Careers

We are a small, focused team that cares about music and about doing things properly.

Working at Canada Music Group means being close to the music and the people who make it. Our teams work across records, distribution and publishing, and most people here collaborate with colleagues from several departments every week. There is little room for silos, and plenty of room for people who like to learn how the whole business fits together.

We value curiosity, care and follow-through. The music industry moves quickly and the details matter, from a single line of metadata to the timing of a release. We look for people who take pride in getting both the big picture and the small things right.

We also believe a good workplace is built on respect. People here are expected to be direct and kind, to listen as much as they speak and to give credit where it is due. Ideas are welcome from every level, and good ones are acted upon.

Everything we do is ultimately for the people who make the music.

Whatever team you join, you will be part of a relationship with artists and songwriters, directly or indirectly. They trust us with something deeply personal: songs that took months or years to write, careers that are built on a handful of important decisions and income that many of them depend on to live.

That trust brings responsibility. It means responding to messages promptly and honestly, explaining things clearly, keeping creative work confidential until it is ready to be shared and treating every creator with the same respect, whether they are just starting or already well known.

It also brings rewards. Few things are more satisfying than seeing a release you helped plan find an audience, a song you registered earn its first royalty or an artist you supported play to a full room. People who thrive here tend to feel that satisfaction deeply.

The way we work matters as much as the work itself.

Good music businesses are built on trust, and trust is built by how people behave day after day. These are the working principles we try to live by, and that we ask everyone who joins us to share.

Put the creator first

When there is a difficult decision, we ask what is best for the artist or songwriter in the long run. It is a simple test, and it keeps us honest.

Say what you mean

We prefer clear, kind and direct communication to diplomacy that hides the real message. If something is wrong, we say so early and look for a solution together.

Share what you know

Knowledge is most useful when it is shared. We document how we do things, explain our reasoning and make time to teach colleagues who are new to a subject.

Finish what you start

Ideas are easy and execution is hard. We value people who follow through, who keep promises to colleagues and creators and who raise a hand when something is at risk.

Stay curious

The industry keeps changing. We encourage everyone to ask questions, try new approaches and learn from things that did not go as planned.

There is no single profile for a career in music. Our teams include people who studied business, law, design, engineering and the arts, and people who learned their craft by working in venues, studios and record shops. What they share matters more than where they came from.

A genuine love of music

You do not have to be a musician, but you should be curious about music, listen widely and care about the people who make it.

Ownership and reliability

We trust people to take responsibility for their work, to meet commitments and to speak up early when something is not going to plan.

Collaboration

Almost everything we do involves other people, inside and outside the company. We look for colleagues who share knowledge, ask for help and respect other points of view.

Integrity

We handle creative work, contracts and money that belong to other people. Honesty and discretion are essential in every role.

Different roles need different skills, but certain strengths are valuable almost everywhere at CMG.

Communication

Clear writing and speaking, active listening and the ability to explain complicated things simply, to creators and colleagues alike.

Organisation and attention to detail

Releases, registrations and agreements all depend on accuracy and good timing. People who keep track of the details are essential.

Data confidence

Comfort with spreadsheets, reports and dashboards, and the ability to turn numbers into useful conclusions, is increasingly important in every team.

Creative judgement

A good ear, a good eye and a sense of what will resonate with an audience help in A&R, marketing, design and content.

Languages and cultural awareness

Music crosses borders. Knowledge of other languages and cultures helps us work with artists, partners and audiences around the world.

Problem solving

Things rarely go exactly to plan. We value people who stay calm, think clearly and find practical ways forward.

We hire at many stages of a career. Here is a general idea of what we look for at each level.

Early career

Enthusiasm, curiosity and a willingness to learn matter most. Relevant study, internships, volunteering or personal projects are all valuable, even if they are not directly in music.

Experienced professionals

We look for people who bring skills from music or another field and can work independently, manage projects and contribute ideas to their team.

