Author Archives: Quinn Taylor

This famous BC musician has been making music more affordable for the last 24 years.

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If you’re like me and have tried buying music concert tickets lately, you already know it isn’t cheap anymore.

Between rising ticket prices, service fees, overpriced drinks, and the cost of just leaving your house in 2026, live music has started to feel less accessible than ever. At the same time, arts programs and creative funding are often some of the first things cut by big corporations when budgets get tight. Vancouvers own Sarah McLachlan said it best herself. 

“So many music programs have been cut from public schools over the years,”

That’s what makes what Sarah McLachlan built feel worth talking about. While the music world kept getting more expensive, Sarah McLachlan has created a place where kids can learn music for free.

Long before celebrity brands and sponsored side projects became the norm, Sarah McLachlan founded the Sarah McLachlan School of Music in Vancouver in 2002. 

For Sarah, the idea was simple. Talent shouldn’t depend on family income.

If you’ve ever looked into music lessons, you know how expensive they can get. Instruments cost money. Teachers cost money. Even just trying something new can become a luxury for a lot of families. Not to mention the time commitment from both the musician and the family.

This school removes those barriers by offering free music education, instruments, and mentorship to children and youth. Since opening in Vancouver, the program has expanded to New West (Douglas College) and as far Edmonton. All with the goal of helping thousands of young people access something many take for granted.

And honestly, that deserves more attention than it gets.

We hear people say they want stronger communities, more culture, and more opportunities for young people. But those things don’t just appear out of nowhere. They usually start in classrooms, community centres, and spaces where someone feels encouraged for the first time.

Sometimes they start with a guitar.

Even if none of the students become famous musicians, that almost misses the point.

Music teaches confidence. It teaches discipline. It gives people a way to express themselves. For some kids it may become a career. For others, it may simply become a fun hobby or an extra cycle that keeps them out of trouble away from school.

And in a province where affordability is a constant conversation, programs that remove financial barriers feel more important than ever.

McLachlan has had a career full of awards, hit records, and one of the most recognizable voices Canada has produced. She could easily be remembered for that alone.

But I’d argue helping young people access music for free may be one of the most meaningful things attached to her name.

 

 



One of the biggest concert ticket distributor faces court

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$150 dollars. That’s how much money it would cost you for a single ticket in the upper bowl at the Canucks most recent game. $150 for you to watch a last place hockey team with nothing on the line. And yet, for most people who like attending big events, the high prices are nothing new. 

You and two friends want to go to a Vancouver Whitecaps game this weekend? That’ll be $440 dollars. Are you a Kid Cudi fan and want to see him live in concert at Rogers Arena this summer? Well then you better be willing to spend $200 dollars for your ticket alone. 

It’s no secret that event ticket prices have soared in recent years. In the early 2000s a “pricey” ticket would only be around $50. The reasoning for this isn’t as simple as inflation. TicketMaster, the world’s largest online ticket marketplace and distributor, has created a monopoly in the ticket purchasing world, and it’s not going unseen by the US government. 

This week, a U.S. federal jury in California ruled that Live Nation, the parent company of Ticketmaster, operated as an illegal monopoly in the live music industry. The decision follows years of criticism from fans, artists, and regulators who have argued that one company has too much control over how concerts and major live events are run.

At the centre of the case is how Live Nation operates across nearly every part of the industry. The company doesn’t just sell tickets through Ticketmaster it also promotes tours and has ties to many of the venues where those shows take place. That level of control, according to the ruling, made it difficult for competitors to enter the market and gave the company the power to influence pricing.

For you and me, the fans, that system has often shown up in familiar ways. Service fees that push ticket prices higher than expected, long online queues, and resale markets where prices climb even further. It’s a frustrating process but one that’s unfortunately become normalized over time.

While the case is happening in the U.S., the impact doesn’t stop there. Companies like Live Nation Entertainment and Ticketmaster operate globally, including in Canada. That means the same system used to buy tickets for shows at major Vancouver venues from Rogers Arena to BC Place is part of the structure now being challenged in court.

What makes this moment interesting isn’t just the ruling itself, but what it represents. For years, the experience of buying tickets has been depressing, as the excitement of purchasing a ticket quickly turns into checking your bank account to see if you’ll be able to survive till the next paycheck. It felt like something fans simply had to accept. High prices, added fees, and limited availability became part of the routine rather than something to question. 

