Folk festivals spin off profit for both artists and venues -- Vancouver Sun, 7/13/07: "Though Canadian folk festivals are grassroots affairs where lots of patrons reflect the ideals of the 1960s, they nevertheless generate big dollars.
The Edmonton Folk Festival, largest in Western Canada, attracts 85,000 people for a box office of $1.4 million. It has sold out all its tickets in 11 of the last 13 years. The smaller Winnipeg Folk Festival draws 60,000, but 40 per cent of the audience comes from the United States, resulting in an economic spinoff to the area of about $20 million.
The three-day Vancouver Folk Music Festival, which begins today, attracts people from all over B.C. and the U.S. (Americans make up 30 per cent of the audience), and even some from Europe and Australia. Smaller than events in Edmonton, Winnipeg and Calgary, last year's Vancouver festival operated on a budget of $1.2 million, attracted 30,000 people and took in $551,000 at the box office.
Dancing at the Vancouver Folk Music Festival
Dancing at the Vancouver Folk Music Festival
Peter Battistoni/Vancouver Sun
One lucrative side business at folk festivals is on-site CD sales. Festival patrons prefer buying recordings directly from the artist or the artist's label on-site because more of their money goes to the music's creator. These sales won't show up on SoundScan or Billboard, but they nevertheless add up. At last summer's 17 western Canadian folk festivals -- which include events in Vancouver, Victoria, Salmon Arm, Duncan, Comox, Mission and Harrison Hot Springs -- CD sales amounted to $754,594.
At the 2001 Edmonton festival, the Waifs from Australia sold 1,000 CDs in a single weekend, a figure matched by Xavier Rudd one year at the Calgary Folk Festival.
CD sales at last year's Vancouver Folk Festival totalled about 15,000. A top artist can sell as many as 700 CDs in a single weekend at the Vancouver festival....
VANCOUVER FOLK FESTIVAL
Attendance: 30,000
Box office: $551,000
CALGARY FOLK FESTIVAL
Attendance: 48,000
Box office: just under $1 million
EDMONTON FOLK FESTIVAL
Attendance: 85,000
Box office: $1.4 million
Winnipeg Folk Festival
Attendance: 60,000
Box office: $1.3 million
Showing posts with label canada. Show all posts
Showing posts with label canada. Show all posts
Tuesday, July 24, 2007
Tuesday, May 01, 2007
Promoting unsigned artists on radio
Although lots of radio promotion concepts seem to come with some sort of catch, this sounds like a good idea. I'm not sure why this hasn't been done before.
CHUM Limited | Press Releases | CHUM Television: "Each month beginning May 1, 2007, CHUM Radio programmers across Canada will vote for the best emerging Canadian artist. The winning artist’s song will be added to playlists at all participating CHUM stations, reaching over 2 million Canadians. The initiative will provide independent artists with mass exposure through airplay, advertising time and promotion.
The Emerging Indie Artist Initiative is developed as part of the launch of CHUM’s newest radio station, Calgary’s ENERGY 101.5 FM. During the term of its license, the station will invest $640,000 annually to the development and promotion of Canadian talent."
CHUM Limited | Press Releases | CHUM Television: "Each month beginning May 1, 2007, CHUM Radio programmers across Canada will vote for the best emerging Canadian artist. The winning artist’s song will be added to playlists at all participating CHUM stations, reaching over 2 million Canadians. The initiative will provide independent artists with mass exposure through airplay, advertising time and promotion.
The Emerging Indie Artist Initiative is developed as part of the launch of CHUM’s newest radio station, Calgary’s ENERGY 101.5 FM. During the term of its license, the station will invest $640,000 annually to the development and promotion of Canadian talent."
Friday, March 09, 2007
A music festival which still promotes homegrown music
While SXSW is no longer selling Austin artists to the world, Canadian Music Week does sell Canadian music to the world.
TheStar.com, 3/8/07 - Facing the music: "For the past four or five years, though, Canadian Music Week has increasingly taken on a more international character. Not so much in terms of the festival programming, which still tends to be an onslaught of domestic talent broken by the occasional high-profile import whose tour routing conveniently coincides with the first week of March, but in the number of talent seekers hopping on planes to visit Toronto from abroad during the last, embittered days of the Canadian winter.
