Connect with us
google.com, pub-7457575790012787, DIRECT, f08c47fec0942fa0

Tech

Booking Your Own Tour: A How-To Guide

If you want to be a professional musician, you have to figure out how to actually make money with your music. 

Published

on

Photo: Shutterstock

Few years ago, I went on two national tours covering 40 states and played over 100 shows. I booked nearly every show myself. It was my first time visiting about 30 of the cities, and many of the other cities’ venues I had never played before. Both tours were financially successful. Let me say that again: on both tours, after expenses, I made money. If you want to be a professional musician, you have to figure out how to actually make money with your music. 

First though, you shouldn’t book a tour until you are successful in your hometown. If you haven’t figured out how to get big crowds out to your local shows, then you aren’t ready to tour. There are no real “big breaks” anymore. If you’re serious about having music as your profession then you need to put in the work and accept that it’s a slow game. 

How did I book the tours? Well, it was hard f**king work, but I made sure I went about it systematically. And you can, too.

TIMELINE

Most importantly, you need plenty of time from beginning the booking process until the first show. For a tour containing mostly cities you’ve never been to before, I recommend starting this process at least five months out. You should have nearly all of the shows booked two months in advance of the first show so you have plenty of time to promote the tour. Most likely you’re going to spend the first month routing the cities, researching venues and gaining contact info.

ROUTING

Your routing will never be perfect. Meaning you have to expect you’ll do a little bit of backtracking and have a few off days, because it’s impossible to get every venue’s schedule to line up with yours. You want to keep the backtracking and off days to a minimum, obviously.

First, plot out the cities you want to visit on a map (Google Maps works). I try to keep drives shorter than six hours on a show day and shorter than 10 hours on a non-show day. You’re going to spend most of your time on the road, but spreading the long drives out will save you from burnout (and murdering your band members). You also want to plan for about an hour of stops for every four hours of driving.

The more members you have on tour, the easier it is to split up the driving, but it drastically increases your tour expenses.

Open a shared calendar in Google Calendar or iCal and share it with everyone on the tour. Put in “held dates” with city names. When you get a “hold” at a venue, change that color of the “held date” and title it the city WITH the venue name. When you get a “confirmation,” change that color again and title it the city with the venue. In the notes of that event, list all details: talent buyer name, email, number, “day of” contact, venue address, time of show, set length, load in time, door time, set times (for all acts), compensation, hospitality. This will all get confirmed in your confirmation email.

These held cities will undoubtedly shift, so make sure you keep an updated calendar, especially if you have multiple members booking.

FINDING THE VENUES

Once you have the cities you want to visit, you have to find the venues that are appropriate for your sound and your draw. If you’ve never been to this city before it’s going to be much more difficult for you to convince the talent buyer (booker) at the venue to give you a night, but it’s possible.

First, you have to decide what kind of rooms you want to play. Are you a mellow singer-songwriter? Seek out art galleries, listening rooms, museums, cultural centers, black box theaters and living rooms. Are you a rock band? Seek out rock clubs, basement venues, frat parties, festivals and block parties.

I used Yelp and Indie on the Move for most of my venue research. Yelp is great for audience reviews of the venue and the vibe of the club. Spend time reading these reviews and get a feel for how your project could (or could not) fit in the venue.

Indie on the Move is a newer resource that is specifically for bands booking their own tours. They have a great list of venues, contact info and band reviews of the venues. Because they are newer it’s not an exhaustive list, but it’s very good.

THE PITCH

Most talent buyers at venues work over email, but some still work exclusively over the phone. Remember this and don’t be afraid of the phone.

Your initial email pitch should be short and to the point. Well, all your emails should be short, but especially the initial one. You don’t need to include your finely crafted band bio written by your drummer’s girlfriend.

The subject line should be the date with all bands you have on the bill. E.g. “Oct 23 – Pink Shoes and Tom Johnson.” Make sure you check the venue’s calendar FIRST and make sure that date is open. Also, don’t ask for a night that is clearly marked on the calendar as a weekly ‘80s night or something. You won’t get it, and you’ll piss off the talent buyer because you haven’t done your research. It shows you don’t care about the club.

Keep the email under eight sentences. I personally write my pitch e-mails in lower case letters (believe it or not this is how most people in the music industry communicate). Include a link to a live video and a link to your website and/or Facebook. Talk about your history in the area (if any) and explain briefly how you’re going to promote it. MOST IMPORTANTLY: say how many people you expect to get out for this show. This is what 98% of talent buyers care about. 

