Notes from ECMA Week

Occurring from May 20th to the 24th, this year’s East Coast Music Awards week was held in Sydney, Nova Scotia. A round-trip of 3000 kilometers, and gas prices nearing two dollars a litre, attending was far from a casual decision. Still, as a broadcaster with CJLO 1690 AM and host of Eastern Promises - a show dedicated to bringing the music of the East Coast to Montreal audiences - I felt the pilgrimage would prove worthwhile.

After two days of driving, I arrived in Sydney in time to pick up my media pass, check in to my hotel, and somehow prepare for the gala’s red carpet. Running mostly on caffeine and adrenaline I was directed to a small corner alongside reporters and content creators, all waiting for the artists to arrive. There was no clear system in place, as musicians randomly ambled towards us and it took a few awkward exchanges before everyone settled into a rhythm. At first the queries were of the stock variety: ‘How does it feel to be nominated?’ ‘What does this mean to you?’ but it quickly became apparent that many artists were looking for something more meaningful. The ECMAs, after all, are an industry machine and it was evident that many of the creators, not necessarily used to these types of proceedings, struggled to maintain their authenticity amid the expectations of performance. Thankfully I was able to recall details about the artists from my years researching for the radio show, allowing me to dig a little deeper when called for.

Some were exceptionally generous, willing to be candid about their perspectives, and their processes, despite the time constraints. Others were quite happy to provide pre-packaged soundbites. Neither approach was wrong. They would then shuffle off to have official pictures taken, refortifying their personas for purposes of enduring the moment. The gala, like most, was populated with industry types, including suit-clad label representatives, sponsors and media, yet, try as they might, the corporate exercise that is the ECMA spectacle gave way to an underlying atmosphere of sincerity; a testament to the unpretentious character Atlantic Canada is known for.

I had brought a box of business cards to help network in the traditional sense, and though I had it in mind to attend showcases and mixers intending to press palms, I found myself taking a less conventional route to create professional ties. I simply went with the flow. Sydney is a community of roughly 30,000 people and it wasn’t difficult to spot those on the street who were there for the week: the omnipresent lanyards were a dead giveaway. Given that Atlantic Canadians are known for being approachable, I was able to adopt a carefree manner with which to introduce myself and my show. Though this did not come naturally to me – I’m not particularly extroverted – the interactions felt more organic than the orchestrated cocktails and showcases created specifically for industry delegates.

I ended up making connections in unlikely places: Waiting in line outside clubs, browsing in bookstores, grabbing a coffee, and weaving through crowds at concerts. Nothing felt transactional and it always started with ‘How’s it going?”

Seeing as it took many participants varied levels of effort to attend the ECMAs in remote Sydney, the logistics of getting to the event became a natural point of conversation. Yet what seemed to endear me to people - what distinguished me - was the fact I had travelled from Montreal. Montreal, as it turned out, was the key.

It’s no secret that our city has cultural currency among the rest of Canada, let alone the East Coast. Despite its language politics, high taxes, rising cost of living, and reputation as a city where touring musicians are liable to have their gear stolen, it still evokes a mystique to those in art circles. Curious about this perception, I began asking those on the red carpet what their thoughts were regarding Montreal. Though it may have appeared that I was angling for praise, my intention was more analytical: I wanted to get a sense of the city’s issues to touring musicians as well as where it currently stood in the national imagination. I also wanted the approach to turn the tables on Atlantic-Canadians, reversing the dynamic when it comes to artistic legitimacy. 

The common perception is that the hard scrabbled East Coast of our country is, culturally and economically, on the peripheral compared to the metropolises found in Quebec and Ontario, but I believe it is a narrative that’s misconstrued or, at the very least, outdated. While Montreal still holds an energy that continues to inspire, its rise in unaffordability and ongoing gentrification has whittled down its accessibility to artists.

Paradoxically, the province’s erratic history contributed to low housing costs that attracted full-time artists. But with stabilizing markets at the turn of the Millenium its reputation as an affordable haven for creatives slowly surrendered to the few who had either financial backing or other forms of support. As a result, Montreal’s music community has been significantly divided by artists with economic stability and those juggling employment while surviving project to project.

Conversely, this has put the East Coast in an enviable position. Smaller centres and comparatively affordable living costs have allowed many musicians to keep making art within strong, community-oriented scenes. An increasing number of artists from within Canada and abroad have moved to St. John’s, Halifax, Charlottetown, and other smaller cities and towns to pursue their careers with less financial pressure. Strong regional infrastructure also supports high-quality recording studios, production resources, and distribution networks.

Yet the greatest game changer has been technological. Geography remains the East Coast music scene’s greatest obstacle — touring across vast distances is expensive and exhausting — but social media and digital distribution have fundamentally altered what is possible for artists in the region. Musicians no longer need to relocate elsewhere to expand their audiences. Artists from Cape Breton, rural Newfoundland, or Prince Edward Island can now build dedicated followings across the globe while remaining firmly rooted in their communities.

That, ultimately, may have been the most striking realization of ECMA week: Atlantic Canada is no longer merely exporting talent to larger cultural centres. Increasingly, it’s becoming a destination in its own right — a place where artists can build sustainable careers without sacrificing community, identity, or quality of life.

I had plenty of time to reflect during my sixteen-hour drive back to Montreal. In the end it was the experience outside of the ECMA events that was the most rewarding: the chance to spontaneously meet brilliant and considerate artists committed to creating work that brings beauty and honesty into the world, at a time where we especially need both.

The ECMAs were not simply about making connections or exposure to the industry. They became an opportunity to affirm long-held assumptions about where meaningful artistic culture is created in Canada — and how we can continue to challenge and reimagine these long-held misconceptions.

I’m already looking forward to Moncton in 2027.

Donald Roberge is the host of Eastern Promises, an exploration of the music of Eastern Canada, on air every other
Sunday from 8-9pm