'It's certainly a showcase for Canadian talent, but since Canadian talent has become so hot and so revered around the world there are more and more people coming here to see what the next big thing is,' says [CRTC president Neill] Dixon. 'We have 25 countries coming this year. They're out every night, basically scouting the clubs.
'They're in from all over. It's unbelievable how many people have travelled to come to this thing. And they're here to do business, as well.'
... There's always an awful lot of godawful stuff on the program, yes – this year's CMW roster is teeming with hilariously wretched band names (Four Day Hombre, Canteen Knockout, Ubiquitous Synergy Seeker) that usually signify hilariously wretched bands – but there's also always a discovery or two to be made.
Canadian Music Week has experienced such an influx of international travellers betting their expense accounts on that fact, anyway, that organizers decided to set up an 'International Marketplace' four years ago to facilitate hook-ups between Canadian labels and foreign executives eager to license their tunes.
While the layoff-stricken majors are crying doom and gloom, the indies are striking deals all over the place.
Thus, on its 25th anniversary, CMW finds itself less in the business of selling Canadians to Canadians, but satisfying the demand for Canadians from other points on the globe.
'They're not coming here to sell stuff because we're only two per cent of the world market,' says Dixon.
'We're in the shadow of a 38-per-cent market. But we are disproportionately exporting talent to the size of our market. So that's why they're here. They're not here to sell us stuff, they're here to buy stuff.'"
Canada
Canadian Music Week
music festival
TheStar.com, 3/8/07 - Facing the music: "For the past four or five years, though, Canadian Music Week has increasingly taken on a more international character. Not so much in terms of the festival programming, which still tends to be an onslaught of domestic talent broken by the occasional high-profile import whose tour routing conveniently coincides with the first week of March, but in the number of talent seekers hopping on planes to visit Toronto from abroad during the last, embittered days of the Canadian winter.
'It's certainly a showcase for Canadian talent, but since Canadian talent has become so hot and so revered around the world there are more and more people coming here to see what the next big thing is,' says [CRTC president Neill] Dixon. 'We have 25 countries coming this year. They're out every night, basically scouting the clubs.
'They're in from all over. It's unbelievable how many people have travelled to come to this thing. And they're here to do business, as well.'
... There's always an awful lot of godawful stuff on the program, yes – this year's CMW roster is teeming with hilariously wretched band names (Four Day Hombre, Canteen Knockout, Ubiquitous Synergy Seeker) that usually signify hilariously wretched bands – but there's also always a discovery or two to be made.
Canadian Music Week has experienced such an influx of international travellers betting their expense accounts on that fact, anyway, that organizers decided to set up an 'International Marketplace' four years ago to facilitate hook-ups between Canadian labels and foreign executives eager to license their tunes.
While the layoff-stricken majors are crying doom and gloom, the indies are striking deals all over the place.
Thus, on its 25th anniversary, CMW finds itself less in the business of selling Canadians to Canadians, but satisfying the demand for Canadians from other points on the globe.
'They're not coming here to sell stuff because we're only two per cent of the world market,' says Dixon.
'We're in the shadow of a 38-per-cent market. But we are disproportionately exporting talent to the size of our market. So that's why they're here. They're not here to sell us stuff, they're here to buy stuff.'"
Canada
Canadian Music Week
music festival
Canada at SXSW
CNW Group: "The Canada Stand will function as business and meeting centre at SXSW's music trade show. The stand will house meeting areas, display areas, a message centre and a resource centre for all things Canadian. The Canadian BBQ, the essential jump-start to the Canadian experience at SXSW, will be held on Wednesday, March 14, 2007, from 3 to 7p.m. in Brush Square Park. Partners are looking to reap individual benefit from the strong unified presence of Canadians at SXSW and from the multi-faceted outreach of the Canadian Blast programme. A record number of over 400 Canadian registrants will attend SXSW this year. 'I have come to rely on my yearly trips to SXSW to reconnect with those industry friends that remain active and to meet new players in the new game,' says Toronto management company Bumstead Productions president Larry Wanagas. 'This is an invaluable opportunity to connect with people from around the world, present our clients to the world, and to see bands from everywhere.'"
SXSW
Canada
economic development
SXSW
Canada
economic development
Sunday, February 18, 2007
SXSW as a foreign music marketing showcase
About 25% of the bands playing official SXSW showcases are from foreign countries. And many of the sponsored SXSW parties are being hosted by location-based economic development groups.
