The Société pour l’avancement de la chanson d’expression française (SACEF) has launched the 28 th edition of its Ma première Place des Arts competition. Starting Wednesday, March 2, 2022, Montréal’s Salle Claude-Léveillée will host 24 participants – six performers and 18 singer-songwriters – over the course of eight shows presented under the musical direction of Guillaume Rochon.

This year’s contestants are Émilie Bédard, Fred Labrie, Sophia de Moor, Andréanne Sabourin-Côté, Julien Gagné, Alex Doré, Christopher Therrien, Julien Leeb, Maude Carrier, David Jankowski, Christine Beaulieu, Oli Féra, David Beauchemin, PETiTOM, Julie Houde, Barrique D’Encre, Antoine Perreault, Queen Drey, Solane, Alphonse Bisaillon, Jeremy Lachance, Patrick Bourdon, Philippe Plourde, and Emmanuelle Querry.

The mentors for this edition are SOCAN members Brigitte Saint-Aubin and Paule-Andrée Cassidy for the quarter-finals, as well as Manuel Gasse, Florence K, Chloé Lacasse, Guylaine Tanguay Catherine Durand, and Alexandre Poulin, for the contestants who make it to the final round. The juries for the quarter-finals are Josianne Paradis, Tristan Malavoy, and Félix Dyotte. For the fifth straight year, Olivier Robillard Laveaux will host all eight shows.

Ma première Place des Arts is a contest that allows the participants to get personalized mentorship, and to perform during a televised event held in the Salle Claude-Léveillée of Place des Arts. They also receive comments on their work, benefit from promotional visibility, and participate in workshops alongside industry professionals. There are networking opportunities with established artists and other players, all while accessing a possible opportunity to win several grants and other prizes designed to help them launch their careers.
Visit Ma première Place des Arts’ website for more information about the contest, or to learn more about SACEF.



Current broadcasting laws and regulations were designed for radio and television. While these rules have been effective, foreign digital platforms have zero obligations to support and promote Canadian creators, even to Canadian audiences. Reforming the Broadcasting Act is a necessary step to strengthening Canadian songwriters and composers’ place within Canada and supporting Canadian music in a digital world.  This article continues to explain SOCAN’s advocacy efforts to reform the Broadcasting Act. The first article in this series can be read here.

From SOCAN’s data, we’re seeing public performance royalties collected from traditional broadcasters decreasing, while those from digital broadcasters are increasing.

To clarify, by “traditional,” we mean music played on radio, broadcast television, cable, satellite radio, cinemas, and pay audio. When we use the term “digital,” we define this as music played on online music services, online audio-visual services, and user-generated content services (we often refer to these services as “platforms”).

While traditional broadcasters currently remain the top source of performing rights royalties for our songwriter and composer members, they’re losing their market share to digital broadcasters.

Audiovisual Revenue

For audio revenue from traditional broadcasters compared with digital broadcasters, we’re forecasting year-over-year increases to digital audio from 2021 to 2025.

Audio Revenue

For audio-visual revenue from traditional (cable and television) broadcasters compared with digital (online audio-visual) broadcasters, we’re predicting that based on current trends, digital broadcasters will be the top source of audiovisual revenue in 2025.

Again, these numbers alone don’t appear to create a cause for concern when we view them from a collection-of-royalties perspective, as the decreased revenues from traditional services will be tempered somewhat by the increased revenues from digital services.

However, from a distribution or royalties’ perspective, the switch to digital is disastrous for SOCAN’s songwriter and composer members. As noted in our previous article, domestic distributions to Canadian songwriters and composers from digital broadcasters are 69% lower than distributions from traditional broadcasters. Even though more money is being collected, it’s not staying in Canada.

With digital broadcasters on trend to become the top sources of revenues for SOCAN, we need to fix the outdated regulatory system to include foreign digital streaming services now, to ensure a future for Canadian creators.

Stay tuned to Words & Music for the third part of Why Broadcasting Act Reform Must Happen Now.

 



SOCAN members who’d like to participate in the 2022 edition of the M for Montréal Festival can send in their applications from now until June 6, 2022. The 2022 festival will be held Nov. 16–19.

Following the 16th edition, which was presented as a hybrid of in-person and digital events, the next one will also be a hybrid – but in a brand new format. During this call for applications, M for Montréal is looking for artists primarily interested in developing their careers on a national and international level. Having a support team, a commercial album, a few live shows, and followers on various social media platforms are assets for being selected, but not mandatory.

M for Montréal is a conference and festival that presents more than 100 local and international artists, both up-and-coming and established, in more than 15 venues across Montréal. Top industry professionals mingle with fans and artists at one of the city’s most effervescent events of the autumn.

For details on submitting an application, visit https://mpourmontreal.com/en/call-for-artists/.