Canadian Radio Laws are Crucial to Preserve Culture

As the daughter of the ultimate Tragically Hip fan, I have always appreciated – and have on occasion been perplexed by – my dad’s affinity for Canadian artists. My confusion subsided only after considering my own favourite artist, Dallas Green. Dallas Green started his solo act of City and Colour in 2005. Having devoted myself to City and Colour’s career through nine years, six concerts, and five new LPs, I was surprised to learn that his music has little reach outside Canada. Part of the problem with Canadian music culture is that people don’t realize it is Canadian. Canada’s music industry is the sixth largest in the world, producing international icons like Drake, Michael Bublé, and Shania Twain. Simultaneously, it introduces nationally popular artists that we take for granted, such as the Arkells, the Bahamas, or Marianas Trench—bands we are familiar with, who we don’t recognize as being Canadian. The Canadian radio laws dictate that commercial radio stations must broadcast Canadian content for at least 35% of their weekly prime-time programming. CBC radio ensures that 50% of their music selections are Canadian content. For some, this means less time listening to their favourite songs or their regular playlists—but it’s crucial for the Canadian music industry’s survival. In a world dominated by social media that draws exorbitantly on American culture, these laws allow room for Canadian artists to thrive. For bands looking to start their careers, there is a dependence on community support.

Characteristically, they’ll play at local venues, and advertise themselves in local magazines—until they get noticed by someone willing to give them their big break. This applies to Canadian artists of all forms. Although radio is not everyone’s preferred method of music consumption, it offers the opportunity of exposure for those small-time artists who catch some radio-play. People begin to recognize songs or names from hearing them in the media, whether it be Discover Weekly on Spotify or speakers in the grocery store. Without realizing, people develop an appetite for these tracks.

When the Tragically Hip played their final Canadian show here in Kingston, 11 million people tuned in, uniting one third of the country’s population. The band – active for 33 years before Downie’s untimely passing – were inducted into Canada’s Walk of Fame and the Canadian Music Hall of Fame, won 16 Junos, and released 14 LPs. They never won an American music award, and their highest Billboard charting was No. 16 [with “Courage (for Hugh MacLennan)]. The Hip represents the pinnacle of Canadian music culture—and yet we see artists like Drake and Justin Bieber who were propelled to the international stage, arguably by their American connections (Lil Wayne and Usher respectively). These radio laws allow Canada to both retain and form new aspects of a culture independent from the dominion of international music. They help Canada find confidence in their homegrown talents and voices.

by Maggie Gowland

PHOTOGRAPHY BY LUCAS MCCOMB