Senior roles and leadership

At senior levels we look for strategic thinking, strong relationships and the ability to guide and develop others. We value leaders who listen, share credit generously and make decisions with the long term in mind.

Our work is divided into several teams, each with its own skills but a shared purpose. Here is an overview of the areas where we hire.

A&R and artist development

Our A&R team discovers artists, develops them and supports them creatively. The work involves deep listening, relationship-building, project management and sound judgement about music and about people.

Marketing and promotion

Marketing and promotion teams plan and run release campaigns across streaming platforms, social media, press, radio and live events. They combine creativity with analysis, using data to decide what is working and what to do next.

Distribution and operations

Distribution and operations keep releases moving. This team delivers music and metadata to platforms, resolves technical problems, supports artists using the Distribution Portal and makes sure that what is delivered is accurate and on time.

Publishing and licensing

Our publishing team registers songs, administers rights, collects royalties and creates opportunities for songwriters, including co-writes and sync placements. Precision, organisation and strong relationships are central to the work.

Finance, legal and business affairs

These teams make sure that agreements are fair and clear, that royalties are calculated and paid correctly and that the company operates responsibly. They are the foundation that allows everyone else to work with confidence.

Creative and content

Designers, editors, photographers and writers help tell artists’ stories and give the company a recognisable identity, from artwork and video to the pages of this website.

Technology and data

Our technology and data people build and maintain the systems that deliver music, produce reports and keep information secure, and turn raw numbers into insights that creators and colleagues can use.

No two days at CMG are identical, but it can help to picture what the work feels like. Here are a few examples from different parts of the company. They are illustrative rather than exact, and every role is different.

In A&R

A morning of listening to new submissions and demos, followed by a studio session with an artist working on a new single. In the afternoon, a catch-up with the marketing team about the timing of an upcoming release, and an evening show to hear a new artist live.

In marketing and promotion

Reviewing the performance of last week’s release, preparing playlist pitches, meeting a designer about artwork for a campaign and writing a plan for an announcement with the artist’s team.

In distribution and operations

Checking that new releases have been delivered to platforms correctly, solving a metadata issue for an artist, answering questions from creators using the Distribution Portal and preparing a report for the team.

In publishing and licensing

Registering a batch of new songs, checking writing splits with a songwriter, responding to a brief from a music supervisor and following up on royalties from an earlier placement.

In finance, legal and business affairs

Reviewing an agreement so that it is clear and fair, preparing royalty statements, answering a question from an artist’s manager and working with colleagues on a new partnership.

The roles below describe the kinds of positions we hire for. They are not all open at the same time, but they give a good picture of what the work involves and what we look for. Titles and responsibilities vary from year to year as the business evolves.

A&R Coordinator

What you would do. Supports the A&R team in everyday work: listening to submissions, organising studio sessions, keeping track of project schedules, preparing demos and sharing them with the right people, and acting as a first point of contact for artists.

What we look for. A sharp ear, strong organisation, good communication and a deep interest in new music. Experience in venues, studios, radio or student music projects is helpful.

Marketing Manager

What you would do. Plans and leads release campaigns, from strategy and timelines to content, advertising, press and playlist plans. Works closely with artists and with colleagues in A&R, design and distribution, and reports on results.

What we look for. Experience in digital marketing or music promotion, creative thinking, comfort with data and the ability to manage several projects at once.

Social Media and Content Producer

What you would do. Creates and publishes content that tells artists’ stories, including video, photography, short-form clips and written posts, and helps maintain a consistent voice across channels.

What we look for. A strong portfolio, an eye for storytelling and trends, and the ability to work quickly without losing quality.

Distribution Specialist

What you would do. Prepares and delivers releases and metadata to platforms, solves delivery and technical issues, supports creators using the Distribution Portal and checks that every release appears correctly.

What we look for. Close attention to detail, technical aptitude, patience and clear communication with creators who may be new to the process.

Publishing Administrator

What you would do. Registers songs and works, checks writing splits and ownership information, communicates with collecting societies and partners and keeps catalog data accurate and up to date.

