Live music executives in Canada have warned the touring industry faces a “climate of uncertainty” due to Donald Trump’s trade tariffs.

The US president imposed sweeping tariff hikes on Canada and Mexico last week, although some have been paused until 2 April. He also raised levies on Chinese imports to 20%.

Trump, who has called for Canada to become America’s 51st state, previously said he was taking action “to hold Mexico, Canada, and China accountable to their promises of halting illegal immigration and stopping poisonous fentanyl and other drugs from flowing into our country”.

A 25% tax on steel and aluminium products from all countries was imposed last week, with Canada and the EU both announcing retaliatory tariffs in the developing trade war.

Speaking to reporters aboard Air Force One, Trump said 2 April would be a “liberating day” for the US, with a new wave of levies to be introduced.

“It’s going to be reciprocal — in other words, whatever they’re charging, we’re charging,” he said. “Then in addition to that, on autos, on steel, on aluminium, we’re going to have some additional tariffs.”

“The current tariff war will create a climate of uncertainty for venues in the United States who hire artists”

Amid the ever-changing situation, Robert Baird, president of Toronto-based BAM! Baird Artists Management Consulting, advises on the likely consequences for live music.

“The current tariff war will create a climate of uncertainty for venues in the United States who hire artists: their funding may be in jeopardy and their clientele may be diminished simply because people will have less discretionary income,” he tells IQ. “A depressed economy due to the tariff will not allow for the flourishing of live performing arts.”

A former president of North American Performing Arts Managers and Agents (NAPAMA), Baird also points to potential additional hurdles for international touring acts.

“I am concerned that there may be additional rules coming which would limit the entry of foreign artists into the United States, whether by increasing the costs of work permits or putting increasing impediments on the entry visa process,” he adds.

“We could see increased costs for goods and materials such as building materials, technology, food and beverage, and merchandise”

Chris May, general manager of Vancouver’s BC Place stadium, which has hosted acts such as Coldplay, Ed Sheeran and U2, as well as the finale of Taylor Swift’s Eras Tour, breaks down some of the more granular implications.

“The potential impacts of tariffs on the live events industry will depend on each venue or company’s specific operations,” he says. “However, as with many industries, we could see increased costs for goods and materials such as building materials, technology, food and beverage, and merchandise.

“Fortunately, BC Place has always prioritised working with Canadian suppliers whenever possible, which puts us in a strong position to mitigate the effects of tariffs and limit any associated cost increases.”

May offers his thoughts on how the situation could play out from here – both for better and for worse.

“BC Place is thankful to have strong relationships with many Canadian partners and suppliers, and we remain committed to supporting the local economy,” he notes. “However, the worst-case scenario would involve a decline in tourism to British Columbia, which could result in fewer visitors for events, especially those travelling from the US. Depending on the event, many of our attendees come from south of the border, contributing not only to our ticket sales but also to the local economy.

“While it’s difficult to predict how things will unfold, we remain optimistic and committed to maintaining BC Place as an open, inclusive space. We look forward to continuing to welcome our friends from the US and showcasing the beauty of our province.”

“The past few years have shown us how resilient and adaptable our industry can be in the face of global uncertainty”

BC Place is gearing up to welcome AC/DC next month in advance of a multi-night run by Canadian homegrown hero The Weeknd this July, and May is determined not the let the outside issues distract from the venue’s core focus.

“Our goal of providing exceptional experiences for our guests and continuing to host world-class events remains the same,” he tells IQ. “While tariffs may present some challenges, our team is proactively working on solutions to ensure we continue delivering value for both our fans and partners.

“The past few years have shown us how resilient and adaptable our industry can be in the face of global uncertainty, and we have come out the other side stronger. BC Place’s commitment to overcoming challenges and evolving with the changing landscape has always been key to our success, and we’re confident that we’ll continue to thrive despite any external challenges.”

The Paris-based Organisation for Economic Co-operation and Development (OECD) today (17 March) published its latest Interim Economic Outlook. It projects the tariffs will lead to global growth slowing to 3.1% in 2025 and 3% in 2026, while revising its inflation forecast upwards by 0.3 percentage points to 3.8%, compared to its Economic Outlook in December.

Due to being hardest hit by the tariffs, the impact on Canada and Mexico is expected to be the most substantial, with the OECD now predicting Canada’s economy to expand by 0.7% this year and next, down from the previous forecast of 2% for both years.

Meanwhile, Mexico is projected to contract by 1.3% this year and a further 0.6% in 2026, having previously been expected to grow by 1.2% and 1.6%, respectively.