LOCAL OPENERS

Most venues will want you to put the bill together, but sometimes they will happily place a proven local act similar to your style on the bill. It’s best, though, if you can take a complete bill to the venue.

When Myspace was around, it was very easy to find bands similar to your style in any city and quickly listen to them and see what kind of buzz they had. Now that Myspace is virtually extinct, the closest service that can be used for this purpose is ReverbNation. However, not all bands are on this site, so you may have to do a little bit more digging, but it’s a good place to start. Consider doing “show trades” in a few cities you’ve never been to before.

PAYMENT

Most original music clubs will not offer guarantees. They will give you a cut of the door (most likely after expenses, ranging from $50 – $350 for smaller clubs). A typical deal for clubs these days is a 70%-100% cut for 21+ venues, 70-85% for 18+ venues, and around 50-70% cut for all-age venues with higher off-the-top expenses. You don’t have much negotiating power if it’s your first time through and you aren’t proven, so you’re going to basically take what you can get. But these are good guidelines to stick to so you know when you should be moving on to another venue in that town. Expect to set (or pitch) your ticket price around what most shows on their calendar are. Meaning, if you contact a club and every show’s cover is $15-25, don’t expect to charge $6 for your show. Most clubs will allow you to set your cover (within reason). I always recommend that up-and-coming touring acts set their covers around $10-12. Fans understand that you’re on the road and they will pay a little more for touring acts.

If you have a large cover repertoire, it’s a completely different ballgame. I don’t play cover bars so I don’t know this circuit, but I know it exists and that you can get guarantees. Most likely they will book their local cover bands first, but you could get lucky.

PROMOTION

You can see why I start this process five months out. Once you are about two months out you should start promotion. At a bare minimum, you should send posters to each venue (ask them how many they’d like). Make sure you budget for this. Have a blank space at the bottom of the promo poster to fill in the show’s details.

Promoting shows is another post in and of itself, but make sure you get creative with your promo and make sure you budget for it. If you don’t promote the show, no one will come. Simple as that. Don’t expect the venue to do anything more than including your name in their weekly newspaper ad, listing you on their website and putting up the posters you send them in their club. 

TOUR DUTIES

Only bring people on the road who are absolutely necessary for your operation to work while still making a profit. Meaning, if you’re just starting out, you’re probably not going to have the luxury of bringing a tour manager, sound guy, merch manager, photographer, road documentarian or lighting tech for a few years. These duties are extremely important and you can’t just ignore them because you don’t have the people to do these jobs. If you’re a solo artist, then most likely you’re going to have to cover all of these jobs yourself – or find people in each city to help out. If you’re in a band, you MUST allocate these duties.

There are important duties that you should do the day of the show as well.

MERCH

When you’re on tour, merch is your #1 income generator. So if you want your tour to be financially successful, make sure you have lots of merch and a credit card swiper (Square is free and hooks up to an iPhone/Droid). Also, make sure you have someone running your merch every night. If you don’t have a merch person on the road with you, then find someone in each city, every night, to cover this.

I’ve had some of my favorite (and most profitable) shows in people’s homes. You don’t need to promote these (as it’s the host’s responsibility) and you’ll sell a lot of merch. People love the personal connection. Schedule these on nights where you haven’t been able to book a club or in cities where you really don’t think you’ll have a draw.

HOUSE SHOWS

If you’re a singer-songwriter then playing living rooms, backyards, basements and house concerts should be a part of every tour. All it takes is one fan in a city to be extremely excited about you. Organize the show at their place (typically has to be a weekend) and require a minimum guaranteed payment (I usually set it at $350). Ask them to charge their guests around $15 and explain that if they get enough people in there to cover your minimum payment then they get a free concert. Possibly give them a percentage of the income after the minimum to cover snacks, and as a reward for hosting it.

COLLEGES

Colleges were my bread and butter for a while. I’ve played over 70 colleges in the past five years. Colleges pay extremely well. I recommend getting a college booking agent, but if you can’t, ask around to see if you know anyone at any college who is on the music committee. Once you find that person, pitch them on your price (more on that below) with a video and some accolades. They don’t typically route with your schedule (they have dates throughout the semester to fill) and they typically book six to 18 months in advance. Start planning this tour a year out, and if you can route AROUND the college shows, then you will relieve many of the financial burdens of the tour. Just so you have a frame of reference, most colleges pay an average of $1200 for an unknown singer-songwriter and $1800 for an unknown band for a one-hour set. And they cover food and lodging and sometimes travel costs. I’ll wait while you pick up your jaw and wipe away the drool.

