Author Archives: Quinn Taylor

The unfortunate ending to one of BC’s most iconic music festivals

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If you’re a music fan in BC, there’s one beautiful city in BC that may leave you with the ugly feeling of FOMO.

For a few summers, “Pemby” was a highlight for local music enjoyers. And it wasn’t even just the music that drew people’s attention but the scenic views that Pemberotn has to offer. You were camping at the base of Mt. Currie, surrounded by some of the most insane views in the province, watching artists like J. Cole, Pearl Jam, and Snoop Dogg. It felt like Canada’s answer to the massive European festivals.

But in 2017, the festival crashed in a way that left thousands of fans, mostly students and young adults, completely screwed.

May 18th 2017, the day the music died. 

It wasn’t just a cancellation, the festival had filed for bankruptcy. But the part that felt like a slap in the face was the notice on their website. 

“Unfortunately, there are no automatic refunds.” 

Imagine being one of the people who saved time and money, dropping $500 or more on tickets and camping, only to be told that your money was gone. The organizers had already collected over $8.2 million in ticket sales for the 2017 show, even though they knew they were drowning in nearly $17 million of debt. The industry reaction was immediate and brutal. 

Marc Geiger, one of the most powerful talent executives in music, called the situation “reprehensible.” He didn’t mince words when talking about the situation. 

“This is criminal what they did. They stole people’s money… then hid in bankruptcy.”

It’s hard to wrap your head around how a festival with that much hype could be so poorly managed. While organizers blamed the falling Canadian dollar and “mounting costs,” the reality was that they kept selling tickets right up until the afternoon they shut down. For a lot of fans of the festivalit felt less like business and more personal.

Most people only got their money back by filing “chargebacks” with their banks a long, frustrating process that took months of phone calls.

Pemberton was supposed to be a highlight of our summer. Instead, it became a warning story about the change in the music industry and that anything can happen behind the scenes of the festivals we love. Whenever I see a new event pop up in the valley now, I can’t help but think about those fans in 2017 who were left with nothing but a “proof of claim” form and a lot of questions.



A BC festival too good to forget

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Would you even believe me, if I were to tell you that Drake, Eminem, and Bruno Mars all performed in a field in Squamish over the course of two summers in the mid 2010’s. You’d probably think that I’m lying to you.

I’m a local, who attends multiple local music festivals and I was even shocked to see the old posters for the Squamish Valley Music Festival. It’s weird to think about now, but for a few years, Squamish was essentially a Coachella of the North.

So, why would a festival in one of the most beautiful places on earth with over 120,000 people attending just stop?

It’s a question that’s bugged me ever since finding out about the festival. I’ve driven past the Logger Sports Grounds plenty of times and never realized that some of the biggest icons in music history were standing right there. In 2015, they had Drake and Sam Smith. In 2014, it was Eminem and Arcade Fire. By all accounts, it was a massive success.

But in the music industry, “success” doesn’t always mean “sustainable.”

It wasn’t just a simple choice, it was a math problem. Tamara Stanners from The Peak 102.7 put it best when she noted that most of these huge artists want to be paid in U.S. dollars. She said,

“When most of the artists are looking for American money and our dollar is at 70 cents, it’s difficult to be competitive.”

That 30-cent difference is the gap between a festival existing and a festival going broke. Even the Mayor at the time, Patricia Heintzman, admitted the cancellation was purely a business decision driven by those financial pressures. She surmised that the “mounting costs and mounting competition” from other festivals like Pemberton made it impossible to keep the lights on.

By March 2016, instead of a lineup announcement, fans got a “difficult decision” statement and a deleted Instagram account.

It’s a depressing ending for something that put BC on the global music map. Every time I see a “No Fun City” comment about Vancouver, I think about Squamish, and how those people woulda killed to have been in attendance. We as a city proved we could host the biggest names in the world. We just couldn’t figure out how to pay for it.

Maybe one day someone will try again, but for now, the only thing left of the festival is some old wristbands and the videos and stories that live on in the internet.


The Fox Cabaret. A once adult club turned music venue

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If you’re walking down Main Street in Mount Pleasant, it’s hard to miss the neon marquee of the Fox Cabaret. It looks like a classic, slightly retro theater, but if you go back about fifteen years, this place had a very different reputation.

