Music Canada CEO Patrick Rogers commented on “Industry Status” when he set out in 2025

Today, Music Canada Music CEO Patrick Rogers is leaveand then there is a smart discussion about the political shift that impacts the global music industry.

Read his full review below.

Good morning,

It’s great to set off.

I want to thank Randy Lennox, Jackie Dean and Kevin Barton for providing this opening time for Music Canada and our annual industry update. I also want to take some time to congratulate CMW founder Neill Dixon on his lifetime achievement award. Neill is a major ally of Music Canada, and for decades we have learned the importance of us coming together in the sun and not just in the venue.

Every year, CMW is always the time we can cover all the most important issues of the day, not only for our members but also for the Canadian industry as a whole, we are pleased that the departure gives us the opportunity to be here, in a new environment, with a new atmosphere, with a new atmosphere, artists and their creations at the show center.

As the industry changes, it makes sense to hold new, refreshed conferences and festivals. Even for an industry that has always been innovative, the industry has undergone fundamental changes over the past decade, and the acceleration of this advancement seems to have been accelerating.

It can be said that I, the team of Canadian Music and the major record labels in Canada, are excited about this week. We are excited about your news and we are delighted to set out for the premiere music conference in the country.

Today, I will start to say a few words about the biggest challenges and opportunities facing the global music industry and Canada. After a moment, I will sit down with journalist Hannah Sung to talk about how the outcome of last week’s federal elections affected these projects.

Tomorrow, Morgan Hayduk, founder and co-CEO of Beatdapp, will talk about the rules and tools of AI. We’ll explore some of the biggest headlines and talk about what this means for the music industry.

Importantly, members of major Canadian record labels and artists will participate in panels and music festivals throughout the city throughout the week.

But let me go back to why I think I left Important For the Canadian music industry.

This is important because the world continues to spin faster and faster, and there is a lot of news. Our Instinct Take your eyes apart Threat to defeat the instinct tilt. But the answer is to check each other. Say what we think is important. And update each other about what we said before.

So let me update you about two things I talked about last year.

I’ll start with the one I’m right.

Last year, I talked about AI. My journey with AI is from faithful belief perhaps Just like Harrison and Hendrix, it’s really a huge machine brain, listening to music.

It is fully realized that the reason why generative AI models continue to produce the world’s most famous music is because AI is depriving the world of the most famous music.

I should know. Because, the most academic and legal supporters of A-Be Bo Bo To Steal-everything are actually the same academic and legal supporters, once thought not long ago that the Internet should enjoy everything sneaky.

Well, we are a year later………The boundaries of AI companies – companies that have already scratched the Internet – your Music – Training Their Models – Copyright is ancient and complex and is a barrier to innovation. It’s hard to track the right salary, and it’s hard to track what you’re ingesting, even considering paying for it.

I’m glad they gave up on the giant machine brain stuff. I found it difficult to fight with it. I’m worried policymakers will see AI companies as tomorrow – new areas for science and innovation, flying cars and Jasonsen. And, this in turn, would regard the cultural industry as yesterday, the golden ancient and flint.

But under pressure from court cases and public scrutiny, they chose to fight for the copyright. Copyright is a particularly suitable issue for combat in the music industry. Because we just did that. After years of streaming economic decisions, the industry is now technically ready to handle AI licenses compared to any other cultural industry in the world.

The global music industry powered by streaming is its culmination of innovation. We have invested in people, infrastructure and technology that can distribute and license over 100,000 new tracks per day, and in the process attributed to and compensated all the many right salaries.

ai should say that everyone likes to say that they need text and data mining exceptions because most of the ingested things they consume are worthless.

This argument may not make sense when it comes to medical data sets or traffic patterns, but does not make sense in music. We’ve been paying for music, basically since iTunes was founded and now streaming, consumers have been happy to pay for it. Artificial intelligence must not be different.

Don’t be fooled. Copyright is the way to pay when playing music. Complainting about copyright in this business is like students who don’t want to learn spelling or math – I know those people would say they have AI for it – but we’re all better when we understand the basics of the world and industry.

I say this to you because AI supporters line up at the door of our new government (like around the world) and if we just get rid of copyright laws, we can commit to investment, productivity and work. We must arm the government why this will be a mistake and the harm caused. Healing cancer, mapping galaxies and increasing crop yields does not require stealing music.

As I said, tomorrow, Morgan Hayduk and I will talk more about the opportunities AI offers to the industry – tools – rules that make it possible. But if you can’t do this, please let me leave you:

If you want to protect creators, their art and human creation process, then we know that Michaelangelo has known since – you have to fight to protect copyright.

OK, now discuss what I went wrong last year.

If I can, I will relax and set the context. The first thing I want you to know is that my time working in politics makes me believe in politics and government. I know because I have a good policy to do with kind firsthand experience. Careful considerations of smart people can lead to important changes.

So, from the beginning, I have always expected CRTC to pass the first generation of regulation process through C-11. Last year, I gave a speech on how CRTC should flip all stone and build new systems for the new digital global economy, and gently warned that we cannot regulate streaming through radio rules.

…And it took me only about 22 hours to post their first phase decision when I gave a speech for CRTC, which was called “to bring foreign streamers into the Canadian broadcasting system” but could also be considered “regulating streaming services like Canadian radio stations.”

I can’t hide my frustration about it. Part of the frustration comes from understanding how we get here. I know that the industry segment that relies on government funds has seen traditional funds dry up in movies and TV and music for over a decade. The contribution of the funding program based on market consolidation has ended because of the lack of consolidation. Funds for taxes based on cable bills have evaporated on the ropes. Even after a decade of traditionally friendly government, government funds for arts and culture cannot meet the needs. And now, especially now, the idea that large-scale foreign services must pay for Canadian content is a tempting policy for sale.

But let me be clear: Canada’s best cultural policy is the policy that inspires global digital platforms to invest in Canada. Work with Canadians, with Canadian artists, Canadian record labels and publishers, and with Canadian festivals, venues and celebrations.

We should want Canadian staff, Canadian Artist Program, Canadian Splash Page and Canadian sponsorship.

But so far, the desire for foreign cash has won. The first phase of the CRTC process did not recognize the contribution of the Canadian industry that the platform has been making.

This is a mistake. This will lead to a decrease in investment in Canada and will ultimately disappoint us and let us look for more money soon.

Two weeks ago, we filed a motion for the case filed by the platform to intervene in the federal appeals court. Our specific approach will respond from the outset that what we say is that investment in Canadian platforms must be understood and evaluated by regulators as part of the contribution system. We have been a major stakeholder in Parliament and CRTC. It makes sense that we should share the viewpoint of the commercial music industry with the courts.

We will also conduct formal CRTC consultations for the rest of the year. Our goal continues to help CRTC establish the best regulatory framework for the streaming era so that Canadian and Indigenous artists can compete with every song recorded around the world.

I’m still full of hope. But hope is not a plan. We will work hard on this document. Canada should be subject to regulatory systems that are as globally inspired as our artists.

I’m already looking forward to coming back next year to tell you about our performance.

Now, we had the election last week. We have a lot to talk about. To do this, I will talk to reporter Hannah Sung. You first know that she is a huge VJ who now writes for cultures like the Global & Post, the Toronto Stars and the New York Times. She is the co-founder of Media Girlfriend, a company that prioritizes Canadian media. Asking her to join me seems to be very concerned about the brand because of what it is about to become.

Please welcome Hannah Song.