{"id":58841,"date":"2019-05-21T07:00:29","date_gmt":"2019-05-21T11:00:29","guid":{"rendered":"http:\/\/spacing.ca\/toronto\/?p=58841"},"modified":"2019-05-21T11:26:20","modified_gmt":"2019-05-21T15:26:20","slug":"vanishing-venues-new-funding-models-favour-festivals-over-small-music-clubs","status":"publish","type":"post","link":"https:\/\/spacing.ca\/toronto\/2019\/05\/21\/vanishing-venues-new-funding-models-favour-festivals-over-small-music-clubs\/","title":{"rendered":"Vanishing venues: new funding models favour festivals over small music clubs"},"content":{"rendered":"

Since January 2017, Toronto has lost more than one live music venue per month, with 76A, The Central, The Comfort Zone, Hard Rock Caf\u00e9, Harlem (East), Holy Oak, The Hoxton, Ratio, Seven 44, The Silver Dollar, Soybomb HQ, and Studio Bar all closing their doors. <\/span><\/p>\n

Over the past five years a number of notable venues have also shuttered, including The Brunswick House, Cabal, El Mocambo, The Guvernment, Neutral, Not My Dog, Rancho Relaxo, S.H.I.B.G.B\u2019s, Siesta Nouveaux, Tattoo, Wrongbar, and Zipperz. <\/span><\/p>\n

It\u2019s an inordinate amount of closures for any city, but especially one that\u2019s been marketing itself as a \u201cMusic City\u201d since 2013.<\/span><\/p>\n

Forming a Toronto Music Advisory Council, a Music Office, and hiring a Music Officer were the first three steps taken by City Council to forward the branding vision that aimed to capitalize on Austin, Texas\u2019s own success as \u201cThe Live Music Capital Of The World.\u201d Those recommendations came from a 2012 report commissioned by major label lobbyists Music Canada, called Accelerating Toronto\u2019s Music Industry Growth \u2014 Leveraging Best Practices From Austin Texas.<\/i> That study was spurred by findings from an economic impact analysis of the Canadian recording industry earlier that year, which found that live music in the country, and particularly in Toronto, was beginning to supersede recorded music in terms of gross profits. <\/span><\/p>\n

But if that\u2019s the case, then why are venues closing at all, much less at such an alarming rate? This is an unprecedented moment in Toronto\u2019s music history where both government (local and Provincial) and industry are working in tandem to support the live music sector. So much money and attention is being paid to Toronto\u2019s music scene right now, yet none of that money seems to be making its way back to music venues, or at least to ensuring there\u2019s more stability in the industry at a time when live music revenues are supposedly increasing. <\/span><\/p>\n

This is a disparity unfolding not just locally, but across North America, in cities like Austin, Nashville, and New Orleans, where rapid growth \u2014 and the rising rents, redevelopment, and noise complaints that come with it \u2014 is putting the music scenes that made those cities appealing to begin with in danger. In Canada we have the benefit of granting bodies to help supplement the arts, but even those organizations seem uninterested in offering direct assistance to music venues.<\/span><\/p>\n

\"\"<\/p>\n

In 2013, Ontario Premier Kathleen Wynne announced a new $45-million fund for the music industry that would be distributed over a three-year period. The Ontario Music Fund was a sizeable upgrade for the Ontario Media Development Corporation (OMDC), overseeing the fund on behalf of the government, who had been giving out much smaller awards to musicians and music organizations since 2007. According to the OMDC\u2019s guidelines, venues are not eligible for the award unless they also book their own shows, which is not a standard practice in the industry. Instead of venues, the majority of the OMDC\u2019s Live Music fund goes to music festivals. The Celebrate Ontario grant, put forward by the Ontario Ministry of Tourism, Culture and Sport, also only awards money to festivals and special events.<\/span><\/p>\n

The Ontario government is not alone in their preference for festivals over brick and mortar venues; worldwide there is a purposeful move in favour of what author Jonathan R. Wynn calls, \u201cfestivalization.\u201d In his book, Music\/City<\/i>, Wynn coined the phrase to describe the rise in \u201cshort-term events [that] are used to develop, reinforce, and exploit an array of communal goods, churning out costs and benefits both near and far.\u201d<\/span><\/p>\n

The communal good most at stake with these festivals is public space. As rising rents, redevelopment, and noise violations are displacing established music venues, and the higher costs associated with that displacement makes the remaining venues less appealing to promoters, the live music industry is turning to public spaces within the city for their private events, often with public money, and using them for their for-profit ventures. <\/span><\/p>\n

We see this as new festivals arrive in the city and set up shop in public parks like Fort York, Downsview, and Woodbine. This trend is most vividly represented in North By Northeast\u2019s shift from a club-hopping, cross city a la carte model, to a centralized location at the City-owned Port Lands (with some ticketed club shows for good measure). Wynn refers to the original NXNE model, which for 20 years would take over 50 venues across the city over the period of a week, as a \u201cconfetti\u201d pattern, while the more focused model they adopted in 2016 is called a \u201ccitadel.\u201d Both have their benefits, but the latter offers organizers more control. <\/span><\/p>\n