Now, that system is being looked at more closely.

The case isn’t over and any real changes could take time, especially if appeals follow. But the fact that a jury has ruled against one of the most powerful companies in live music signals that pressure for change is growing.

For fans in Vancouver, it raises a simple question. If the system behind ticket prices is finally being challenged, could the experience of going to concerts and live events start to change too?



A look back at Sarah McLachlan’s Lilith Fair

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If you look at the lineup of any major music festival today, you’ll see plenty of female headliners. But until the 90s, it just wasn’t that way.

Back then, concert promoters and radio stations had a largely rumoured unwritten rule, that stated that you couldn’t play two female artists back to back, because they thought the audience would get bored.

Vancouver’s own Sarah McLachlan was told exactly that when she wanted a female opener for her tour. Instead of taking the “no”, she went and built Lilith Fair, an all female touring festival that started right here in Vancouver. The very first test show happened in Vancouver at the Pacific Coliseum in 1996, and it was so successful that it launched the full tour that would change music history.

At its peak, Lilith Fair was moving millions of tickets and featuring everyone from Sheryl Crow to Missy Elliott. By the time the tour hit UBC Thunderbird Stadium in 1997 and 1999, it wasn’t just a concert. Rather, it was a cultural shift. It proved that the higher ups within the musical industry were too worried about actually loving what they had told countless artists what they couldn’t do.

Sarah McLachlan is a Vancouver icon who used that platform to raise over $10 million for women’s charities. Even when the festival was revived in 2010, she brought it back to Ambleside Park in West Vancouver for a massive Canada Day show.

Despite the undeniable effect it had on the culture, the event’s 2010 revival hit a financial wall. Ticket prices were high, and the world had moved on from the “all women” novelty. Even Sarah was honest about the failure, later telling The Globe and Mail, 

“In 12 years, women have changed a lot… and that was not taken into consideration, which I blame myself for.”

In a way I feel that by the 2010 show not working, showed the undeniable progression women in the music industry have made. I know that may sound weird to you, but Sarah’s goal was to have women be respected and I feel she helped prove that. So much so that when she wanted to continue the festival it didn’t work, because the thought of an all women show was no longer progressive, rather normal. And I think that’s a victory.



Rock legends return to Vancouver in what could be their final tour

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AC/DC is a band that transcends the generations. I’m only 19 years old, and still would consider AC/DC in my top 5 of musical performers, just as my Dad and older family members would too. So If you’re like me and have spent countless hours on Youtube watching some of the bands most iconic concerts, and jealous of the people in attendance. Then you better clear your calendar for August 13th, and join 50,000 other people at BC Place for the return of AC/DC to Vancouver.

ACDC

The legends themselves, AC/DC, are returning to Vancouver for their “Power Up” tour, only a year after their last appearance in Vancouver. For a band that has been at it for over 50 years, the fact that they can still sell out BC Place in minutes proves that real rock and roll is not noise pollution, rather something that unites people.

I think what makes this show so special is that it might be the last time we get to see the band and Angus Young do his signature schoolboy outfit strut across a stage this big. There’s something respectably old school about it. Unlike current music acts, the band doesn’t need backing tracks or AI holograms, it’s just five guys, a massive wall of Marshall amps, and enough electricity to power the entire Downtown Core. Not to mention the thousands of fans jumping up and down like it’s Moscow 1991.

Plus, the bands choice to open with The Pretty Reckless is a genius move. It gives the night a modern edge and proves that the “Power Up” tour isn’t just a nostalgia trip it’s a celebration of where rock is going.

The standard seats are usually around $270 for the concert, a steep price, but honestly it’s hard to say it isn’t worth it. For a band this iconic, can you really put a price on seeing “Highway to Hell” live? Not to mention the boys are getting old. Who knows if this will be the last chance we have to see them live.

If you’re planning on going, my advice is to get your earplugs ready now. BC Place is basically a giant concrete echo chamber, and when AC/DC hits that first chord, you’re going to feel it in your teeth. This is the show your parents told you about, and now it’s our turn to experience it.