Here's a press release from the Canadian organization describing what it does to promote Canadian bands at SXSW.
CNW Telbec "A record number of 108 Canadian artists have been invited to perform at one of North America's largest annual music industry events and some of Canada's hottest buzz acts - from Malajube to K'naan to Mother Mother - are slated to appear. Established acts such as Kid Koala, The Tragically Hip, Ron Sexsmith, Sloan, and The Dears are also confirmed. Terry McBride, the
visionary founder of Nettwerk Music Group, will be featured in a SXSW interview. ...
The Canadian BLAST at SXSW is a comprehensive marketing, network and business development initiative supported by a government-industry partnership that includes CIRPA (Canadian Independent Record Production Association), FACTOR (Foundation to Assist Canadian Talent on Records), SOCAN (Society of Composers, Authors and Music Publishers of Canada), and the government of Canada."
economic development
sxsw
Canada
Here's a press release from the Canadian organization describing what it does to promote Canadian bands at SXSW.
CNW Telbec "A record number of 108 Canadian artists have been invited to perform at one of North America's largest annual music industry events and some of Canada's hottest buzz acts - from Malajube to K'naan to Mother Mother - are slated to appear. Established acts such as Kid Koala, The Tragically Hip, Ron Sexsmith, Sloan, and The Dears are also confirmed. Terry McBride, the
visionary founder of Nettwerk Music Group, will be featured in a SXSW interview. ...
The Canadian BLAST at SXSW is a comprehensive marketing, network and business development initiative supported by a government-industry partnership that includes CIRPA (Canadian Independent Record Production Association), FACTOR (Foundation to Assist Canadian Talent on Records), SOCAN (Society of Composers, Authors and Music Publishers of Canada), and the government of Canada."
economic development
sxsw
Canada
Sunday, November 19, 2006
A train-based music festival
Music cruises have become popular. So have music holidays at beach and mountain resorts. Here's a variation.
Roots fans find home on the rails: "Roots on the Rails is a moving music festival, seven extra cars attached to a Via Rail passenger train.
"Music promoter Charlie Hunter booked the first train in 2001, when 65 friends filled the cars with music on their way to the Folk Alliance Conference in Vancouver.
"Then Fred Eaglesmith, a roots musician with album's worth of train songs to his credit, convinced Hunter to book an extra set of cars in 2003 and Roots on the Rails was born. This year, Hunter ran four sold-out festivals, with the last train, including the Cowboy Junkies, Blackie and the Rodeo Kings, the Skydiggers, Over the Rhine and Fred Eaglesmith, arriving in Vancouver Tuesday.
"On Hunter's trains, passengers live roots music. Bands jam together and in concert several times a day. Many fans bring their own guitars for the open mike and late-night song circles.
"But it's more than the soothing click-clack of the rails and the loneliness of the whistle that make a train uniquely fit for a roots music festival, Hunter said, leaning on the window frame as the railyard in Edmonton slipped away.
"'You need people with a developed career, whose audience adores them, and whose audience is at a time in their lives where they have the money.'"
music festival
music promotion
roots
Canada
train
Roots fans find home on the rails: "Roots on the Rails is a moving music festival, seven extra cars attached to a Via Rail passenger train.
"Music promoter Charlie Hunter booked the first train in 2001, when 65 friends filled the cars with music on their way to the Folk Alliance Conference in Vancouver.
"Then Fred Eaglesmith, a roots musician with album's worth of train songs to his credit, convinced Hunter to book an extra set of cars in 2003 and Roots on the Rails was born. This year, Hunter ran four sold-out festivals, with the last train, including the Cowboy Junkies, Blackie and the Rodeo Kings, the Skydiggers, Over the Rhine and Fred Eaglesmith, arriving in Vancouver Tuesday.
"On Hunter's trains, passengers live roots music. Bands jam together and in concert several times a day. Many fans bring their own guitars for the open mike and late-night song circles.
"But it's more than the soothing click-clack of the rails and the loneliness of the whistle that make a train uniquely fit for a roots music festival, Hunter said, leaning on the window frame as the railyard in Edmonton slipped away.
"'You need people with a developed career, whose audience adores them, and whose audience is at a time in their lives where they have the money.'"
music festival
music promotion
roots
Canada
train
Sunday, November 12, 2006
Why so many British bands showcase at SXSW
This is a really good article about governments which fund rock bands and other musical acts as part of their national economic development strategies. Festivals like SXSW and CMJ have turned into marketing opportunities.