The US’ forecast has also been downgraded to 2.2% for 2025 and 1.6% for 2026, compared to 2.4% and 2.1% in the last outlook.

“The global economy has shown some real resilience, with growth remaining steady and inflation moving downwards. However, some signs of weakness have emerged, driven by heightened policy uncertainty,” says OECD secretary-general Mathias Cormann. “Increasing trade restrictions will contribute to higher costs both for production and consumption. It remains essential to ensure a well-functioning, rules-based international trading system and to keep markets open.”

“Today’s political reality creates an opportunity for our industry to help lead through these turbulent times”

Canadian Live Music Association (CLMA) president and CEO Erin Benjamin says the trade war is quickly raising significant concerns within Canada’s live music industry.

“Tariffs are expected to have multiple direct and indirect impacts on live music businesses and organisations, including increased operational costs,” she says.

“Today, one of the greatest worries – which has broad economic implications – is that the trade war will lead to decreased overall consumer spending on entertainment, affecting ticket sales and attendance at live events.”

However, Benjamin is keen to accentuate the positives amid the ongoing uncertainty.

“These three things are as true today as they ever have been – Canada’s live music industry is a cultural and economic powerhouse, our incredible home-grown artists embody the essence of Canadian identity, and, concerts have always meant positive impact for tourism, job creation, artist development, and economic growth,” she says.

Benjamin references the CLMA’s public awareness campaign, #CanadaIsLiveMusic, which was recently launched “to better highlight the potential for growth our sector represents”.

“Today’s political reality creates an opportunity for our industry to help lead through these turbulent times,” she continues. “With new, compelling economic data in hand, #CanadaIsLiveMusic sends a strong signal that our industry is more than ready to be an even stronger catalyst for, and champion of, a resilient Canadian economy.”

In closing, Benjamin extends a warm welcome to Canada’s new prime minister and Liberal Party leader Mark Carney, who succeeded Justin Trudeau as PM earlier this month.

“The CLMA welcomes Mr Mark Carney as the new leader of the Liberal Party, and looks forward to working with all political parties to harness the true power of live music, creating a legacy of cultural vibrancy, increasing jobs, economic resilience, and community connection for generations to come,” she finishes.

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The Canadian Live Music Association (CLMA) says it is monitoring the conversation around Donald Trump’s tariff threat “very closely” amid the potential implications for Canada’s touring business.

The US president has agreed to pause his proposed 25% on imports from Canada and Mexico for 30 days after reaching temporary deals with Canadian PM Justin Trudeau and Mexican president Claudia Sheinbaum.

Trump previously said he was taking action “to hold Mexico, Canada, and China accountable to their promises of halting illegal immigration and stopping poisonous fentanyl and other drugs from flowing into our country”. He has imposed a 10% tariff on Chinese imports.

“We are obviously monitoring the tariff conversation very closely,” CLMA president and CEO Erin Benjamin tells IQ. “Whether directly or indirectly, should tariffs come into place, the live music and entertainment sectors will be impacted. We are quickly aligning with the broader tourism industry, and working in close collaboration with others to plan, monitor, and respond/react, as necessary.”

Meanwhile, Ottawa-based CLMA this week released the findings of its economic impact study Here and Now: understanding the economic power and potential of Canada’s live music industry.

The benchmark report found that the country’s live music industry supports more than 100,000 jobs and attracts hundreds of thousands of tourists year over year.

“The numbers in it have been achieved largely in the absence of any dedicated fiscal policy frameworks aimed at incentivising growth”

In 2023, festivals and concerts in Canada together brought in 19.69 million visitors, with live music operations contributing €2 billion (€1.3bn) to GDP. Furthermore, it says the combined impact of live music company operations and tourism spending amounted to an economic contribution of $10.92bn (€7.34bn).

“The incredible small, medium, and large venues, clubs, concert halls, festivals, arenas, and other live music spaces that connect artists with their fans form a vast, complex, indoor and outdoor ecosystem,” says Benjamin. “This is the system that facilitates live music–and its massive supply chain across Canada, be it a national arena tour, or a one-off local show in a 120-cap independent venue and everything in-between.

“Understanding and harnessing this system creates a significant and scalable competitive advantage for Canadians and for all levels of government and is essential for our artists so that they can continue to share the music we love and need. And why wouldn’t we? This study is a benchmark, the numbers in it have been achieved largely in the absence of any dedicated fiscal policy frameworks aimed at incentivising growth. $10.92bn in combined impact from live music and tourism spending – without trying.”

5X Festival co-founder and CLMA board chair Tarun Nayar says the report’s findings “make it clear that protecting and growing Canada’s live music infrastructure directly results in more jobs, major economic impact for cities and towns, and more performance opportunities for Canadian artists”.

