Canadian Musician Podcast

This week, our guest is Music Publishers Canada (MPC) CEO Margaret McGuffin. In addition to chatting about MPC's work and what it is that music publishers do, McGuffin gives us the details on this year's Women in the Studio National Accelerator program.

First launched the program regionally in 2019 and expanded nationally in 2020, this is the fifth cohort the Accelerator is supporting. It is designed to provide the group with opportunities for skills development and networking that they may otherwise be unable to access.

First on the podcast this week, Canadian Musician Editor-in-Chief Mike Raine catches up with Robyn Stewart (4:00), the executive director and CEO of BreakOut West and the Western Canadian Music Alliance. Robyn fills us in on the plans for the upcoming (now online) edition of BreakOut West, and she also discusses some of the changes she’s seen in the industry during her half-decade in her current role.

As well, we bring you a fantastic conversation Billy Talent’s Ian D’Sa (30:35) about recording, producing, and guitars, which was first heard on the new Professional Sound Podcast (www.professionalsoundpodcast.com). The podcast is hosted by NWC Assistant Editor Andrew Leyenhorst, who himself is an accomplished producer and engineer.

First up on the podcast this week,Canadian Musician Editor-in-Chief Mike Raine welcomes back artist manager Steve Kenny (4:40). Steve is the co-founder of Traverse Music Management and he keeps an honest and insightful blog for indie musicians called The Ascender (www.traversemusicmanagement.ca/theascender). Mike and Steve chat about how managers themselves have been financially impacted by the pandemic, why he’s testing out a new project-based business model for artist management, putting more power back in the artist’s hands, and what a sustainable and happy artist career looks like today.

Then, after his chat with Steve, Mike shares a short conversation he had for Professional Sound magazine with MCC Recording Studio Owner Dave Temple (42:15). Calgary-based MCC was recently named Recording Studio of the Year for the third time at the 2021 Canadian Country Music Awards. Dave explains how MCC has made itself into a destination for artists; and about navigating the challenges facing high-end, urban recording studio prior to the pandemic; how they’ve weathered the storm of COVID restrictions; the importance of “vibe” is making a studio successful; investing in new gear; and more.

It’s common knowledge that vinyl sales have been steadily rising for the last decade or so, with 2021 being another record year for vinyl in Canada with 1.1 million records sold. And it isn’t just boomers buying another copy of Abbey Road. Current artists of all genres are learning that vinyl is a reliable revenue stream and that there is high demand for it among young superfans. But does it makes financial sense for independent, emerging artists to sell their new music on vinyl? And, if so, what are the upfront costs, production timelines, personal time commitment, profit margins, and so on associated with it? Those are the questions Mike digs into this week across a pair of interviews.

First, Mike chat about selling vinyl with artist manager Liam Killeen (5:25), who represents major indie artists like Ubiquitous Synergy Seeker (USS) and The Tea Party. Next, Mike chats with Taishi Fukuyama (37:10), the co-founder of Qrates, a vinyl crowdfunding platform and end-to-end solution for artists and labels that need short run and on-demand vinyl.

If you’re an indie artist, or work with indie artists, and have thought about selling vinyl, this is the show for you.

First up on the podcast this week, Canadian Musician Editor-in-Chief Michael Raine chats with music journalist and author David McPherson about the subject of his latest book – the legendary Toronto venue, Massey Hall. David shares stories and anecdotes from the book, his own memories from Massey Hall, and more.

Then, Mike chats with independent singer-songwriter John Muirhead about how he funded his debut LP, Traveller, by playing backyard concerts and building a following on TikTok. John also discusses the album's inspiration and creation, the lessons he’s learned that could help other indie artists, and more.