Government-subsidized rock bands - New York Times: "In a little-understood chapter in the history of cultural exchange, nations from around the world have been choosing musical outfits and sending them to the biggest music markets abroad in hopes of raising their international profile and generating export sales. In a way, it makes perfect sense. ...
"From outward appearances, it might seem that the cultural compass just spins at random from one country to the next. But more and more the 'next big thing' title may reflect the deliberate efforts of government trade and culture officials, who routinely attend American music festivals, organize junkets for critics and record executives, and arrange coaching and subsidies for their homegrown acts. In Canada, which has one of the most established programs, artists can apply for an array of grants or loans to finance up to 75 percent of recording costs, advertising, marketing or touring expenses.
"Heather Ostertag, chief executive of Factor, the public-private Canadian agency that oversees music funds, said it controls a budget of roughly $12.4 million and handed out awards to one-third or more of the 3,800 applicants who sought support last year. Broken Social Scene and its label, for example, have been offered more than $140,000, she said. The Arcade Fire and Stars were also beneficiaries. ...
“'The government recognizes the importance of a cultural spend for a cultural identity,' Ms. Ostertag said. 'I think that we struggle as Canadians for our own Canadian identity. American dominance is so prevalent wherever you go.' Part of maintaining the nation’s place on the cultural map, she added, 'is happening through identifying ourselves through the success of other Canadians.'
"In Australia state and federal governments offer a series of programs. The country’s main export program offers to cover up to 50 percent of an act’s costs above the equivalent of $11,600. Over the last year trade officials provided roughly $1.8 million in grants to 80 recipients aimed at exporting their music. Past recipients included the Wiggles, the phenomenally popular music group catering to children.
"New Zealand has for several years helped cover recording costs, and recently created subsidies, overseen by music and broadcasting professionals, for artists and labels aiming to sell overseas. One recent grant went to Michael Tucker, who wanted to open a United States office for his independent label and marketing company, Loop Recordings. A fast-talking former hairdresser and fashion photographer, Mr. Tucker recently oversaw a show by one of his bands, the funk-reggae outfit the Black Seeds, at a swanky Los Angeles lounge. But not long ago he found himself at a government function hobnobbing with his government’s top ministers. 'I can shave,' he laughed. 'I can play that game.'"
economic development
sxsw
cmj
Government-subsidized rock bands - New York Times: "In a little-understood chapter in the history of cultural exchange, nations from around the world have been choosing musical outfits and sending them to the biggest music markets abroad in hopes of raising their international profile and generating export sales. In a way, it makes perfect sense. ...
"From outward appearances, it might seem that the cultural compass just spins at random from one country to the next. But more and more the 'next big thing' title may reflect the deliberate efforts of government trade and culture officials, who routinely attend American music festivals, organize junkets for critics and record executives, and arrange coaching and subsidies for their homegrown acts. In Canada, which has one of the most established programs, artists can apply for an array of grants or loans to finance up to 75 percent of recording costs, advertising, marketing or touring expenses.
"Heather Ostertag, chief executive of Factor, the public-private Canadian agency that oversees music funds, said it controls a budget of roughly $12.4 million and handed out awards to one-third or more of the 3,800 applicants who sought support last year. Broken Social Scene and its label, for example, have been offered more than $140,000, she said. The Arcade Fire and Stars were also beneficiaries. ...
“'The government recognizes the importance of a cultural spend for a cultural identity,' Ms. Ostertag said. 'I think that we struggle as Canadians for our own Canadian identity. American dominance is so prevalent wherever you go.' Part of maintaining the nation’s place on the cultural map, she added, 'is happening through identifying ourselves through the success of other Canadians.'
"In Australia state and federal governments offer a series of programs. The country’s main export program offers to cover up to 50 percent of an act’s costs above the equivalent of $11,600. Over the last year trade officials provided roughly $1.8 million in grants to 80 recipients aimed at exporting their music. Past recipients included the Wiggles, the phenomenally popular music group catering to children.