What we look for. Accuracy, organisation, comfort with databases and an interest in how copyright and royalties work.

Sync and Licensing Coordinator

What you would do. Responds to briefs from music supervisors and agencies, selects and pitches suitable songs, prepares licences and tracks placements through to payment.

What we look for. Good musical taste, strong relationship skills, speed and a careful approach to rights and paperwork.

Royalty Analyst

What you would do. Processes income from platforms and partners, prepares statements for creators, investigates discrepancies and helps improve reporting so it is clear and reliable.

What we look for. Strong analytical skills, confidence with spreadsheets and data tools, and an ability to explain numbers in plain language.

Business Affairs Associate

What you would do. Helps prepare and review agreements, answers questions from artists and managers about terms and works with colleagues to ensure that contracts are fair, clear and properly recorded.

What we look for. Legal or commercial training, careful drafting, discretion and a practical, solution-focused approach.

Data and Insights Analyst

What you would do. Collects and analyses data about listening, audiences and campaigns, builds dashboards and helps teams and artists understand what is working.

What we look for. Skills in analysis and visualisation, curiosity about music and audiences, and the ability to turn complex findings into clear recommendations.

Community and Artist Relations Manager

What you would do. Builds relationships with artists, songwriters, venues and creative communities, organises events and showcases and makes sure that new and existing creators feel supported.

What we look for. Excellent interpersonal skills, local knowledge, reliability and a genuine passion for supporting emerging talent.

We cannot promise a perfect workplace, but we do try hard to be a good one. These are the things we aim to offer everyone who joins.

Learning and growth

We encourage people to build new skills, to move between teams where it makes sense and to learn from colleagues across the business. Feedback is regular, honest and meant to help.

Real responsibility

You will be trusted with meaningful work early on. Our teams are small enough that your contribution is visible and your ideas can have a direct effect on the artists and songwriters we support.

A collaborative culture

We work together, share what we know and celebrate each other’s successes. Good ideas are welcome from anyone, regardless of title.

Balance and wellbeing

The music industry can be intense. We try to plan work realistically, respect time away from work and support colleagues who are facing difficulties.

Fair treatment

We aim to pay fairly, to be clear about expectations and to treat everyone with respect. If something does not feel right, we want to hear about it.

We want people to grow with us. Careers in music rarely follow a straight line, and some of the most valuable experience comes from working across different parts of the business.

Learning on the job

Most learning happens by doing real work alongside experienced colleagues. We try to give people responsibility early and support them as they take it on.

Moving between teams

If you become curious about another part of the company, tell us. Where it makes sense, we support internal moves so that people can broaden their skills and find the work they enjoy most.

Mentoring

Colleagues are encouraged to share their experience through informal mentoring, whether that is a regular coffee, a review of a project or an introduction to someone who can help.

Beyond CMG

We encourage people to attend events, listen to new music, meet creators and stay connected to the wider industry. A well-informed team makes better decisions for the artists and songwriters we work with.

Feedback is how people improve, and we try to make it a normal, regular part of working life rather than something saved for an annual review. We aim to be specific, timely and constructive, and to say what went well as often as what could be better.

Recognition matters too. When someone does great work, we want them to hear about it, and we make a point of crediting the people behind a successful release or project. Success here is nearly always a team effort, and we try to act accordingly.

If you disagree with feedback or feel you are not being heard, we want to know. Open conversation is how we build a team where people feel safe to be honest.

We want to pay people fairly for the work they do. We try to be clear about pay and expectations from the start of the hiring process, to treat people in similar roles consistently and to review pay regularly as responsibilities grow.

Beyond salary, we think about the whole experience of working here: the quality of the work, the people, the opportunities to learn and the respect with which people are treated. We know that these things matter as much to many people as the number on an offer, and we try to get all of them right.

Details of pay and benefits depend on the role and are discussed openly during the hiring process. Please feel free to ask about them at any stage.