The almost forgotten history of Jimi Hendrix and Vancouver

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If I told you to think of Jimi Hendrix, you’d likely think of Seattle, Woodstock, or even the “27 club”. 

What I bet you wouldn’t think of is Vancouver.

Long before downtown turned into the busy city that it is today, Vancouver had Hogan’s Alley. And in that neighbourhood, the Hendrix name already meant something.

Hogan’s Alley was once the cultural heart of Vancouver’s Black community. Located near Strathcona, the neighbourhood became known for its restaurants, nightlife, church community, and sense of identity during a time when discrimination made it difficult for many Black residents to live any where else in the city. 

Among those residents was Nora Hendrix, Jimi Hendrix’s grandmother.

She wasn’t just someone who happened to live there. Nora Hendrix was an active community figure who helped found Fountain Chapel, Vancouver’s first Black church, and worked at the iconic Vie’s Chicken and Steak House. 

That means one of the most influential musicians in modern history had real family roots in Vancouver. 

Jimi Hendrix lived in Seattle, but reports note that he visited Vancouver often to see family and experience Vancouver’s once notorious night life scene. The story the Hendrix family leaves Vancouver shows us that music history doesn’t always live where people assume it does. Sometimes it’s hiding in plain sight, a few blocks from places you’ve probably driven past without thinking twice. 

I know I’ve driven by Hogan’s ally dozens of times, never knowing the history.

We’re used to hearing stories about major artists coming from Los Angeles, New York, or London. But what Hogan’s Alley does is remind us British Columbians that we have always had a strong connection to the musical world. 

Much of Hogan’s Alley was demolished during the construction of the Georgia Viaduct. A neighbourhood with deep history was erased in the name of development. 

Now a days, you can find a Jimi Hendrix shrine located on Union and Main.

Jimi Hendrix Shine

Which is even further proof of the history and cultural impact that Jimi and the Hendrix family left in Vancouver.



Green Auto Body, the East Van garage becoming a staple of BC indie scene

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If you’ve spent any time complaining that Vancouver’s music scene is “dying” because of rent prices and venue closures, you clearly haven’t been to 1822 Pandora Street.

Tucked away in an industrial pocket of East Van is Green Auto. From the outside, the name is very fitting because it looks exactly like what the name suggests, an old auto body shop. But once you step inside, you realize it’s actually one of the most impressive DIY spaces in the city right now.

In a city where a night out can easily cost you $100 before the headliner even hits the stage, Green Auto feels like a pipe dream. They often run on a “Pay What You Can” model, and their tagline “Built by artists, for artists” isn’t just marketing fluff. You can actually feel it in the room.

My sister is a big underground music fan, and when she suggested taking me to this place I had my skepticism. But immediately after I walked through the garage doors, I not only heard the music that was playing but felt it. 

I loved the vibe because it’s totally unpretentious. It’s not like other music venues where you’ll see a fancy building to compensate for the music. It’s just raw sound that matches the venues vibe. Just this past March, The Georgia Straight was raving about how magical the space is for “spontaneous” moments that you just can’t get at a larger, more sterile venue. Whether it’s a slow alternative show or a loud punk set, the audience is actually there for the music, not just to post on Instagram.

I’ve talked to people who say Green Auto is a “must” for a reason. It’s one of the few places left where up and coming BC artists can actually afford to play and where fans can afford to watch them.

If you’re looking for the new Vancouver sound, don’t look at the posters on Granville Street. Head over to Pandora, look for the garage door, and bring a few bucks for the jar. This is what a real music scene looks like in 2026.



Mac DeMarco sings like the BC city he was born in

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Mellow, isolated, and dreamy. Words that would not only be a proper description of Duncan BC, but also one of Duncan BC’s most successful musical artists, Mac Demarco. 

I consider myself an old soul. I enjoy old time stories, movies, and music. As a result I commonly am turned off from the state of the current music industry. Everything has a sense of being overly manufactured. Not just in the music, but in the personalities and outfits that music stars of today wear. I can’t say it’s a distinct sound or look, yet I know when it’s there. So, when an artist maintains their authentic self and sound through fame and success it catches my eye. And that’s exactly how over 20 million of Mac DeMarcos monthly Spotify listeners feel as well.