“It means more fans choosing Canada when deciding where to spend their (billions of, as it turns out) music tourism dollars,” adds Nayar. “It means sold out hotels, fully booked flights, bustling shops, and restaurants. It means togetherness and social cohesion. It means better mental health. It means thriving downtowns. It means attracting and retaining other industries and talent to our cities. It means more revenue for artists and musicians. It means more music and memories with family and friends that change our lives.”

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The Canadian Live Music Association (CLMA) has set out to IQ what the industry wants to see from a new government following Justin Trudeau’s resignation after nearly a decade as Canada’s Prime Minister.

“The resignation of prime minister Justin Trudeau undoubtedly marks a turning point for our country as the world grows ever more complex, competitive, and small,” Erin Benjamin, president & CEO, CLMA tells IQ.

“Looking forward to a bright future for the live music industry, the CLMA is actively deepening awareness of the critical role live music plays in the Canadian economy. Harnessing Canada’s touring infrastructure creates a significant and scalable competitive advantage for Canadians and for all levels of government and is essential for our artists so that they can continue to create and share the music we love and need.

As with other live music markets around the world, Canada’s business has been grappling with mixed fortunes in the past year.

At the top end, major tours from the likes of Tate McRae, Green Day, The Rolling Stones, and Taylor Swift (whose Eras Tour closes in Vancouver in December) all rolled through the North American nation in 2024.

Meanwhile, behemoths like Live Nation and Oak View Group are capitalising on the parade of A-list artists with new venues – the former with a new open-air, seasonal stadium in Toronto and the latter with projects including the $300m Hamilton Arena Project.

At the same time, other players in the industry are struggling with a convergence of inflation, changes in fan behaviour, lingering effects of the pandemic and the cost of doing business.

“Harnessing Canada’s touring infrastructure creates a significant and scalable competitive advantage for Canadians”

“On January 30th, the CLMA will be releasing significant data and analysis from the first-ever economic impact study of the sector,” continues Benjamin. “The timing of the report is meant to inspire future policy that will reflect the industry’s place and true potential for growth within Canada’s cultural and economic framework, expanding and leveraging current and future impact.

“She added: “The CLMA looks forward to working in collaboration with Canada’s next government, confident in the understanding that protecting and growing Canada’s live music infrastructure directly results in more jobs, major economic impact for cities and towns, and more performance opportunities for Canadian artists. The CLMA thanks Prime Minister Trudeau for his years of devoted service to Canada.”

Read more about Canada’s live music market in the Global Promoters Report, Global Arena Guide and the International Ticketing Report.

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Canadian Live Music Association (CLMA) boss Erin Benjamin has warned of further cancellations after Billie Eilish became the latest superstar act to postpone tour dates due to provincial restrictions.

Eilish’s planned 15-16 February shows in Montreal and Toronto are being rescheduled as a result of “local guidelines and an abundance of caution”.

The singer follows the likes of Dua Lipa, The Weeknd and The Offspring in shifting concerts in Canada in light of the latest Covid-19 restrictions issued by the Ontario government, which limit concert venues to 50% capacity until at least 14 March – despite other entertainment spaces such as cinemas, casinos and restaurants expecting to be given the go-ahead to host full houses from 21 February.

Benjamin told The Canadian Press the policy was “really hard to understand”, and would likely deter other top international acts from visiting the country this year.

“We’re hearing things like outright cancellations and conversations being paused until 2023”

“I think the growing sentiment is that Ontario is closed for business,” she said. “The idea of doing business in Ontario is so uncertain that folks are just not interested in constantly trying to navigate the rules. We’re hearing things like outright cancellations and conversations [regarding future tour dates] being paused until 2023.”

The CLMA is also appealing for the government to extend relief for live music businesses via the Emergency Business Account (CEBA) and the Regional Relief and Recovery Fund (RRRF).

“We thank the government of Canada for its support of small business recovery through the recent extension of the interest-free repayment period for CEBA and RRRF loans from their previous end date of December 31, 2022 to December 31, 2023,” says Benjamin in a letter to the ministers of finance and international trade. “However, since the start of the pandemic, many live music businesses have taken on debt that will take at least two years to resolve; our members continue to report a bleak outlook for the future. As such, while this extension will provide some relief, it will not be enough.

