The day “Rick ‘n’ roll” gave way to rock ‘n’ roll will go down in history as another notch in the belt of independent Canadian songwriters.

After torturing its future listeners – maybe “torturing” is too strong a word, so let’s go with “teasing” – with seven days of 24-hours-a-day airings of British singer Rick Astley’s 1987 pop smash “Never Gonna Give You Up” ad nauseum, new Toronto radio station Indie88 finally whelped itself into existence with Arcade Fire’s “Ready To Start” on July 31.

With its noon launch on the 88.1 FM radio dial, Indie88 marked a new chapter for Canadian independent tunesmiths, a touch of fresh air in this less-than-a-penny-rate-per-spin era of emerging new media platforms.

“Our condition of licence is at 40 percent Canadian content, of which 60 percent must be emerging artists,” explains Indie88 program director Adam Thompson, who cites Hannah Georgas, Dan Mangan and Toronto band Pup as early station listener favourites.

“So there’s unlimited potential. We don’t put conditions on what we play or what we don’t play. It’s basically, do the work, play the shows, cut through and you have a home here.”

Since Canadian songwriters have been earning an average of roughly $1.35 per play on the station (as of the August 2013 SOCAN distribution) , it serves as a reminder that in an age where innovative, digitally-driven technological models are being ushered in with uncertain compensation models for music creators, the performance royalties generated by radio airplay still stand as a significant, reliable source of income.

And while most self-contained recording artists would give anything for mainstream radio airplay, the reality is that there are at least a few radio champions of independent music in Canada.

“You can kind of ballpark it, but sometimes there’s a huge spike because some radio station spun the hell out of it.” — Royal Wood

Domestically, for songs ranging from one minute to seven, Canadian indie songwriters  can rely on: campus and community stations (a SOCAN survey rate of $4.60 per spin, but only reflecting the survey period, which can last from three to 14 days annually, depending on the license fee of the station); commercial radio formats (the BDS or Broadcast Data Systems-monitored rate of $1.35 per spin); and CBC Radio 2, which has a reach of 2.1 million listeners and pays an average $27.50 per airing. These rates were calculated for SOCAN’s August 2013 distribution, and change slightly with each quarterly distribution.

Songwriters receive SOCAN performance royalty cheques four times a year, and the income generated for Canadian indie musicians is often  significant, but can vary widely in size.

“I’ve never counted performance income as income I can rely on, because you never have any way of truly knowing what it’s going to be,” says JUNO-nominated, Toronto-based singer and songwriter Royal Wood from a tour stop in Switzerland.

Wood, whose music is played regularly on CBC Radio 2, and campus and community stations, cites the ebb and flow of career activity as a reality affecting royalty generation, which ebbs and flows in turn.

“You can kind of ballpark it,” he says, “but sometimes there’s a huge spike because some radio station spun the hell out of it, and somebody used your song again in multiple countries. So there’s always that question of ‘What if?’ I don’t always pay my mortgage as much with my SOCAN royalty income; I put that back into my career.”

Of course, in a group situation with more than one songwriter, the royalties have to be split between the co-writing band members, notes ex-Two Hours Traffic singer-songwriter Liam Corcoran.

“It’s substantial at times, but I certainly wouldn’t be able to make a living off of what we’re getting,” says Corcoran, who started the ECMA Award-winning Charlottetown, P.E.I. power-pop quartet a dozen years ago before their split in October 2013.