DeMarco was born in Duncan BC but spent the majority of his childhood in Edmonton before moving to Vancouver in 2008, to further his musical aspirations. During his time in Vancouver he would form a band known as Makeout Video. And although the band never had any hit songs, it would be there where music admirers would acknowledge DeMarcos musical capability as well as his unique on stage presence that he himself would later label as “Slacker”. A “Slacker” is a person who avoids work, effort, and does enough to get by. 

The thing is, there’s a lot of people who would consider themselves “slackers” and naturally DeMarco’s fan base grew larger with mostly young adults/teenagers who resonated with the lyrics to his music. 

DeMarco didn’t only walk the walk but he talked the talk. A part of the reason why DeMarcos music has such a unique unmanufactured sound is in part to the fact that he never records in an expensive recording studio yet his basement while wearing nothing but his underwear, free from the stresses of the music industry. 

“I’ve recorded at home since I was a teenager, and I’m able to sit here in my underwear and keep trying different things until something works. I think if I did that in a studio the engineer would be like, “What the hell is wrong with you?”

It was in 2012 when DeMarco would fill his debut album “2” with songs that matched his persona and sound. Although 2 wasn’t a hit overnight it slowly became an indie music anthem as music listeners were just becoming aware of who Mac DeMarco was. It had 1.8 billion streams on Spotify since its release, as well as DeMarcos first appearance on the Billboard 100 list, where it would rank as high as 14 on the charts. 

 

Since, DeMarcos music has continued to evolve while still maintaining its unique indy sound. He’s released 9 solo albums, with each one having a different theme yet all successful. 

You could see that as his music has progressed he has been no stranger to experimenting with his music. In 2023 he would move to Los Angeles to record his album One Wayne G contained 199 songs all of which were unnamed, and instead numbered. Throughout the album a clear theme of experimentation, with songs showing shades of his past mellow self, to musical arrangements that would leave many of his listeners confused, yet impressed. 

When DeMarco speaks about his western Canadian heritage he acknowledges how his roots have played an influence in his music, and the person he is today. In 2025 he moved back to Vancouver island, and continues to live a very quiet life. There hasn’t been any news surrounding potential new music, but if history were to repeat himself, I’m willing to bet he has something in the works.

 



Why Nardwuar is Officially the King of BC and Canada.

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 If you’ve spent time on the internet you’ve probably seen clips of your favourite artist being interviewed by a man in a plaid hat and yellow jacket, with deeply personal questions. If you hadn’t already known, that man’s name is Nardwuar, and he is a BC native that attends UBC.

In a move that probably caught a few politicians off guard in Ottawa, Nardwuar the “Human Serviette” was recently appointed as a Member of the Order of Canada. It’s the country’s highest civilian honour, and seeing that Nardwuar did his famous “hip flip” with Prime Minister Mark Carney a year before the honour, it was not much of a surprise.

https://x.com/nardwuar/status/2006353059598004584

Unlike a lot of other social media and radio phonemes, Nardwuar remained in Vancouver throughout his success. He started right here at UBC, working the 90 second slots at CiTR 101.9 FM back in the late ’80s. He was just a history major who loved local punk bands, yet he ended up becoming the only person on earth who could make Snoop Dogg or Drake look genuinely starstruck.

When Nardwuar accepted the honour, he dedicated it to his late mother, Olga Ruskin. She was a local historian and journalist who taught him the value of deep research. He famously noted that his tireless research isn’t a gimmick, rather a way of showing respect to the artists. Pharrell Williams famously told him,

“Your research is second-to-none.”

You’re not able to find that kind of dedication easily in this industry that usually focuses on fluff and 15-second sound bites.

But the coolest part for me? He still signs off every single video with “Vancouver, British Columbia, Canada.” In an industry where interviewers are not meant to be the star, Nardwuar’s authentic personality and unique questions always directs the viewer’s eyes towards him. He proved that a kid from West Vancouver could change global music journalism just by being the most prepared person in the building.

The Order of Canada is usually reserved for scientists and doctors, but giving it to the guy who refuses to call a “serviette” a “napkin” is exactly the kind of energy we need.

And you and I both know there’s only one way to end this article… “Doot doola doot doo…”