LODGING

So once the tour is completely routed and confirmed, you’ll want to start figuring out sleeping arrangements. For your first few tours, this will mean finding friends in each city with couches or floor space (invest in an air mattress and sleeping bag). Try to figure this out before the day of the show, but as a last resort you can announce on stage that you’re looking for a place to crash that night. More often than not this works. Not very rockstar… but neither is sleeping in your van.

CLOSING

If you’ve made it this far, then by God, you might be dedicated and serious enough to actually embark on a full tour! If you hadn’t realized already, I’ve written extensively about the DIY music business (as I’m living it) so feel free to read more on Ari’s Take.

If you have a little bit of a budget and want me to help guide you through the next phase of your career or a specific endeavor, hit me up and we’ll setup a Get Specific program.

Business

The Harajuku Barbie Dynasty: The Eternal Reign of Queen Nicki

Nicki Minaj’s Unrivaled Reign and the Anticipation for ‘Pink Friday 2’

Published

on

In the ever-shifting landscape of hip-hop and pop, where careers can be as fleeting as a viral trend, Nicki Minaj has not only secured her throne but has built an entire empire around it. For over a decade, she has been a dominant, disruptive, and undeniable force, reshaping the sound, style, and business of female rap. As the world awaits her next chapter with the upcoming “Pink Friday 2” in 2026, it’s the perfect moment to reflect on the legacy of the artist who taught a generation to go hard.

The Architect of a New Era

Before Nicki Minaj, the idea of a female rapper consistently topping the Billboard charts, breaking streaming records, and commanding global pop culture seemed like a distant dream for many. She didn’t just break through the glass ceiling; she shattered it with a pink sledgehammer. Her impact is multifaceted:

  • Commercial Viability: Nicki proved that a female rapper could be the central star, not just a featured guest. Her early mixtapes created an insatiable buzz, leading to a record deal that positioned her as a flagship artist. She paved the way for the commercial success of the diverse wave of female MCs who followed, demonstrating that there was a massive, hungry audience for their artistry.
  • Artistic Persona and Camp: Drawing inspiration from icons like Lil’ Kim, Nicki took the concept of alter-egos to a new level. From the soft-spoken Roman Zolanski to the barbie-doll Harajuku Barbie, she created a universe that was as theatrical as it was musical. This blurred the lines between rapper and performance artist, encouraging authenticity and eccentricity in a genre that often prized conformity.
  • The Blueprint for Business: Beyond music, Nicki became a master brand architect. From lucrative endorsements to her own perfume lines and a successful stint on American Idol, she showed that an artist’s influence could—and should—extend far beyond the recording studio.

A Chameleon on the Mic: Vocal Abilities

To reduce Nicki Minaj’s talent to simply “rapping” is to overlook her vast technical skill set. Her vocal abilities are a key instrument in her arsenal.

  • The Versatile Flow: Nicki is a master of rhythm and cadence. She can switch from a rapid-fire, machine-gun flow on tracks like “Monster” to a smooth, melodic sing-song delivery on hits like “Super Bass” or “Truffle Butter.” This versatility allows her to dominate hardcore hip-hop tracks and seamlessly cross over into pop and dancehall, making her one of the most adaptable features in the game.
  • Character and Voice: Her background in theater is evident. She uses distinct character voices, accents, and inflections to bring her lyrics to life. The aggressive, gritty tone of Roman contrasts sharply with the high-pitched, bubbly persona she often employs, adding a layer of theatricality and humor that is uniquely her own.
  • Melodic Sense: While not a powerhouse vocalist in the traditional sense, Nicki possesses a keen melodic intuition. Her ability to craft infectious pop hooks, often by blending singing with rhythmic talking, has been central to her chart success. She understands pop structure as well as any hitmaker, using her voice as a versatile tool to create memorable moments.

The Test of Time: Unmatched Longevity

In an industry known for its fickleness, Nicki Minaj’s longevity is her most powerful argument for greatness. Her career is a story of consistent relevance.