Until 2013, the Fox was the last standing 35mm adult cinema in North America. It was a stubborn, slightly sleazy holdout from a different era of Vancouver history, kinda my vibe but that’s none the less. But instead of tearing it down to build another glass condo tower, a group called the Arrival Agency stepped in and turned it into the multi-level arts playground it is today.

If you’re a music lover like me then you will love the Fox because it feels like it kept its edge even after getting a makeover. When you’re watching a band like Nobro (who are actually playing this Saturday, April 18) or catching a local legend like Jody Glenham for her EP release on April 30, you’re standing in a room that has seen some serious history.

What makes it a must mention for any local guide is that it’s not just a concert hall, it’s a community hub. On any given Sunday, you can catch The Sunday Service, which is arguably the best live improv comedy show in the city. Then, on Friday and Saturday nights, the space transforms into one of the best dance floors in the province.

Events like “Guilty Pleasures“ and their “80s vs 90s” battles are legendary and authentic. It’s events like those that help me understand how the building has stood the test of time.

Whether you’re there for a $4 “four-band showcase” (yes, they still do those!) or a sold-out international tour, the Fox is proof that Vancouver’s music scene doesn’t have to be  No fun city. It just needs a little bit of history and a lot of neon.



Dandelion Records, a modern trip to the past

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In a world where everybody downloads their music off of Spotify or Apple Music, the vinyl scene has become more of a niche, yet also a trend. And if you’re hoping to listen to music in its purest form you need to head to East Broadway. While the big name record stores on Main Street are great for finding the classics, Dandelion Records is where you go to find the future.

What started as a niche vinyl shop in the Records opening in 2008, has turned into a strong force in the local indie and electronic scene. In 2026, Dandelion isn’t just about selling plastic discs; they’ve become synonymous with the “listening room” culture that is finally taking over BC.

Music purists love Dandelion because it feels like a secret club that everyone is invited to. They’ve been running regular nights at The Lido, bringing in deep cut collectors to spin everything from “cosmic dust” disco to experimental ambient tracks. It’s a total shift from the loud, sweaty clubs on Granville Street. Here, the music is the centerpiece, and the crowd actually listens.

Just this past March, they hosted a series of listening parties that were packed with the young adult crowd, proving that even in the age of online music streaming sites, we still crave a physical space to sit down and experience an album from start to finish. Honestly, I think the idea of going to listen to entire album how it was meant to be listened to is rebellious in a way. In a city that is always moving too fast, Dandelion and The Lido are forcing us to slow down.

If you’re tired of the same old “top 40” hits and want to find something that feels genuinely “underground,” look for the Dandelion crew. Whether they’re hosting a pop-up shop or a midnight set at The Lido, they are the ones keeping the weird, wonderful heart of Vancouver music beating.

 

Haley Blais, making strides in the music industry

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For a long time, the music industry looked down on “internet artists.” The assumption was that if you started on YouTube or TikTok, you couldn’t actually cut it on a real stage. Haley Blais has spent the last few years completely dismantling that myth.

@haley_blais

The accent came without warning #originalsong #newmusic

♬ original sound – Haley Blais

Don’t believe me? Well look no further than the Vancouver Folk Music Festival, where Haley has officially been tapped as a headliner. She’ll be taking the stage at Jericho Beach Park on July 17. For a kid who grew up in Kelowna and started her career with fun online videos to show off her musical talents, this is the ultimate hometown hero moment. Or better yet, home providence hero. 

The data backs up the hype. Her latest album, Wisecrack, didn’t just win over fans, it won over the critics, landing her on the longlist for the Polaris Music Prize. While her early work was defined by a solo ukulele, her current sound is a massive, textured wall of nostalgia pop backed by a five piece band of other BC natives.

What makes Haley stand out in a crowded indie scene is her technical skill. Unlike many of her peers, she spent a decade as a classically trained opera singer before picking up a guitar. That foundation is obvious when you see her live. She has a vocal range that allows her to jump from a whisper to a stadium-filling belt without breaking a sweat. It’s why she’s been able to hold her own on tour with major BC exports like Peach Pit.

