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 LGBTIQ+ List 2024 – IQ Magazine’s fourth annual celebration of queer professionals who make an immense impact in the international live music business – has been revealed.

The ever-popular list is the centrepiece of IQ’s fourth Pride edition, sponsored by Ticketmaster, which is now available to read online and in print for subscribers.

To get to know this year’s queer pioneers a little better, we interviewed each of them on the development of the industry, the challenges that are keeping them up at night and more.

Throughout the next month, IQ will publish a new interview each day. Catch up on yesterday’s interview with Caterina Conti (she/her), an operations manager at 432 Presents in Glasgow, Scotland.

The series continues with Chris May (he/him), general manager at BC Place Stadium.

Chris May, general manager at BC Place Stadium in Vancouver, has more than 15 years of dynamic leadership experience in global event management. With a diverse portfolio ranging from live concerts, musicals, and TV telethons to overseeing international touring logistics, May has overseen the successful execution of events on six continents, welcoming millions of guests. 

Since joining BC Place, May has been instrumental in driving its growth and diversification. Notable highlights include securing the stadium as a host venue for FIFA World Cup ’26, setting new records for the most concert nights in a year at BC Place and the most attended concert ever with Ed Sheeran’s Mathematics Tour in September 2023, and most recently, the launch of Coast City Country Festival in collaboration with Live Nation.

Tell us about the professional feat you’re most PROUD of in 2024 so far.
This April we launched our first-ever country music festival, Coast City Country, right in the heart of downtown Vancouver. Hosting 50,000 attendees daily with an indoor-outdoor experience (not to mention, during the festival off-season), was a huge achievement and no small feat. Extraordinary collaboration between our stadium team and Live Nation is what made it possible.

“My job is to create space and amplify the voices of those who don’t have the level of privilege I do”

Your colleagues in the international live music industry have praised you for being a “fantastic ally” for LGBTIQ+ people. What does that allyship look like?
For me, being an ally to the LGBTIQ+ community is about recognising my privilege within this community as a cis-gendered white individual. It’s about leveraging that privilege to carve out space and extend support to those within our community who face systemic challenges. My job is to create space and amplify the voices of those who don’t have the level of privilege I do. My role is not to determine the path of our community, it’s to ensure that people who have had a more challenging journey than me are leading the way and I’m supporting them in the best way I can, and they want. 

What’s your most pressing challenge in the industry at the moment?
Our foremost challenge is in advocating for ourselves. Secondly, reshaping perceptions of our stadium. And importantly, finding a way to do these things through a lens of diversity, equity, and inclusion, while embracing the principles of Truth and Reconciliation as a venue located on the traditional Coast Salish territory of the xʷməθkwəy̓əm (Musqueam), Skwxwú7mesh (Squamish), and Səl̓ílwətaʔ/Selilwitulh (Tsleil-Waututh) Nations. Truth and Reconciliation involves confronting historical injustices and fostering healing and understanding among communities. In our context, it means acknowledging and addressing past wrongs and working towards a more equitable and inclusive future. 

“We all need to work together to develop what’s next and continue fostering a vibrant industry and ecosystem… This collaboration not only nurtures fresh talent but also opens doors for diverse experiences and perspectives to flourish”

How do you see the live music business developing in the next few years?
As the stadium business booms, it’s important that we aren’t losing focus. I aspire to be part of an industry where the big dogs are champions for emerging talents and venues. We all need to work together to develop what’s next and continue fostering a vibrant industry and ecosystem. Imagine a scenario where established venues, promoters, and investors actively engage with emerging talents, smaller venues, and grassroots initiatives. This collaboration not only nurtures fresh talent but also opens doors for diverse experiences and perspectives to flourish. It’s about creating beneficial partnerships where each player contributes to the growth and evolution of the industry. Without a focus on development, there won’t be a foundationally secure industry in the future.