  • Decade-Dominating Hits: From her explosive debut with “Massive Attack” and “Your Love” to era-defining smashes like “Super Bass,” “Starships,” “Anaconda,” and “Super Freaky Girl,” she has scored hits across three different decades. She has maintained a presence on the charts through multiple musical shifts, from the bloghouse era to the rise of streaming and TikTok.
  • The Barbz Dynasty: She cultivated one of the most dedicated and powerful fan bases in the world—the Barbz. This digital army ensures her influence remains potent, breaking records with every release and defending her legacy with fervent loyalty. This direct artist-fan connection has been a cornerstone of her enduring career.
  • Evolution, Not Reinvention: While she has adapted to the times, she has never abandoned her core identity. She can deliver a pop-rap anthem, a hardcore verse for the purists, and a vulnerable, introspective track on the same album, proving her depth and satisfying her diverse audience.

A Crown Adorned with Jewels: Monumental Achievements

The numbers and accolades speak for themselves:

  • The best-selling female rapper of all time.
  • The first female artist to have 100 entries on the Billboard Hot 100.
  • The first solo female rapper to have a song debut at #1 on the Hot 100 (“Super Freaky Girl”).
  • Multiple Grammy Award nominations, MTV Video Music Awards, and BET Awards.
  • Guinness World Records for the most tracks by a female artist on the US singles chart.
  • Over 100 million records sold worldwide, solidifying her as a global phenomenon.

The Great Awakening: Anticipating ‘Pink Friday 2’ in 2026

The announcement of “Pink Friday 2,” a sequel to her genre-defining 2010 debut, sent shockwaves through the music world. Slated for a 2026 release, the anticipation is not just for new music, but for a full-circle moment.

This album is poised to be a victory lap and a nostalgic homecoming. By titling it “Pink Friday 2,” Nicki is tapping into the core of her origin story, promising a return to the sound and spirit that made her a star. After a period of focused family life, her return feels like a re-coronation. Fans and critics alike are eager to see how the seasoned veteran, now a wife and mother, will reflect on her journey. Will it be a reinvention or a refinement of the classic Pink Friday sound? How will her evolved perspective influence her lyrics?

One thing is certain: “Pink Friday 2” is more than an album; it’s an event. It’s the next chapter in the story of a woman who defied every odd, changed the game, and continues to write her own rules. The Pinkprint is not complete, and in 2026, the Queen is ready to stamp it once again.

Continue Reading

Business

Beyond Influencers: Why Your Next Social Media Manager Might Be a Prompt Engineer

The line between “real” and “AI-generated” will be the new battleground for trust.

Published

on

The digital landscape, once shaken by the earthquake of TikTok’s algorithmic forge, is bracing for another seismic shift. OpenAI, the company that brought generative AI to the masses with ChatGPT, is now reportedly taking aim at the short-form video throne. Leaks suggest they are developing not just a groundbreaking AI video generator, but a full-fledged social app to showcase it.

This move is more than just another tech giant entering the social media fray. It’s a direct challenge to the very foundations of digital creation and promotion. The question on everyone’s mind: Could this spell the end for digital marketing, social media, and rights management as we know it?

The short answer is no, but it will irrevocably change them.

What OpenAI is Building: Beyond Sora, Into Social

First, let’s understand the pieces. OpenAI has already demonstrated Sora, a text-to-video model that can generate stunning, minute-long video clips from simple prompts. The results are not just impressive; they are, at times, indistinguishable from professionally shot footage.

Now, imagine Sora not as a standalone tool, but as the core engine of a new social platform. Users wouldn’t just scroll; they would conjure. A prompt like “a cyborg cat sipping coffee in a Parisian café, cinematic lighting” could become a viral video in seconds, created by anyone, with no camera, editing suite, or budget required.

This fusion of creation and distribution is the paradigm shift. It removes the final barrier to content creation: production skill.

The Potential End of “Content Creation” As We Know It

The current digital economy is built on a creator hierarchy. You have influencers with production teams, brands with marketing budgets, and amateur creators fighting for attention with their smartphones. OpenAI’s app threatens to flatten this.

  • Democratization on Steroids: If everyone can produce high-quality video from a thought, the volume of content will explode. The barrier to entry isn’t just lowered; it’s obliterated.
  • The New Currency is Ideas, Not Production: The value will shift from who can produce the best video to who can conceive the most creative, engaging, or hilarious prompt. The “creator” becomes an “orchestrator” or “concept artist.”
  • Hyper-Personalization at Scale: A brand could generate not one ad, but thousands of variations tailored to micro-audiences or even individual users in real-time. Imagine a sneaker company whose ad creative changes based on the weather in your location or your recent browsing history.