“In support of other associations, such as the Tourism Industry Association of Ontario (TIAO), and on behalf of the CLMA, I urge you to consider increasing both CEBA’s and the RRRF’s maximum loan forgiveness amount by up to $10,000 if the balance of the loan is repaid by the end of the 0% interest free grace period; and extending the interest-free repayment period for CEBA loans and RRRF loans to December 31, 2024. These changes will help reduce the financial burden many businesses and organisations are currently facing.”

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The Canadian government today (8 July) announced that organisations operating in the for-profit live music industry can gain access to a CA$20m (€13m) Covid-19 support fund.

The funding, the first sector-specific support to be granted to the commercial music sector in Canada, comes in the second phase of distributions from a CA$500 million (€326m) emergency support fund for cultural, heritage and sport organisations that have been negatively impacted by the Covid-19 pandemic.

The second wave of funding distributions will see temporary support given to organisations that do not currently receive funding from Canadian Heritage, the Canada Council for the Arts, Telefilm Canada or the Canada Media Fund, including “organisations in live music”.

“Unfortunately, we have already lost venues and companies. But this will make a difference for others, and comes not a moment too soon”

Types of eligible companies include for-profit venues, festivals, promoters, booking agents and managers, as well as non-profit organisations who were otherwise ineligible for phase one distributions. Successful applicants will have to meet the eligibility criteria. The minimum contribution will be $5,000 (€3,260).

The music funding, which also includes $5m (€3.3m) for the recorded sector, will be delivered through the Canada Music Fund and administered by Factor and Musicaction.

“This is significant,” comments Canadian Live Music Association CEO Erin Benjamin. “For the historic recognition the for-profit live music sector is finally receiving from the federal government (having never been able to access funding in the past), and for the help the financial relief may provide to those who are in urgent need.

“Unfortunately, we have already lost venues and companies. But this will make a difference for others, and comes not a moment too soon.”

More information about the fund, eligibility and applications is available here.

This article forms part of IQ’s Covid-19 resource centre – a knowledge hub of essential guidance and updating resources for uncertain times.

The Canadian Live Music Association (CLMA) announced a new board of directors at its fifth annual general meeting on Thursday 10 October.

The association, headed up by CEO Erin Benjamin, shared the year’s achievements, including its retirement of the former Music Canada Live brand and relaunch as the CLMA.

“Our new name and brand clearly reflect who we are and will strengthen our ability to advocate on behalf of our sector, our amazing members and deepen relationships with our many valued partners,” commented board chair Jesse Kumagai at the meeting.

The newly elected 2019-2020 board members are Sam Baijal, artistic director of Ontario’s Hillside Festival; Kerry Clarke, artistic director of Calgary Folk Music Festival; Tao-Ming Lau, founder of Blue Crane agency; entertainment lawyer Miro Oballa; and Katy Venneri, director of the Juno Awards.

“Our new name and brand clearly reflect who we are”

The CLMA thanked outgoing founding board members Jean Wilkinson (APA), Neill Dixon (Canadian Music Week), Tom Kemp (Feldman Agency) and Michael Hollett (NXNE) for their contributions.

Over the year, the CLMA engaged in issues including secondary ticketing, safety and security at live events, harassment and bullying in the workplace, artists’ career development and the future of grassroots music venues.

In March, the Canada Arts Presentation Fund received a CAN$16 million boost in funding from the federal government, in a move lauded by the CLMA.

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Canada’s national industry association, formerly known as Music Canada Live, has rebranded as the Canadian Live Music Association for 2019.

“This is an important milestone for our organisation,” explains Jesse Kumagai, chairman of the association’s board. “As Music Canada Live we were able to hit the ground running back in 2014, with great thanks to Music Canada for providing the support we needed to launch and grow as quickly as we did.

“Now, with over 200 members across the country and a clear mandate ahead of us, the time is right to establish our own distinct identity. Our new name and brand clearly reflect who we are and will strengthen our ability to advocate on behalf of our sector, our amazing members and deepen relationships with our many valued partners.”

In addition to the name change, Erin Benjamin, formerly Music Canada Live executive director, becomes president and CEO of the Canadian Live Music Association.

“We are helping to tell the story of live music in this country by championing the work of our members”

“We have achieved a remarkable amount of success in a very short time,” says Benjamin (pictured), “because live music is more important than ever, especially to artists. Our sector, in terms of Canadian music market revenues, is anticipating tremendous growth by 2021 and beyond.

“A robust association means a healthy industry. We are helping to tell the story of live music in this country by championing the work of our members, because when live music prospers, everybody benefits.”

The Canadian Live Music Association, formed as Music Canada Live in 2014, represents concert promoters, festivals, booking agencies, venues, clubs, arenas, performing arts centres, ticket agencies and other organisations and suppliers in Canada.

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