio to survive was seriously compromised in the disrupted media ecosystem in which we operate. For radio to remain a strong cultural vector, the federal framework must restore the flexibility it deserves and correct the structural inequity that exists between traditional radio and online platforms, and do so in depth.
For over 10 years, we have been alerting the CRTC about the imbalances in the current system and their harmful effects on French‑language music stations, whose listening times are declining at an alarming rate. In Quebec City and Montreal, nearly 60% of listening times have been lost among listeners aged 18 to 54 in 15 years. The trend is relentless. Unless an in‑depth and structural change is initiated right now, the listening times dedicated to music stations will continue to decline. Many French‑language radio stations can no longer afford to fulfill their mission, as their advertising revenues have plummeted dramatically in recent years. The French‑language radio market in Montreal has not been profitable since 2023.
Meanwhile, Spotify and Apple Music are freely building their dominance without being subject to any content obligations. These platforms capture an exorbitant share of listening and revenue, while French‑language music stations are collapsing under the weight of regulatory constraints.
When the idea of imposing a quota on streaming giants is mentioned, the CRTC states that content requirements do not work for online platforms. The result is a blatant double standard. Traditional radio is tied to a regulatory ball and chain that dates back to the 1970s, while foreign platforms are free to broadcast whatever they want.
It is precisely this regulatory imbalance that jeopardizes the viability of French‑language music radio and the vitality of Quebec culture. Indeed, the current system no longer protects our culture; it marginalizes it. It is causing a growing disinterest among listeners for radio stations that should be promoting local music.
Without questioning the noble objective of a quota, we believe that maintaining the status quo, without considering the profound transformation of music consumption habits, paradoxically takes us further away from the goal. A quota is only effective if it actually reaches the audience.
When 65% of French‑language music is imposed in a market where listeners’ natural preferences are lower, the opposite effect occurs: listeners disengage and turn to foreign platforms where Quebec music represents only 5% of their listening, or even less. We believe we’re protecting the language, while in reality, we’re diverting the listener from the only francophone showcase that still belongs to us, namely the traditional radio stations here.
We found no comparable regulations in the world. There is no regulation that requires commercial radio stations to broadcast more than 40% of songs in a given language, a ceiling that belongs to France. Our quota of 65% French‑language music is nothing more and nothing less than a global anomaly that it is high time to correct.
In that context, we proposed targeted and reasonable adjustments to the CRTC, inspired by the French model, namely to reduce the francophone music quota to 40%.
We understand that some may view this proposal unfavourably. Understand us well: It has now been 13 years since my brother and I became owners of radio stations out of love for music and local culture, but the last 13 years have taught us that the consequences of maintaining the highest linguistic requirements in the world are far more serious for our culture than a relaxation of those requirements.
When music radio stations lose listeners and listening times, it weakens the discovery of local music. Maintaining a quota of 65% at all costs makes no sense if it directly drives the public to foreign platforms that are indifferent to our cultural goals. An audience that stays with radio is an audience that is still discovering.
Defenders of a rigid framework often forget that the concept of the reach of francophone music and culture goes far beyond the number of songs broadcast on our airwaves. Our stations do every day what foreign platforms will never do, and they do it in French: providing context for songs, interviews with artists, coverage of local festivals and cultural events and shows dedicated to creators and emerging talent from here.
However, radio cannot bear all this cultural responsibility alone. The modernization of the quota must therefore be part of a broader set of solutions, such as imposing content and discoverability requirements on foreign platforms, revising section 19 of the Income Tax Act, providing clear obligations for public broadcasters concerning the discoverability of local artists on these various platforms and adopting a government policy for advertising purchases that favours local media.
We want to continue doing our part for the vitality of French, but to do that, our stations must first survive. Modernizing the quota is not harming the culture; it’s ensuring that French‑language music will continue to be heard for generations to come.