In a video interview with SOCAN, Wesli – nominated for World Music Album of the Year, for Rapadou Kreyol – briefly discusses the making of the album, mixing Haitian roots music with contemporary production, and his songwriting process.


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In July 2018, singer-songwriter and SOCAN member Jason Bajada published a Facebook status which caused such a commotion that Urbania magazine invited him to expand on the topic, which he accepted. The subject of his rant? People who constantly talk during live music performances, diminishing the enjoyment of other concertgoers, there to listen to the music, not the chit-chat of “toxic” spectators and their last trip to Cuba…

And audiences aren’t the only ones who pay for this increasingly common lack of courtesy. Artists themselves sometimes have to intervene, and promoters unwillingly end up having to play the role of hall monitors. In other words, it was the perfect topic for a panel discussion that was the talk of the town (in a good way) after its two presentations during the forum component of RIDEAU, held Feb. 18, 2019, in Québec City.

On hand to try and determine solutions were Geneviève Côté, SOCAN Chief of Québec Affairs, who served as a moderator, as well as Jason Bajada, and Jean-Sébastien Martin, the Director of the Centre culturel de Joliette.

Several solutions were proposed to solve this multi-faceted issue. Although a direct intervention with the delinquent spectator remains a valid option, there’s always the risk of provoking frustration or anger, which renders it a delicate matter. The venue’s seating arrangement (club tables, theatre seating, standing, etc.) can play a dissuasive role by minimizing the opportunity to talk loudly with the person next to you. Should lounge areas be provided in order to allow people to continue talking? Should bars be located outside of the concert hall itself? Or maybe humour and education should be favoured, using messages that are broadcast before, or even during, shows, as Bajada suggests? Is being expelled from the venue, as a last resort, still an advisable option?

Eric Parazelli, Paroles & Musique Editor, asked all three panelists about their positions on the issue after the presentation:


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In a video interview with SOCAN, Splash’N Boots – for whom this is the sixth Children’s Album of the Year JUNO Award nomination, this time for You, Me and the Sea – briefly discuss their reaction, and co-writing and recording it with producer Alan Doyle, formerly of Great Big Sea.


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