Well, if Pierre Deslauriers, whose at the helm of the “Regroupement des musiciens du métro” (yes, there’s actually a committee overseeing the music in the metro — who woulda thunk it!?), gets his way, this just might be the case! Read on…

According to Deslauriers, the reasoning behind this idea is to improve the quality of the music being played in the public transit system. Although I have heard my fair share of musical atrocities within the concrete structures that is our metro system, this has seldom been unbearable. In fact, that’s exactly what makes performances in the metro interesting: the variety and the originality. If it were not for the metro, some of these artists might not have a public place to express themselves. Likewise, many metro performers often have trouble finding areas to play in and once they do, they still have trouble making ends meet. That said, curation is probably not the best solution to this.

However, this whole new idea of change is much more deeply rooted than just curation. In fact, Deslauriers is even suggesting that the STM follow the lead of Toronto and Vancouver by actually paying royalties to SOCAN (Society of Composers, Authors and Music Publishers of Canada) for music which is being played in the metro. The STM was quick to bark back saying that this would add at least tens of thousands of dollars each year to the corporation’s already overburdened budget.

Quick facts:

  • The average a metro performer makes is $7/hr.
  • Saturday has been touted as being the most lucrative day to perform in the metro.
  • In a court ruling in 1983, the STM was forced to create approximately 70 designated areas for public performances. There are currently only 49.