In 2014 NXNE made artists performing at the festival adhere to a radius clause which prevented them from also performing within the \u201cToronto Market\u201d for a period of 45 days. The intent was to prevent large bands from playing other nearby festivals, but it created a great amount of concern among the smaller, local bands that regularly play multiple shows throughout the GTA in a given month. A petition with 3,000 signatures killed the initiative that year, but the radius clause anticipated the festival\u2019s shift to having a smaller, much more manageable footprint.<\/span><\/p>\n

With the citadel model, NXNE doesn\u2019t have to contend with other promoters throwing shows nearby that might dilute their audience, or offer conflicting sponsorships. Whereas previously NXNE was integrated into the fabric of the city itself, now, as a site-specific event, they have a greater stake in placemaking, imposing a carefully crafted image of \u201cculture\u201d in an area that didn\u2019t have it before. <\/span><\/p>\n

Just three days after this year\u2019s NXNE wrapped up, Prime Minister Justin Trudeau, Premier Wynne, and Mayor John Tory visited the Port Lands to announce a combined $1.25-billion investment in redeveloping the industrial area into a mixed-use community. <\/span><\/p>\n

\"\"<\/p>\n

This isn\u2019t an isolated incident. Like NXNE, Veld, an electronic music festival, and Field Trip, the annual festival organized by local indie label Arts & Crafts, get top dollar from granting bodies like Celebrate Ontario, and take place in Downsview Park and Fort York, respectively. Both public parks are situated next to some of the largest areas of redevelopment in the city right now. <\/span><\/p>\n

Wynn takes a neutral approach when describing the function of festivals in cities in his book, describing them as maximizing \u201cthe use of publicly held spatial resources within a limited time period, potentially increasing the value of those public goods, while also nurturing proximate, related amenities.\u201d Festivals can have an immensely positive effect on surrounding neighbourhoods and businesses, but given their temporary nature, those benefits are often in the short term. The long-term effects of festivals and of festivalization in Toronto tell a different story. <\/span><\/p>\n

Follow the root of the \u201cMusic City\u201d plan and you find a cycle of government money being put into festivals that shape, define, and make neighbourhoods desirable to both citizens and developers. Until we have a savvier set of laws like San Francisco\u2019s \u201cagent of change\u201d policy, which would require new developments to respect an existing neighbourhood dynamic, the resulting influx of new people and development will continue to oust longstanding small music venues that don\u2019t get the benefit of government grants. Those small venues serve as incubators for the talent who ultimately benefit the most from having so many music festivals within close range. Without those spaces, there will be no emerging artists, and no \u201cMusic City\u201d \u2014 just a \u201cFestival City,\u201d and whatever we will have built will have arrived at the expense of a healthy, sustainable future.<\/span><\/p>\n

photos by Viv Lynch<\/a>, Robert B. Moffatt<\/a>,\u00a0Bill Blyleven,<\/a> and Leah Jensen
\ntop photo courtesy Veld Music Festival<\/a><\/i><\/span><\/p>\n

\n

\"\"This story originally appeared in <\/em>Spacing‘s Summer 2017 issue.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Since January 2017, Toronto has lost more than one live music venue per month, with 76A, The Central, The Comfort Zone, Hard Rock Caf\u00e9, Harlem (East), Holy Oak, The Hoxton, Ratio, Seven 44, The Silver Dollar, Soybomb HQ, and Studio Bar all closing their doors. Over the past five years a number of notable venuesContinue reading “Vanishing venues: new funding models favour festivals over small music clubs”<\/span><\/a><\/p>\n","protected":false},"author":8402,"featured_media":58842,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"ngg_post_thumbnail":0,"_ef_editorial_meta_paragraph_assignment":"","_ef_editorial_meta_date_first-draft-date":"","_ef_editorial_meta_checkbox_needs-photo":"","_ef_editorial_meta_number_word-count":"","footnotes":""},"categories":[4,3],"tags":[],"class_list":["post-58841","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-culture","category-events"],"acf":[],"yoast_head":"\nVanishing venues: new funding models favour festivals over small music clubs - Spacing Toronto<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/spacing.ca\/toronto\/2019\/05\/21\/vanishing-venues-new-funding-models-favour-festivals-over-small-music-clubs\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Vanishing venues: new funding models favour festivals over small music clubs - Spacing Toronto\" \/>\n<meta property=\"og:description\" content=\"Since January 2017, Toronto has lost more than one live music venue per month, with 76A, The Central, The Comfort Zone, Hard Rock Caf\u00e9, Harlem (East), Holy Oak, The Hoxton, Ratio, Seven 44, The Silver Dollar, Soybomb HQ, and Studio Bar all closing their doors. 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