The dominance of Live Nation and its Montreal-based subsidiary, evenko, in Quebec’s live entertainment landscape is facing increasing scrutiny. A recent investigative report by Radio-Canada’s Enquête, coupled with concerns voiced by Quebec politicians and industry groups, is raising questions about the potential impact on the province’s cultural ecosystem.
evenko, initially the entertainment division of the Montreal Canadiens hockey team ownership group, has rapidly expanded its reach in recent years. The key to this growth lies in Live Nation’s 49% ownership stake, acquired in 2019. This partnership has sparked debate about whether Live Nation is replicating its controversial business model – one that has drawn accusations of monopolistic practices in the United States – within Quebec.
At the heart of the concerns is Live Nation’s control over multiple facets of the entertainment industry, from artist representation and concert production to ticketing through its ownership of Ticketmaster, and venue ownership. In the US, Live Nation faces a lawsuit alleging monopolistic practices, with accusations of stifling competition from other ticketing services, retaliating against promoters and venues that work with competitors, and strategically acquiring companies to solidify market dominance.
The question in Quebec is whether this pattern is being mirrored through the evenko partnership. Evenko now controls several of Montreal’s largest festivals, including the Montreal International Jazz Festival, Osheaga, and ÎleSoniq, as well as acquiring major performance venues. While strong Quebec-based cultural groups are not inherently problematic, the scale and speed of evenko’s expansion, backed by Live Nation’s resources, are raising alarms.
A significant factor driving this dynamic is the structure of Quebec’s subsidy programs. Live Nation maintains a 49% ownership stake in evenko specifically to remain eligible for provincial funding. Exceeding 50% ownership would disqualify evenko’s events from receiving state aid. Last year, festivals under the evenko umbrella received $15 million in public funding, despite concerns about the anglicization of Quebec’s entertainment offerings.
This funding model has drawn criticism from Québec Solidaire (QS) Member of the National Assembly, Sol Zanetti, who accused the government of “rolling out the red carpet” for a “wealthy foreign company with questionable business practices.” Zanetti argued in letters to Quebec’s Minister of Culture and Communications, Mathieu Lacombe, and Minister of Tourism, Amélie Dionne, that public funds should be used to strengthen the local cultural ecosystem rather than benefit a foreign corporation. He contends that Live Nation is strategically leveraging its stake in evenko to maximize profits while continuing to access public subsidies.
The concerns extend beyond financial implications to the representation of French-language content. Zanetti has expressed worry that Live Nation’s influence could further marginalize Francophone artists and cultural events within Quebec’s entertainment scene.
The situation is prompting calls for solutions to address the growing imbalance of power. ELAN, a Quebec-based arts advocacy organization, has proposed the introduction of a ticket levy on large-scale concerts. The revenue generated from this levy would be used to establish a dedicated support program for independent music venues across Quebec. Inspired by a similar model in the United Kingdom, this approach aims to bridge the gap between vertically integrated multinational promoters like Live Nation and smaller, independent venues, preserving the ecosystemic balance of the sector.
The debate surrounding Live Nation and evenko highlights a broader tension between the forces of globalization and the preservation of local culture. Montreal Mayor Valérie Plante, who has expressed a desire to revitalize the city’s cultural scene, may find herself navigating a complex landscape where a powerful player like Live Nation holds significant sway. Controlling both events and venues, the company effectively holds considerable leverage over the industry.
The Enquête report and subsequent coverage in Quebec media have brought the issue to the forefront of public consciousness. As the conversation continues, the future of Quebec’s live entertainment industry – and its ability to nurture a diverse and thriving cultural landscape – hangs in the balance. The question remains whether the province will take steps to ensure that public funds are used to support its independent artists and venues, or whether it will continue to allow a foreign-owned giant to consolidate its control over the industry.