"New Zealand has for several years helped cover recording costs, and recently created subsidies, overseen by music and broadcasting professionals, for artists and labels aiming to sell overseas. One recent grant went to Michael Tucker, who wanted to open a United States office for his independent label and marketing company, Loop Recordings. A fast-talking former hairdresser and fashion photographer, Mr. Tucker recently oversaw a show by one of his bands, the funk-reggae outfit the Black Seeds, at a swanky Los Angeles lounge. But not long ago he found himself at a government function hobnobbing with his government’s top ministers. 'I can shave,' he laughed. 'I can play that game.'"
economic development
sxsw
cmj
Monday, October 23, 2006
Promoting local music to a select few
This event is combining a high-level conference with a private showcase to highlight Canadian talent. It's a good idea if one of your goals is to make musicians are actually seen by industry types, who often end up partying with each other rather than checking out unknown bands.
CANOE -- JAM! Music - Karen Bliss's Lowdown: Insider Canadian music news: A new solution-minded music conference: "Vancouver's Transmission is a forward-thinking, solution-minded music conference restricted to 250 screened and accepted delegates from the international music and digital industries, who will participate in five roundtable discussions and two plenary sessions Nov. 30 to Dec. 2 at the Sheridan Wall Centre.
"There will also be a 20-act showcase for delegates only and a free outdoor concert open to the public called the Transmitnow Block Party on Dec. 2....
"'The key (criteria) for the artists is that they are export-ready and what we determined is that loosely means three main things,' says [co-producer Brad Josling of Diamond Dog Music].
"'First of all, they should've already established themselves domestically, done some strong touring, built a fan base, maybe done some international work. Secondly, they should be business ready, so they have to be supported by some sort of business structure whether it be strong management or a label, and those people have to be at the event with them, so that they can activate on the opportunity that's going to present itself at Transmission. Then, the third criteria is having a strong live show.' ...
"'The vision behind the festival has always been an artist development vehicle as well,' says Josling."
CANOE -- JAM! Music - Karen Bliss's Lowdown: Insider Canadian music news: A new solution-minded music conference: "Vancouver's Transmission is a forward-thinking, solution-minded music conference restricted to 250 screened and accepted delegates from the international music and digital industries, who will participate in five roundtable discussions and two plenary sessions Nov. 30 to Dec. 2 at the Sheridan Wall Centre.
"There will also be a 20-act showcase for delegates only and a free outdoor concert open to the public called the Transmitnow Block Party on Dec. 2....
"'The key (criteria) for the artists is that they are export-ready and what we determined is that loosely means three main things,' says [co-producer Brad Josling of Diamond Dog Music].
"'First of all, they should've already established themselves domestically, done some strong touring, built a fan base, maybe done some international work. Secondly, they should be business ready, so they have to be supported by some sort of business structure whether it be strong management or a label, and those people have to be at the event with them, so that they can activate on the opportunity that's going to present itself at Transmission. Then, the third criteria is having a strong live show.' ...
"'The vision behind the festival has always been an artist development vehicle as well,' says Josling."
Wednesday, October 18, 2006
Saskatchewan hopes to boost its music industry
Gov't eyes boost to music industry: "While Saskatchewan's film industry is booming, the music industry falls short in comparison. The musical talent pool may be deep, but opportunities for musicians to perform, tour, record and sustain a decent living in the province are lacking.
"Crofford hopes this will change through incentives such as tax relief and added funding.
"'Our artists don't have as much access and understanding of new technology to reach not only the markets in Saskatchewan, and the younger markets, but markets around the world. The second thing is that people don't have enough resources to do promotion and marketing, so we need a way, as the (Culture, Youth and Recreation) Minister Glenn Hagel puts it, to be 'Proud out loud,' she said.
"During the province's centennial, 'showcase opportunities' for artists were higher. Crofford is hoping the industry receives a boost in the province with upcoming events such as the Juno Awards in Saskatoon, the Canadian Country Music Awards in Regina and the Western Canadian Music Awards in Moose Jaw, and past events such as the Rolling Stones concerts in Regina."
"Crofford hopes this will change through incentives such as tax relief and added funding.
"'Our artists don't have as much access and understanding of new technology to reach not only the markets in Saskatchewan, and the younger markets, but markets around the world. The second thing is that people don't have enough resources to do promotion and marketing, so we need a way, as the (Culture, Youth and Recreation) Minister Glenn Hagel puts it, to be 'Proud out loud,' she said.