What’s Next for Digital and Social Media Promotion?

This doesn’t mean the end of marketing; it means its evolution into a new, more complex form.

  1. The Prompt Strategist is the New Creative Director: Marketing teams will need “prompt engineers” who understand narrative, visual aesthetics, and brand voice, and can translate them into effective textual commands for the AI. A/B testing will be for prompts, not just headlines.
  2. Authenticity in an Artificial World: When anyone can generate a perfect video, what becomes scarce? Genuine human experience. Live-streams, raw behind-the-scenes moments, and authentic community interaction will become even more valuable. The line between “real” and “AI-generated” will be the new battleground for trust.
  3. SEO Gives Way to “AEO” (AI Experience Optimization): As social feeds become dominated by AI-generated content, the algorithms will prioritize novel, engaging, and emotionally resonant concepts. Marketers will need to optimize for whatever metric the new AI-native platform uses to measure “wow” factor.
  4. The Influencer Paradox: Top-tier influencers with strong personal brands will likely thrive, as their unique persona is the “secret sauce” that the AI can’t replicate. However, mid-tier influencers who primarily rely on high-production aesthetics may be disrupted unless they pivot to unparalleled concept creation or authenticity.

The Rights Management Nightmare

This is perhaps the most legally fraught area. The current systems for copyright and intellectual property are completely unprepared.

  • Training Data Liability: What if the AI generates a video that unintentionally replicates a protected character, a specific actor’s likeness, or a director’s signature style? Who is liable—the user who prompted it, OpenAI, or the platform?
  • The Ownership Question: Who owns the generated video? The user who wrote the prompt? The company that built the model? This is a legal grey area that will be fought in courtrooms for years.
  • Deepfakes and Misinformation: The ability to generate hyper-realistic video on demand will supercharge the spread of misinformation and malicious deepfakes. Platforms will be forced to develop near-instantaneous provenance and watermarking tools, likely baked into the AI itself.

The Verdict: Evolution, Not Extinction

OpenAI’s potential move is not the end of digital marketing and social media. Instead, it’s the next logical step in their digitization.

We are moving from a world where we capture and share reality to one where we conjure and share imagination. The core principles of marketing—understanding your audience, telling a compelling story, and building trust—will remain. But the tools, tactics, and very definition of “content” will be transformed beyond recognition.

The end of the old world is indeed in sight. But in its place, a new, more imaginative, and more chaotic digital universe is waiting to be born. The race will not be to those with the biggest budget, but to those with the most compelling ideas and the wisdom to navigate an entirely new set of rules.

Continue Reading

Business

The Reel Threat: What Trump’s Proposed Movie Tariffs Mean for Canada’s Film Industry

If implemented, a 100% tariff on films “made” in Canada would be catastrophic for the service production sector. The economic rationale for American studios to shoot in Canada would vanish overnight.

Published

on

The specter of economic protectionism has once again been cast over the global film industry. Recently, former U.S. President Donald Trump resurrected a familiar theme, floating the idea of a “100% Tariff” on any movie that’s “made” outside the United States. While light on details and legally complex, this kind of saber-rattling sends a chill through the Canadian film and television sector, an industry inextricably linked with its southern neighbor.

For Canada, this isn’t a hypothetical debate about abstract trade policy; it’s a direct threat to a multi-billion dollar industry and tens of thousands of jobs. The vague description of what constitutes a film “made” outside the U.S. is precisely what makes the threat so potent—it could be interpreted in a way that devastates the core of Canada’s production model.

The Canadian Reality: More Than Just a “Backlot”

To understand the impact, one must first understand the structure of the Canadian industry. It operates on two primary tracks:

  1. Service Production: This is the backbone. American studios and producers bring their projects—from blockbuster superhero films to beloved TV series—to shoot in Canadian cities like Vancouver, Toronto, and Montreal. They are drawn by competitive costs, a skilled workforce, favorable exchange rates, and diverse locations. The production is American-funded and American-distributed, but it is physically “made” in Canada.
  2. Domestic Production: This includes distinctly Canadian stories, funded by a combination of broadcasters, government agencies like Telefilm Canada and the Canada Media Fund, and private investment. These are the films and shows that tell Canadian stories, but they often rely on the infrastructure and talent pool sustained by the service production sector.

