Evenko Subsidies: Live Nation’s Influence on Quebec’s Music Scene

The relationship between Live Nation and the Quebec-based entertainment company evenko is facing increased scrutiny, raising questions about the potential impact on the province’s cultural landscape. A recent investigative report by Radio-Canada’s Enquête, coupled with vocal concerns from Quebec politicians and industry groups, is highlighting the growing influence of the American entertainment giant and its potential effects on local artists and festivals.

evenko, which organizes six of Montreal’s largest festivals – including the Montreal International Jazz Festival, Osheaga, and ÎleSoniq – is 49% owned by Live Nation. This ownership structure is at the heart of the debate, with critics arguing that it allows Live Nation to exert undue influence over Quebec’s cultural scene while still benefiting from public funding. The concerns echo similar accusations leveled against Live Nation in the United States, where the company is currently facing a lawsuit alleging monopolistic practices.

Québec Solidaire (QS) Member of the National Assembly, Sol Zanetti, has been particularly critical, accusing the government of “rolling out the red carpet” for a “wealthy foreign company with questionable business practices.” In letters sent to Quebec’s Minister of Culture and Communications, Mathieu Lacombe, and Minister of Tourism, Amélie Dionne, Zanetti argued that public funds should be used to “consolidate the cultural ecosystem” rather than “the interests of a foreign company.” He further contends that Live Nation is strategically using its stake in evenko to maximize profits while maintaining access to public subsidies.

Zanetti’s concerns extend to the representation of French-language content within evenko-managed venues. The Enquête report revealed that only 8% of performances in these venues are in French – a figure three times lower than in other Montreal performance spaces. Zanetti views this as a “direct threat to our linguistic and cultural identity.”

The debate isn’t solely focused on the allocation of public funds. Jon Weisz, Director General of Scènes de musique alternatives du Québec (SMAQ), a group representing independent music venues, proposes a different solution: increased investment in local businesses by evenko. Following the broadcast of the Enquête report, SMAQ, along with the Guild of Musicians and Musiciennes of Quebec, revived a proposal from March 2025. The proposal suggests implementing a levy on tickets for large-scale events – a fee of, for example, $2 added to service charges – to create a fund supporting independent Quebec venues.

Weisz emphasized the need for creative funding solutions, stating, “We are not inventing public money right now, we are still in a context of austerity in culture.” He pointed out that the funds currently allocated to evenko could potentially be directed elsewhere if the government adopted different policies. He believes the proposed levy could have a “very big impact on the independent scene.”

The situation highlights a broader tension between the globalization of the entertainment industry and the preservation of local cultural identity. Live Nation, valued at approximately $50 billion, controls an estimated 60% of concert promotion and at least 80% of ticketing in the United States, according to Jonathan Kanter, a former U.S. Department of Justice official involved in the ongoing antitrust case against the company. The Quebec context raises the question of whether a similar pattern is emerging in the province.

The timing of this debate is also linked to the upcoming trial in March, where the U.S. Department of Justice will accuse Live Nation/Ticketmaster of illegally monopolizing ticket sales and other events. The Quebec situation adds another layer of complexity to the broader scrutiny of Live Nation’s business practices.

The concerns raised by Zanetti and SMAQ underscore a desire to protect Quebec’s cultural ecosystem from what they perceive as the potentially detrimental effects of a dominant foreign corporation. The call for increased investment in local venues and a re-evaluation of public funding priorities signals a growing movement to ensure that Quebec’s cultural identity remains vibrant and independent in the face of increasing industry consolidation.

February 5, 2026, the date of publication of an article in La Presse, further amplified these concerns, framing the Enquête report as an “excellent” examination of Live Nation’s influence on Quebec culture. The report followed the journey of a concertgoer, Mélody Pépin, attempting to purchase tickets for a Paul McCartney concert, illustrating the challenges faced by fans navigating Ticketmaster’s dynamic pricing and administrative fees.

While Live Nation’s presence in Quebec is undeniable, the debate over its impact is far from settled. The coming months will likely see continued discussion and potential policy changes as stakeholders grapple with the challenge of balancing economic growth with the preservation of Quebec’s unique cultural identity.