"During the province's centennial, 'showcase opportunities' for artists were higher. Crofford is hoping the industry receives a boost in the province with upcoming events such as the Juno Awards in Saskatoon, the Canadian Country Music Awards in Regina and the Western Canadian Music Awards in Moose Jaw, and past events such as the Rolling Stones concerts in Regina."
Saturday, October 14, 2006
Indie labels thrive in Canada
Indie labels thrive in the Great White North| Reuters.com: "From the windswept island of Newfoundland across the rolling prairies to the northern Yukon province, flourishing Canadian labels are offering an outlet to local traditional and folk-styled artists.
"Although largely unknown in mainstream music circles, these entrepreneurial boutiques are highly visible in their individual regions in mom-and-pop 'variety' stores, gas stations and tourist gift shops as well as such mass merchants as Wal-Mart and Zellers.
"Eight-year-old Avondale Music specializes in Newfoundland's distinctive roots music ... Lyle Drake, co-owner with his wife, Dolores, estimates that 90 percent of sales come from within the island itself.
'There's no stigma here attached to buying local product,' Drake says. 'People buy local product as readily as they do the new Madonna.'"
"Although largely unknown in mainstream music circles, these entrepreneurial boutiques are highly visible in their individual regions in mom-and-pop 'variety' stores, gas stations and tourist gift shops as well as such mass merchants as Wal-Mart and Zellers.
"Eight-year-old Avondale Music specializes in Newfoundland's distinctive roots music ... Lyle Drake, co-owner with his wife, Dolores, estimates that 90 percent of sales come from within the island itself.
'There's no stigma here attached to buying local product,' Drake says. 'People buy local product as readily as they do the new Madonna.'"
Friday, July 28, 2006
Live Music in Canada
This is a 2004 government report on live music in Canada. Part of the table of contents is listed below.
Overview of the Live Music, Festival and Concert Industry in Canada:
4. Business Structure of the Live Music Sector
4.1 Grass Roots and Emerging Bands
4.2 The Established Talent
4.3 Festival Environments
5. Research Findings
5.1 External Data
5.2 Live Performance in Today's Environment
5.3 Scale and Geography
5.4 CD Merchandizing: Ripple Effect or Sea Change?
5.5 Clubs, Touring and Festivals as Components of Live Music
6. Government Support for Live Music
6.1 Interviewee Comments
6.2 Key Messages and Information Gaps
Overview of the Live Music, Festival and Concert Industry in Canada:
4. Business Structure of the Live Music Sector
4.1 Grass Roots and Emerging Bands
4.2 The Established Talent
4.3 Festival Environments
5. Research Findings
5.1 External Data
5.2 Live Performance in Today's Environment
5.3 Scale and Geography
5.4 CD Merchandizing: Ripple Effect or Sea Change?
5.5 Clubs, Touring and Festivals as Components of Live Music
6. Government Support for Live Music
6.1 Interviewee Comments
6.2 Key Messages and Information Gaps
Saturday, July 22, 2006
Canadian Jazz festivals and their economic impact
The Toronto Downtown Jazz costs about $3.5 million (Canadian) to stage (paid for through ticket sales and sponsorships), but adds $20 million to the local economy. (Not that finding sponsors is ever easy: it took six people making pitches to 75 companies over 12 months to find three new sponsors.) The biggest cost is the entertainment. Jazz festivals in Ottawa and Montreal are held around the same time so that out-of-town artists can play all of them, making it more economical to fly them in.
The Montreal International Jazz Festival costs $20 million and generates at least $100 million for the local economy.
"The most recent economic impact study, by Festivals & Events Ontario, found that the top 17 festivals in Ontario have a combined financial impact of $345 million on the regional economy and create more than 10,000 full-time jobs annually. Smaller festivals generate on average between $400,000 and $2.7 million for local economies. Were even three major festivals to stop operating, more than $100 million would be lost to regional economies every year."
TheStar.com - Festivals give Ontario a financial boost
The Montreal International Jazz Festival costs $20 million and generates at least $100 million for the local economy.
"The most recent economic impact study, by Festivals & Events Ontario, found that the top 17 festivals in Ontario have a combined financial impact of $345 million on the regional economy and create more than 10,000 full-time jobs annually. Smaller festivals generate on average between $400,000 and $2.7 million for local economies. Were even three major festivals to stop operating, more than $100 million would be lost to regional economies every year."
TheStar.com - Festivals give Ontario a financial boost
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