The two are symbiotic. The revenue and stability from high-budget American service work fund the studios, pay the crews, and support the VFX houses that make domestic productions viable.

The Potential Impact of a 100% Tariff

If implemented, a 100% tariff on films “made” in Canada would be catastrophic for the service production sector. The economic rationale for American studios to shoot in Canada would vanish overnight.

  • The Immediate Exodus: A project with a $100 million budget would instantly see its U.S. distribution costs double to $200 million. Studios would not absorb this cost; they would simply move production back to the U.S. or to other non-tariffed countries like the UK, Australia, or Eastern Europe.
  • Economic Collapse: The direct economic contribution of foreign production to Canada is in the billions annually. A 2022 report from the Canadian Media Producers Association (CMPA) noted that foreign location and service production spending in Canada reached $4.5 billion in 2021/2022. This activity supports a vast ecosystem of crew, actors, caterers, drivers, and hospitality workers.
  • The “Brain Drain” Accelerates: Canada’s greatest asset is its deep pool of talented, experienced film professionals. If productions leave, so too will the talent. Directors, cinematographers, special effects artists, and carpenters would be forced to follow the work south, permanently hollowing out the Canadian industry.
  • Domestic Productions Suffer: With the service sector gutted, the infrastructure costs for domestic productions would soar. Soundstages would close, equipment rental houses would shutter, and it would become prohibitively expensive to produce high-quality Canadian content. The entire production ecosystem would shrink dramatically.

A Call to Action: How Canada Can Adapt and Fortify Itself

While the threat may be political posturing, it serves as a stark warning against over-reliance on a single, volatile partner. Canadian film production companies and distributors cannot afford to be passive. They must act now to adapt to this new reality.

For Film Production Companies:

  1. Diversify Co-Production Partnerships: Aggressively pursue official co-productions with countries beyond the U.S. Canada has co-production treaties with over 50 countries, including major players in Europe and Asia. By partnering with producers in the UK, France, Germany, Australia, and South Korea, Canadian companies can create globally-oriented content with built-in international distribution and funding, making them less vulnerable to U.S. policy shifts.
  2. Double Down on IP Ownership: The most significant shift must be a strategic move from being a “service provider” to being an “IP creator.” Canadian producers must focus on developing, financing, and owning their own intellectual property. A Canadian-owned hit show or film, like Schitt’s Creek, generates far more long-term value than hosting a dozen American service productions.
  3. Leverage Digital Distribution: Use streaming platforms to bypass traditional gatekeepers. By creating high-quality, distinctive content with international appeal, producers can sell directly to global streamers or use platforms like YouTube, Vimeo, and specialized streaming services to build an audience worldwide.

For Film Distributors:

  1. Build New Export Pathways: Distributors must become experts in non-U.S. markets. This means attending film markets in Berlin, Cannes, and Busan with a focused strategy to sell Canadian content into Europe, Latin America, and Asia. Building relationships with broadcasters and streamers in these regions is crucial.
  2. Champion Canadian Stories with Global Appeal: Distributors have a role in curating and marketing Canadian films that travel well. Stories with universal themes—human drama, thrillers, comedies—can find audiences everywhere if marketed correctly. The success of films from Quebec in France is a prime example of this potential.
  3. Advocate for Modernized Government Support: The industry must collectively lobby the federal and provincial governments to modernize support mechanisms. This includes:
    • Increasing the funding and flexibility of tax credits to support IP development, not just physical production.
    • Strengthening public broadcasters (CBC/Radio-Canada) and ensuring they have the mandate and budget to commission ambitious Canadian content.
    • Negotiating and modernizing trade agreements that protect and promote cultural exports, recognizing film and TV as a key economic and cultural sector.

Conclusion: A Wake-Up Call, Not a Death Knell

Donald Trump’s tariff threat is a stark reminder of the fragility of an industry built on a foundation of service work. While the immediate implementation of such a policy remains uncertain, the risk is too great to ignore.

For Canada, this moment must serve as a catalyst for a long-overdue strategic pivot. By aggressively diversifying international partnerships, fiercely championing the creation and ownership of Canadian IP, and building robust, direct pathways to global audiences, the industry can transform this vulnerability into resilience. The goal is not to end the relationship with Hollywood, but to ensure that the Canadian film industry can stand on its own two feet, telling its stories to the world, no matter who occupies the White House. The curtain is rising on a new act for Canadian cinema; it’s time to ensure the show goes on.

Continue Reading

Trending