At the time of the resumption of the musical spectacle, all the artists do not benefit from the same possibilities of reconnecting with the public. While established musicians are doing well, developing artists struggle to get on stage. Several presenters and show producers are today calling on the Conseil des arts du Québec (CALQ) and the Société de développement des entreprises culturelle (SODEC) to come to the aid of the next generation by financing initiatives favoring the first parties and dual programs making room for young people. SODEC has confirmed to Duty the upcoming unveiling of an assistance program targeting the problem.
Director of strategies and communications at the show production and promotion agency Preste (Hubert Lenoir, Half Moon Run, Klô Pelgag, Salebarbes and several others), Erwan Cassez is worried about the state of the post-pandemic musical show. By comparing the turnover of the agency, one of the largest in Quebec, with those of previous years, by dissecting each category of concerts according to the place where it is presented, he sees the difficulties of the next generation jumping out at him to the eyes.
“What I notice, basically, is that the artists who were doing very well [à la billetterie] before the pandemic work even better after – they are a hit, literally, we have never seen so many sold-out concerts, he notes. On the other hand, those who did less well have even more difficulties and, obviously, we are talking here about emerging artists, at the start of their career. »
The supply of popular music concerts today is “exponential, whereas before the pandemic there was a natural cycle in the industry,” he explains. “That is to say that all the artists didn’t release their albums at the same time, so they didn’t all go on tour at the same time; however, the pandemic has caused projects to pile up in the waiting room. Since the recovery, everyone has launched an album, gone on tour, the public has access to many shows. »
For emerging artists, finding a stage has become difficult, “not because the public dislikes the work of these young musicians”, maintains Cassez, but because the abundance of supply, combined with the effects of inflation on the wallet, disadvantages them. Inflation has another perverse effect on the next generation: despite the rise in production costs, broadcasters are hesitant to increase ticket prices, so that savings are made by scheduling fewer opening acts, or by scheduling lightened (in solo or duo formula) of the musical projects invited to make the first parts.
“We, we would like to be able to offer all the winning conditions for the first part”, explains Mylène Fortier, director of programming at the Zénith de Saint-Eustache, who co-signed with several other broadcasters a proposal for a funding program for the first parts addressed at the CALQ. “Our project aims to ensure that the musical proposal offered to the spectator is at the fair value of the initial proposal of the artist. [invité en première partie]that there is no discrepancy in the proposal, such as forcing him to perform solo or as a duo because we don’t have the fee to pay for the full orchestra” or because we would have to use a larger technical team to produce the event.
The situation is at the heart of the concerns of the entertainment industry, was able to measure the duty with several actors on the scene. “What we currently think is that there is little room for emerging artists, except in festivals,” laments Suzanne-Marie Landry, general and artistic director of the Granada theater, located in Sherbrooke, and co-signer demand.
“At home, we regularly present opening acts, but there are few rooms where that is done. We would like to offer emerging artists a place in the first part of renowned artists, a platform to shine. Especially since it is the young artists who have tasted the difficulties caused by the pandemic the most, and I think that the CALQ shares this concern. »
SODEC too: a representative of the Society confirmed that the details of a new financial assistance program intended for producers and presenters of shows and targeting opening acts (or double programs) would be revealed “soon”. The amount invested in this program has not been specified to us, but the money will come from the budget envelope allocated to the Temporary Assistance for the Representation of Music and Variety Shows, a measure put in place to help producers get through the pandemic and which will be in effect until March 31.
The community badly needs this boost because the problem “is very important”, underlines Erwan Cassez. “In the short term, we tell ourselves that the middle of the show is going well, there are several artists who are doing well, but they are not eternal. If we don’t nurture the next generation of artists, there will be a hole that will hurt the entire entertainment chain. »
“Right now, we feel the enthusiasm of the spectators so much, so let’s take advantage of it to showcase the talent of young people and make them discover them, adds Mylène Fortier. A 700-seat hall like the Zénith is a great opportunity for emerging artists to make themselves known. »