Now four years into the role, ADISQ’s General Manager has no regrets about diving into uncharted waters, driven as she was by a desire to bring people together.
Eve Paré welcomes us to ADISQ’s new offices on Saint-Denis Street, in the heart of Montréal’s Quartier Latin. Right next door is the brand-new Canadian Music Centre, and just across the street, the Maison de la chanson, which now calls the former Bibliothèque nationale du Québec home.
As she gives us the tour, we take in the bright, open spaces of ADISQ’s fully renovated offices, which now span all four floors of the building. At street level, toward the back, there’s a multi-purpose room featuring a small, brick-lined stage, perfect for showcases, with a view onto the Grande Bibliothèque. It’s an impressively well-designed space. ADISQ is part of a group of cultural organizations located in what’s known as the Eastern hub of the Quartier des spectacles – an area undergoing major urban renewal after years in need of revitalization.
New Blood
A newcomer to the music industry at the time of her appointment, Paré had been working with the Greater Montréal Hotel Association and Tourisme Montréal. At the strong recommendation of ADISQ’s Board of Directors, the trained economist was approached for the role. Bringing members together and forging partnerships were exactly what ADISQ needed: a hands-on leader.
“I love a good challenge,” says Paré. “When I saw the job posting at ADISQ, I thought, ‘This is it, I’m going for it.’ Obviously, right in the middle of the pandemic, in 2021, the industry was going through a rough patch. I came in with a mandate to maintain continuity, but also to drive change. We had to rethink the way we did things.
“When I started, some people had grievances about ADISQ, so I took the time to listen and figure out what could be improved. We needed a proper diagnosis before we could start building a strategic plan. We conducted interviews with both critics and supporters of ADISQ. We operate in an ecosystem where everyone has to work with everyone else, and that was a first for me.”
Investing in Career Development
When the conversation turns to politics, Paré is quick to applaud any form of government support for the music sector, like the latest federal budget, which earmarked $48 million over three years. Radio-Canada also announced additional funding for the music scene. And just in time for the holidays – when ADISQ reminds us that concert tickets make a great Christmas gift – another three pieces of good news popped up: Bill 10, which cracks down on ticket re-sellers and their harmful practices; and Bills 108 and 109, which were just passed, affirming Québec’s cultural sovereignty; and establishing a law to promote the discoverability of Francophone cultural content in the digital space.
For Paré, reaching new audiences is vital. ADISQ à l’école, a project supported by SOCAN, is undoubtedly one of the best ways to connect with younger generations.
“ADISQ, by definition, is an entire ecosystem that revolves around the artist,” the General Manager explains. “We had to adapt. I came in with a fresh, candid perspective. I wanted to turn over every stone, even if it meant asking silly questions – like having someone explain to me how the music world actually works. The biggest challenge was learning to navigate a space so heavily supported by public funding. That was all new to me.
Partners and Challenges
“In the same day, I might be in a morning meeting negotiating something face-to-face with one partner, then sitting on the other side of the table in the afternoon negotiating something entirely different. That kind of ever-shifting setup takes a bit of agility; you can’t afford to get into fights with anyone, because you need everybody! And if we can’t agree” – she cites artists and radio stations as an example – “then let’s at least try to disagree respectfully.”
The web giants and the re-distribution of copyright royalties are front and centre these days. “It’s a power struggle,” she says. “On one side, you have multi-national corporations; on the other, you have Québec’s music ecosystem. We’re not in a position to claim a much bigger slice of the pie. Negotiating with platforms isn’t easy, but on the ground, we try to work together in good faith, even if, at the corporate level and before the CRTC, our positions on music promotion and financial contributions remain at odds.”
We tried to get her to name some favourite ADISQ members, but in true political form, she laughed and dodged the question: “They’re like my children – I love them all!”
The forty-something native of Repentigny (a suburb just northeast of Montréal) is also an avid scuba diver who caught the bug in the Cégep de Rosemont pool. When she’s not off the coast of Central America, she’s diving in Egyptian waters, a marine sanctuary beloved by enthusiasts. “I’m heading back there for three weeks over the holidays,” she says with a smile.