Ticketmaster Caps Ticket Resale in Ontario & More Canada Music News

Ticketmaster Canada is putting ticket resellers on notice in Ontario.

The ticketing giant has sent emails to Ontarians with tickets listed for resale on Ticketmaster’s secondary marketplace, noting that their listings would be removed in light of the new provincial legal requirements. This decision would comply with Doug Ford’s provincial government’s recent declaration of intent to cap resale ticket prices that exceed face value.

“Effective April 23, 2026, tickets in Ontario cannot be resold above the total original cost, including service fees and taxes,” the email reads.

“Beginning next week, you will be able to relist your tickets in compliance with Ontario’s new legal requirements once updates have been made to our resale marketplace.”

Ticketmaster confirmed its ticket sales cap to CP24.

“With the legislation coming into force shortly, we have begun contacting all fans with tickets listed on our resale platform to let them know we have delisted their tickets from our marketplace,” a Ticketmaster Canada spokesperson said.

It’s a part of the newly passed budget bill, Bill 97, but it has yet to receive royal assent. The new legislation will require secondary sellers to provide proof of original price when listing a ticket for sale, and mandate disclosure of original and resale prices to buyers, with secondary market platforms to retain records for a minimum of three years after the event.

Following the Ford government’s announcement, Live Nation, which is merged with Ticketmaster, posted a statement to social media, supporting the decision. “We are in favour of measures that promote fair, transparent ticketing and curb exploitative resale practices,” the company wrote.

While it’s a step in the right direction, it’s unclear how Ticketmaster’s policies will be integrated into the new Ontario legislation, and whether the ticketing company will recoup the service fees and taxes or the reseller.

Read more here. — Heather Taylor-Singh

What Will The Live Nation Antitrust Verdict Mean For Canadian Live Music and Ticketing?

In the week since Live Nation lost its blockbuster antitrust trial, many in the music industry have been wondering what’s next — not just in the U.S., but in Canada too.

Though the verdict applies solely to the U.S., where the Department of Justice and a coalition of states held the trial, its consequences could spread north of the border.

In its verdict, the jury found that Live Nation was acting as an illegal monopoly, controlling the market for ticketing services, concert ticketing and the use of amphitheatres, and that it illegally tied the use of its venues to its concert promotion services.

The outcome is still to be determined, but could possibly force the sale of Ticketmaster in the U.S.

“A ruling like this is monumental,” says Lucas McCarthy, the founder and CEO of Showpass, one of Canada’s biggest independent ticketing companies.

“This is a sign of the times that ticketing and live events are as important to people as core basket items like food and shelter,” McCarthy says. “It’s a good indicator that society holds live entertainment at the very forefront.”

Tixr is another significant independent player in the ticketing industry. Though it was founded in the U.S., the company has a sizeable presence in Canada with operations headed by Stéphane McGarry.

In an interview alongside CEO and co-founder Robert Davari, McGarry says he is also optimistic the verdict could lead to similar scrutiny in Canada.

“I do think there’s an opportunity for Canada to follow suit,” he tells Billboard Canada. “The U.S. is a very tough market to prove monopolistic behaviour, and it has now been proven in court. So now if Canada’s Competition Bureau were to have a look at this, which we’re hoping they do, they have a blueprint for how to think about it.”

A spokesperson from the Bureau says they are monitoring the impact of the trial.

“We are aware of the recent verdict in the Live Nation case in the United States,” the spokesperson says in a statement to Billboard Canada. “We continue to monitor the work of our international counterparts, while recognizing that each jurisdiction operates within its own legal framework.”

Despite how it is adopted in Canada, McCarthy predicts the verdict will allow room for more competition. More companies might be willing to build alternatives without being discouraged by inability to compete. And that could be passed down to the fans.

“This might create a new category of businesses that are more inspired and willing to participate,” he says. “I think we’ll see significantly more innovation.”

McGarry is hopeful the Competition Bureau will conduct a new inquiry, and is open to the possibility of putting together a group of companies to lobby.

“If you know Canada, you know it might be a slow burn,” he says. “But at the end, [if things change], it’s the fan that’s going to be much happier.”

FACTOR Announces $2 Million in Funding for Live Music

FACTOR has taken a major step to support the Canadian music scene.

On Tuesday (April 21), the Canadian music funding company announced its plans to invest over $2 million in funding for the live music industry, specifically into its Promoter Program and Festival Program.

Both programs reflect the company’s ongoing mission to support local artists, festivals and events, fostering an environment where “a diversity of Canadian music artists connect with audiences everywhere.” The Promoter Program and Festival Program are intended to share investment risk with live music companies that have a “proven track record” of successfully presenting Canadian artists and centring diverse voices. The goal is for more shows to be put on across Canada and for more Canadians to be part of the teams presenting them.

“In this moment, supporting the Canadian businesses that help shape our identity is more important than ever,” says Meg Symsyk, president & CEO of FACTOR. “At a time of rising costs and increased competition from foreign-owned companies, this support will enable our promoters and festivals to continue bringing Canadian artists to stages across the country and marketing those performances effectively, helping artists grow their audiences and careers.”

The Promoter Program was initially launched in 2024 as a pilot project with Musicaction to recognize and support concert promotion staff amid the increasing importance of live music entertainment and touring. Its goal was to foster diverse voices and help bring more Canadian, Indigenous and marginalized artists onstage, as well as behind the scenes. With such initiatives, FACTOR aims to keep diverse Canadian voices and communities at the centre of the live music experience, helping ensure stages are shaped by homegrown talent and values.

“The CLMA is very pleased to see the return of the Promoter Program and new Festivals Program at FACTOR and Musicaction. Promoters and presenters are the purveyors of Canada’s cultural sovereignty; this investment represents more opportunities for homegrown artists and support for Canadian live music businesses,” said Maddy Oliver, interim executive director of the CLMA.

News of the investment comes after the Canadian Music Fund was renewed in Nov. 2025, allowing for an allocation of $48 million to Musicaction and FACTOR for three years beginning in 2026.