Name one thing the industry could do to be a more equitable place.
In North America, the industry has serious work to do in making sure folks with accessible needs get fair treatment from start to finish when attending a show. It starts with ticket buying – right now in North America, accessible tickets are generally available for any guest to purchase – we need to ensure accessible tickets are reserved exclusively for those who need them. The next step is enhancing the overall stadium experience to cater to diverse needs. In September 2023, we hosted Coldplay for two nights on their Music of the Spheres World Tour, and their accessible seating options, focus on sustainability, and commitment to diversity and accessibility set an inspiring example for all of us.

“The Vancouver Pride Parade and Festival is my favourite queer space and event, and it holds a special place in my heart — it makes me proud to call Vancouver home”

Is there a queer act you’re itching to see live this year?
I can’t wait to catch another Orville Peck show. It’s been a couple of years since I last saw him perform, and he has a strong Vancouver connection (in addition to being all-around fabulous). 

Do you have a favourite queer space/venue in British Colombia or Canada?
The Vancouver Pride Parade and Festival is my favourite queer space and event, and it holds a special place in my heart. Being one of the largest celebrations in the country, the whole city comes alive in early August. It makes me proud to call Vancouver home.

How do you celebrate pride?
Professionally, we celebrate by participating in the parade, and through our Pride Pit Stop patio party, which we run alongside the Pride Festival at the finish line for the parade (located right at our stadium). Personally, my husband and I, along with our 7-year-old son, host an annual pride brunch. From 7am to noon on parade day we host 50+ people, complete with a mimosa bar and Caesar bar (the Canadian Bloody Mary, for those who are wondering).

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Taylor Swift has added three more dates to The Eras Tour, extending the blockbuster outing to a total of 120 shows across 21 months.

The star will play an additional trio of dates in Canada, at Vancouver’s BC Place (cap. 54,500) between 6-8 December 2024, with Gracie Abrahms supporting.

The shows on Canada’s west coast follow six shows in Toronto and are part of the 15-date 2024 autumn run Swift announced in August.

The Eras Tour was easily the highest-grossing tour of H1 2023, based on Pollstar data and, with the added shows in Vancouver, it is likely to exceed an estimated US$1.5 billion.

The shows on Canada’s west coast follow six shows in Toronto and are part of the 15-date 2024 autumn run

The tour, which is produced by Taylor Swift Touring and promoted by Messina Touring Group, has been on a break since August.

It resumes 9 November for a South American run with concerts in Buenos Aires, Rio de Janiero and São Paulo, while Asia dates begin in February.

Meanwhile, Swift’s The Eras Tour concert film grossed more than $100 million in advance ticket sales over a week before its premiere.

The BBC reports it is already the most profitable concert film in history, overtaking Justin Bieber’s Never Say Never, which made $99m in 2011, and the Swift film will join just five movies in having generated more than $100m in their North America debut this year.

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A riot erupted at a hip-hop festival in Canada after rapper Lil Baby abruptly cancelled his headline performance due to illness.

The US artist had been due to close the two-day Breakout Festival at Vancouver’s 7,000-cap PNE Amphitheatre on 18 August, but pulled his set at the 11th hour, with organisers tweeting he was “too sick to perform”.

According to police, the announcement sparked fights among concert-goers inside and outside the venue, with seven people arrested for breach of the peace and “likely thousands of dollars” caused in property damage.

“Vancouver Police officers were already inside the venue and providing extra security when several hundred people began fighting and destroying property in the Amphitheatre, on the PNE grounds, and in the surrounding neighbourhood,” says constable Tania Visintin. “Dozens of extra officers were redeployed from other areas of the city to restore order, with some officers having bottles and other objects thrown at them.”

A criminal investigation into the disorder has now been launched.

“We will pursue criminal charges against people who participated in this violence and destruction”

“We will conduct a full and thorough investigation into the actions of anyone who destroyed property, put concert-goers in danger, or committed other criminal acts,” adds Visintin. “Though this investigation will take time, we will pursue criminal charges against people who participated in this violence and destruction.”