Haley represents a new kind of BC artist, one who built their own community online and then proved they could dominate the physical world, too. Watching her transition from a DIY YouTuber to a Folk Fest headliner is a reminder that the most interesting music in the province right now is coming from the people who weren’t afraid to start small.



Jade LeMac is no longer “up and coming”, she’s here.

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When you hear about a new local artist who’s gaining success you’d probably assume they’re from downtown Vancouver. Well, that’s just not true, as one of Canada’s brightest young music stars, Jade LeMac, grew up in Surrey BC.

At just 22 years old, Jade has quietly become one of the most successful musical exports the province has seen in years, and the numbers are honestly staggering.

As of April 2026, Jade is sitting on over 6.8 million monthly listeners on Spotify. To put that in context, that is a larger digital footprint than many of the legendary BC bands that filled stadiums in the 90s. This isn’t just local hype, it’s a massive global audience that started with her viral track “Constellations” and has only grown since she signed with Arista Records. 

What’s even more impressive is that Jade is only 22 years old, and had her first single released in 2021 when she was only 17. She built her music skills at home as she was used youtube to help her learn how to play the guitar and piano as a kid.

The industry is taking notice, too. She just picked up a nomination for Breakthrough Artist of the Year at the 2026 Juno Awards, and this summer, she’s taking the BC sound south as she opens for Hilary Duff and La Roux on a major US tour.

What’s interesting is that while her music has a polished, international pop feel, she remains vocal about her roots. In a recent interview with CBC, she leaned into her west coast identity, noting that the specific mood of the Pacific Northwest is what drives her songwriting.

We often talk about the “struggling artist” narrative in Vancouver, but Jade LeMac represents a different story: a local kid using digital platforms to bypass the gatekeepers and build a career that is already reaching 21 countries. She’s not just a “rising star” anymore; she’s the benchmark for what success looks like for a new artist in BC.



Nelly Furtado featured on Canada’s new FIFA World Cup Song

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An “Electric Circus” won’t just be a way for you to properly describe the upcoming FIFA World Cup. It will also be the title of Nelly Furtado and producer Boi-1da’s new song, a part of Canada Soccer’s official soundtrack album for the 2026 FIFA World Cup. 

Whether it be Shakira’s world famous “Waka Waka” for the 2010 South Africa World Cup, Pitbull’s and Jennifer Lopez’s “We Are One” from the 2014 Brazil World Cup, or most recently Nicki Minaj, Maluma, and Myriam Fares track from the 2022 Qatar FIFA World Cup “Tukoh Taka”. The World Cup’s musical soundtrack sets the tone for the 40 day event. The music used for the World Cup sound track is meant to unite global audiences, promote the tournament, and most importantly celebrate the host country’s culture.

This year matches will be played in three countries, Mexico, USA, and Canada, with each country receiving their own songs. 

The song “Electric Circus” was released April 10th and will be the feature song for Canada’s official soundtrack album “Perfect Pitch” for the 2026 FIFA World Cup, which releases June 5th. It will feature prominent Canadian artists such as, Alessia Cara, Charlotte Cardin, Zeds Dead, Luxury Dead and the Tragically Hip. 

Canadian producer and songwriter spoke about his time working on “Electric Circus” with Victoria British Columbia’s Nelly Furtado.

“I’ve dreamt of working with Nelly Furtado and Jessie Reyez, K-os, and different artists. To finally be able to get in the studio and have a moment with them, on such a high stage like this, there’s no better feeling.”

Electric Circus perfectly matches the vibe that the World Cup is supposed to give off. Fun, motivating, and, well, electric. 

 Although this is only Canada’s 2nd time being in the World Cup in the last 43 years, they didn’t have an official theme song for their 2022 performance. Yet, the team would listen to Toronto native Drake’s hit song “Started from the bottom”. 

In 2022 Canadian defender Kamal Miller spoke about the team’s unofficial theme song for the tournament.

“When I heard the song, it kind of all resonated with the moment,” 

“The fact that we’re a team that really did start from the bottom, so the lyrics fit in with the occasion. And it felt right.”

Canada’s official World Cup soundtrack album will be released June 5th, a week prior to the team’s World Cup debut, set to take place June 12th at BMO Field Toronto. 



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.