Canadian Music Now
Ten years ago I graduated from McGill University with a degree in comparative religions and an uncertain future. My degree was by no means an instant ticket to a job and I didn't want to go to law school or hole up in an ashram in India. At the time my brother was living in New York, and his band Stars had just released their first record, Nightsongs. I volunteered to help them promote shows, manage tours, and pretty much do anything I could to get their career going. I basically became their de facto manager. I accompanied them to CMJ, CMW, NXNE, SXSW, and on tours across North America.
A few years later I started a music festival called POP Montreal with some friends. Our festival would be different from the events that existed in Canada at the time – industry showcases that seemed like mere musical meat markets. We asked our friends to perform, applied for grants, and did our best to find sponsors. In a short period of time, POP Montreal, which recently saw its eighth edition, has become a world class event. We've done this by working hard, being creative, and being different, featuring bands from around the world, and local talent, too.
In keeping with the work I did with my brother’s band a decade ago, Pop Montreal puts Canadian music in its rightful place alongside the best of the world. As such, it makes sense that much of what we do is supported by government. We are lucky in Canada that art is encouraged and supported by our government institutions, even if that funding remains ever precarious. Of course, as with any pursuit in the arts, funding is not enough. You need to be original, heartfelt, and relevant if you are going to make a mark on the world stage. To create a music industry that breeds these qualities, and one that successfully defends against the constant threats to arts funding, it's important to have a strong and vocal arts community. It’s essential that we constantly discuss and re-evaluate the state of Canadian music – the successes and failures of Canadian artists, governments, and listeners, all of whom have an important role to play in the cultural future of our country.
Music Without Fear
by Todor Kobakov
Classical pianist; Toronto-based music composer and producer.
- First Posted: Dec 07 2009 09:05 AM
- Updated: 6 months ago
AUDIO: Canadian musicians and audiences too often ignore the innovative and interesting. We should be braver with our choices.
“Which is the most universal human characteristic – fear or laziness?" asks Louis Mackey in the movie Waking Life. I often think about how this question applies to me. How does it apply to you? And to my fellow musicians and the Canadian music industry in general? Stop and think about it for a minute. Why is it that most of us have to travel abroad to get some recognition if we are doing something truly innovative? Why is it that some people stick to what they know and never explore new ideas? Who makes the decisions that make a difference in our lives (in terms of Arts Council grants, VideoFact, radio play, and the like)?
I am regularly told that there is no such thing as a "Canadian sound" or a "Canadian identity." I disagree. We have come a long way. Our musicians are being recognized worldwide. There is an incredible wealth of talent everywhere in this country; yet Canadian listeners are paying little attention. This is likely because some of this music is not what people are used to, because what is new is often scary. I enjoy listening to classical music as much as I do dubstep, rock, electro, and many other genres. What makes such an eclectic mixture of songs so appealing to me is simply that they are good enough to grab my attention. And to achieve greatness in anything, one must practice one’s craft every day, talk about it, live it, and most of all be brave.
I wish more people could be brave with their sonic explorations, with their reviews, with their choices. Perhaps most importantly, I wish that more people were not afraid to fail. The fear of failure happens to all of us, but it certainly has not stopped me.
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