Nate Sabine is stepping up as the new chair of the Canadian Live Music Association. Big changes are coming for the live music scene.
Nate Sabine, a prominent figure in Vancouver’s music industry, has been appointed as the new chair of the Canadian Live Music Association (CLMA). Known as the largest national organization representing the live music sector, the CLMA advocates for a diverse range of stakeholders, including venues, promoters, festivals, and other businesses integral to the concert scene across Canada.
Sabine’s journey in the music business began as an independent concert presenter and club night organizer. He currently serves as the director of business development at Blueprint, a major independent live event producer in the region, famous for hosting events like Surrey’s FVDED in the Park festival and the Contact Winter Music festival. His extensive experience also includes co-chairing the Vancouver Juno host committee and previously serving as president of Music B.C., an organization dedicated to advancing the music industry in the province.
Sabine expressed enthusiasm for taking on this leadership role, noting, “I’ve been a big fan of CLMA for years before joining the board. It’s vital to advocate for the funding and support systems that keep live music alive.” He emphasized the importance of recognizing the support that the CLMA provided during the COVID-19 pandemic, which was crucial in helping many in the industry navigate the difficult times.
Despite the challenges faced by many venues and artists during the pandemic, Sabine described the current state of Canada’s live music ecosystem as “decent, but not fantastic.” He highlighted five pressing issues affecting both national and provincial live music scenes and proposed potential solutions.
One major concern is the increasing trend of significant tours bypassing Vancouver and much of Western Canada, opting instead to conclude their West Coast stops in Seattle. This pattern not only limits local options for attendees but also raises concerns about the long-term implications for the region’s live music scheduling. Sabine pointed out that the available venue sizes for mid-range acts are scarce, with a shortage of modern facilities that can accommodate 2,000 to 4,000 people.
Another issue is the rising costs associated with staging live events. From the price of permits to equipment rentals, many aspects of event production have seen substantial increases, making it harder for new festivals and venues to succeed. Sabine noted how these financial pressures, combined with fluctuating real estate markets and regulatory challenges, deter potential new entrants into the industry.
Generational shifts in consumer behavior present additional hurdles. Younger audiences are drinking less alcohol compared to previous generations, which has impacted revenue for many venues heavily reliant on beverage sales. However, Sabine acknowledged that while concert ticket spending has increased significantly, the amount spent on-site at events has declined, affecting local businesses reliant on concertgoers.
Sabine also called for greater awareness of the economic impact of the live music sector, which generates approximately $11 billion in GDP and supports over 100,000 jobs in Canada. He argued that this industry deserves more recognition and funding, especially when compared to other sectors.
Lastly, he emphasized the global reach of Canadian musicians and the importance of big concerts for local economies. Events featuring major artists like Taylor Swift not only promote local tourism but also enhance Canada’s international reputation. Sabine concluded by stressing the need for developing a sustainable infrastructure that can retain talent and foster the careers of Canadian artists in their homeland.