Canadian Musician - January / February - Page 10

INDIE INSIDER Music BC’s Phoenix Program & The Need for Music Business Education By Michael Raine T here is no shortage of educational programs and events for musicians hosted or supported by the various provincial music industry associations (MIAs). Canada, it’s often noted, does a pretty good job of supporting musicians’ career education and development. But what about those who work with musicians – the managers, agents, labels, and others who play crucial roles in the music industry? These professionals, whose decisions can make or break a musician’s career, are often left out of this educational focus in our national music industry. That’s who Music BC wanted to empower with its intensive Phoenix Training & Professional Development Program. Launched in 2017, Music BC’s Phoenix program was created with support from Creative BC, FACTOR, and the Beedie School of Business at Simon Fraser University. It’s based on a very successful program that has run in Australia and New Zealand for about the last 10 years and accepts just a handful of promising mid-level music managers and indie label owners. Through two intensive workshops, plus one-on-one mentoring and group work, it gives them the skills and insights needed to maximize their artists’ careers and their businesses’ potential. “I look at the systems in Canada and obviously we’re all super supportive of art- ists, but if you don’t have the infrastructure in place to nurture those artists and be able to take them from one step to the other, we’re almost doing a disservice to them,” says Music BC Executive Director Alex Grigg, a former concert promoter and artist agent and the co-founder of Source Events, a spe- cial event management firm. 10 • C A N A D I A N M U S I C I A N One of the music business advisors involved in the program is Terry McBride, the CEO and co-founder of Nettwerk Music Group, a Vancouver-based management firm, indie label, and publisher who works with Father John Misty, Mike Posner, fun., Ria Mae, and other ˈ[܈H[^ܘ[KXМYH[XY]۝ B]\[X[ܘ[H]8&\[[YY\8'Y\Z[]و۝KY\\^\x&[BZK8&HXx&H[H[\[BH]\[X[]\X\[\\H\[\\\[ܙHX\ٝ[[H[YX[\[\8'HH^\ˈ8'[YH[H[ܙBX\ٝ[Z[]x&\HY^܂HY\X\]XH[Hܛ[H[ 8&H۸&]]HH[\X\KH۸&]]H\[][]HوX[Y\˜[X[ۙ\[ۛXX\[][X]H]XX\[]B\[[ܛ\و[H]HۙBY\Z[[]H[HH[HX\ٝ[\[\˸&H]X[YH؝KB\][\\\]\KBۙH\H\ܚ[[Z\\[\[ؘXHL\[و[HHH[قH\H\Hܚ[ۈZ\\[\[] ^H\[&][HYY܂[HX]^B]\]\][܂H\\ ^H[YZ\\X]HZ[H\Z[XH\[\8)]\[\[\\˜[][[[[HXYY 'BY]8&\ZY›ٝ[]8&\X0H]'[YH[\XݙB]ZY 8'H[\\قܙX][[Y\X[BX\ٝ[]\X[[[ XМYH\۸&]^H] ]X\[[H^[ۙH\\[\[\ˈ8'B[H]XݙH\ZYX]\Bx&\HY^HKˈ]H[˜]X[H[YX[\\\HX[BYYH[YX[\[\\[\[&]YۙY[YX[X[]\HY]Y\Z[[YX[[ \X YH[]Y]Xو\][XݙH\ZY ZHH][H۸&][H]XݙH\ZY 'BHZ\[YXKXМYH[ܚYœ^K\]\H\HYۚYX[XوKBX[^YZ[[܈]\X\[\ۙ\š[[YKXМYH^\HY\\[]\]\\HY\[HB]\[X[[]X[[ܘ[H\›XYH\\Y[YK8'H]HHB\و]\[X[\\ۈ\\™X[H[HHܛYH[قY]ˈHYX[][ۙH[H]X ]X]\[]\[YX[\\˜X]\H\H\H\\ۈ\[YX[X[H\]H۸&]X[YKB^\\H[X[YH\\۸&]\KH]YY\\\[&]\K8'H^\XМYK'HX[H^[\HH\YX\\BۙH]\[]\[XKHX[Y\