Artists including Polo G, Quavo & Takeoff and Saturday night headliner Trippie Red had performed at the event over the weekend. Breakout Festival had previously taken place in 2018 and 2019.

“Last night’s end to the 2022 Breakout Festival resulted in the worst case scenario of disappointment due to Sunday’s final performer cancelling and we want to apologise to everyone who peacefully left the venue, as well as the venue staff and the Hastings-Sunrise neighbourhood for the way Breakout 2022 ended,” says a statement from organisers.

“We do not condone violence or destruction of property and are utterly disappointed with the way some of our patrons acted at this year’s event. Safety of our guests and venue staff is our number one concern. We did everything to make Breakout a unique and enjoyable experience for Vancouver’s rap fans.

“We want our audience to know we did everything in our power to make every festival a success and we want to thank every loyal fan and all of the staff who attended the events over the years. Stay tuned for information and details regarding partial refunds for two-day and Sunday Breakout 2022 ticket-holders.”

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Canadian talent agency The Feldman Agency (TFA) has announced the promotion of Olivia Ootes from director to vice president of operations.

In her new role, Ootes continues to work closely with senior staff on company structure, as well as overseeing the administration of day-to-day operations, including staffing, IT, budgeting and the intern programme.

Ootes has worked at TFA for over 20 years, joining the company’s Toronto office as a junior coordinator in 1998. She moves from the position of director of operations, which she held for five years.

Alongside agent and senior vice president, Vinny Cinquemani, Ootes works directly with leading Canadian artists including Bryan Adams, Burton Cummings, Michael Bublé and David Foster.

“The commitment to growing careers internally, as well the quality of work happening here, has made TFA one of the most reputable companies in the industry”

“Olivia and I have worked closely together for many years and she has been a key player in the development and career of many of Canada’s premiere artists,” says Cinquemani.

Ootes comments: “I am honoured to move into this increased leadership position at TFA, which has been a supportive and encouraging home to me. The commitment to growing careers internally, as well the quality of work happening here, has made TFA one of the most reputable companies in the industry.”

Talent agency and management group TFA has over 40 years experience in the entertainment business, representing artists including Diana Krall, Carly Rae Jepsen, Badbadnotgood and Jann Arden. TFA has offices in both Toronto and Vancouver.

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Eventbrite has announced it has acquired Vancouver-based ticketing and event registration platform Picatic. The deal is the latest in a busy twelve months for the global ticketing platform, which has already seen the acquisition of Dutch ticketers Ticketscript, US-based Ticketfly and the Spanish Ticketea.

Built on the idea of empowering event creators, Picatic has previously made its name through its “elegantly simple” software. Jayesh Parmar, CEO and co-founder, speaks passionately about events and the community they create. “Events are deeply rooted in our company’s DNA and we share the same passion for live experiences as the team at Eventbrite,” he says.

“Joining forces brings tremendous value to our loyal customers, who will now benefit from Eventbrite’s powerful platform. We’re excited to share our talented development community and have a broader impact in the Canadian market and beyond.”

“We are particularly inspired by [Picatic’s] commitment to empowering purpose-driven creators to drive positive change in their communities”

With employees in Calgary, Toronto and Montreal, the acquisition will further expand Eventbrite’s Canadian offering. Parmar will join the ticketing giant’s team to continue leading Picatic operations in Vancouver.

Julia Hartz, CEO and co-founder of Eventbrite, has commented on the deal, saying the two ticketing platforms share the same passion for live experiences. “We are particularly inspired by [Picatic’s] commitment to empowering purpose-driven creators to drive positive change in their communities,” she adds.

“Eventbrite has a long-standing commitment to Canada. Vancouver is emerging as a lively tech hub, full of world-class talent and innovative companies, and we feel a strong connection to it as a technology and cultural centre.

“We look forward to continuing to expand our local team and empowering our creators in this vibrant market.”

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