TORONTO — Bryan Adams is reigniting his calls to repeal Canadian content regulations that have dictated radio station playlists for more than half a century.
The Kingston, Ont.-born rock star repeated his long-standing disdain of the so-called CanCon rules, saying they are "really stupid" and merely propping up subpar homegrown music.
"It’s an archaic system; we don't really need it in Canada," the 65-year-old said during a fireside chat on Tuesday at Departure Festival.
"People listen to music, they don't consider nationality."
The Canadian Radio-television and Telecommunications Commission introduced CanCon laws in the 1970s, requiring radio to play a certain amount of Canadian music and offering guidelines on what would qualify.
The goal was to give Canadian musicians a fighting chance in a music scene dominated by U.S. artists, forcing stations to dedicate a certain percentage of airtime to domestic acts.
The CRTC is implementing changes to CanCon rules as part of the Online Streaming Act, also known as Bill C-11, which became law in April 2023.
The bill establishes new rules for streaming services and radio stations to promote Canadian music. A public consultation ended on Monday with a public hearing scheduled to begin on Sept. 18.
Asked to comment on Adams' criticisms of CanCon, a statement from the regulator said, in part, that "the CRTC is pleased that artists are engaging with this consultation."
Some have credited CanCon with playing a crucial role in helping Canadian acts establish themselves and eventually grow outside the borders.
Adams challenged assertions that he might've been one of them.
He said from his perspective, it took until his second album before he truly broke out with "Lonely Nights," a song that was strongly supported by a disc jockey in Albany, N.Y.
Adams has disputed the value of CanCon rules for decades.
In 1991, he waded into the debate after his No. 1 hit "(Everything I Do) I Do It For You" was deemed by regulators not to be Canadian enough because it involved collaborations by too many non-Canadians, including its co-writer and composer.
Adams said he believed those rules continue to punish Canadian musicians who choose to work with international creators.
"You should be able to go and work with anybody you want, anywhere in the world," he said.
"You've got a good song, doesn't matter if you're from Timbuktu, people are going to love it."
CanCon laws serve little purpose today, he argued, especially in an era where quality songs from across the globe can find their audience on streaming services.
He pointed to Drake and the Weeknd as two recent examples of Canadians who needed little or no help from CanCon for their success.
Adams is embarking on a new chapter in his career as he readies the release of “Roll With the Punches,” his 17th studio album and the first he’s issued on his own independent record label.
He told the crowd he formed the label after deciding that renewing a deal with a major wasn't as appealing as it used to be.
"The terms were so unreasonable that it just didn't make any sense," he said.
Instead, he's embraced his hands-on creative side for "Roll With the Punches," which he teased with a preview of the album cover.
The image features the rocker standing beneath a giant inflatable silver boxing glove. He said the picture was shot on his iPhone.
"We were driving in Germany at the time," he said. "I set it up, put on timer and ran into the field."
Adams has big plans around its release with a 19-date Canadian tour set to begin in September.
His stop at Departure Festival helped kick off the new event, a reimagined version of Canadian Music Week that's running until Sunday at Toronto’s Hotel X.
While it once catered almost solely to the music industry with panels and events, this year's programming includes elements dedicated to standup comedy, fashion and technology.
There will be fireside chats with Tegan and Sara, Arkells frontman Max Kerman and Shaggy, as well as appearances by comedians Pete Holmes and Dave Chappelle.
This report by The Canadian Press was first published May 6, 2025.
David Friend, The Canadian Press