We want the process to be clear and respectful of your time. While details vary by role, most of our hiring follows these steps.

1. Apply

Send us your application with a short introduction, your CV or portfolio and anything else that shows what you can do. Tell us why you are interested in the role and in CMG.

2. Introduction

If your background looks like a good fit, someone from our team will get in touch for a first conversation to learn more about you and answer your questions.

3. Conversations with the team

You will meet the people you would work with and the manager of the team. These are two-way discussions: we want you to see what working here is really like.

4. A practical exercise

For some roles we may ask you to complete a short task related to the job. We keep it reasonable and we respect your time.

5. Decision and offer

We aim to give every candidate a clear answer, and feedback where we can. If we make an offer, we will explain the details openly and give you time to consider.

A strong application does not need to be long or elaborate. It needs to be honest, clear and specific. These suggestions may help.

Introduce yourself briefly

Two or three short paragraphs are enough. Say who you are, what you have done and why you want to work in music. Write in your own voice.

Be specific about the role

Tell us which team or role you are interested in and why. Applications that show a real understanding of what the work involves stand out.

Show your work

Include links or attachments that demonstrate what you can do: campaigns you have run, projects you have built, writing you are proud of, events you have organised. Quality matters more than quantity.

Share your interest in music

Tell us about artists you admire, scenes you follow and what you have been listening to lately. Genuine enthusiasm comes through.

Check the details

Spelling, names and links matter in this industry. A final proofread shows the care we look for in our colleagues.

If we invite you to speak with us, a little preparation can help you feel more at ease.

Learn about CMG

Read about our divisions and look at the artists and songwriters we work with. Think about what interests you and what you would ask us.

Reflect on your experience

Be ready to talk about projects you have worked on, what you contributed, what you learned and what you would do differently. We are more interested in honest reflection than perfect stories.

Prepare questions

Interviews are a two-way conversation. Ask about the team, how work is organised, how success is measured and anything else that will help you decide whether this is the right place for you.

Be yourself

We are trying to find people who will be happy and effective here. The best way to help us, and yourself, is to be open and genuine.

Joining a new company can feel overwhelming, so we try to make the first months as clear and welcoming as possible. New colleagues are introduced to the whole team, given a picture of how our divisions work together and paired with someone who can answer questions.

In the beginning, the focus is on listening and learning: understanding the artists and songwriters we work with, the systems we use and the standards we expect. Responsibilities then grow step by step, with regular conversations along the way about how things are going and what support you need.

By the end of the first few months, our aim is that you feel confident in your work, connected to your colleagues and clear about where you can make the biggest difference.

Here is a rough picture of how a new colleague’s first year might unfold. It is a guide rather than a rule, and we adapt it to each person and role.

The first month

Meet the team, learn how our divisions work together and begin to understand the artists, songwriters and systems you will be working with. Expect plenty of listening, questions and shadowing.

Months two and three

Take on your first projects with support, and start to build relationships with creators and partners. Regular check-ins make sure you have what you need.

Months four to six

Work more independently and begin to shape how things are done. This is a good time to reflect on what is going well, where you want to grow and how we can help.

Six months to a year

By now you should be a trusted member of the team, with your own responsibilities and ideas. We review progress together, celebrate what you have achieved and plan the next stage of your development.

We are also interested in people at the beginning of their careers, including students and recent graduates who want to learn how the music business works from the inside. Early-career roles and internships may be offered from time to time across our teams.

If you are starting out, we care more about enthusiasm, curiosity and reliability than a long list of credits. Tell us what you are studying or working on, which part of the industry interests you and what you hope to learn.

Everyone deserves to feel safe and respected at work. We do not tolerate harassment, discrimination, bullying or intimidation of any kind, whether it occurs in the office, at a show, in a studio or online. This applies to colleagues, artists, partners and anyone else we deal with.

If you experience or witness behaviour that makes you uncomfortable, we want you to feel able to speak up, and to be taken seriously when you do. Concerns are handled with care and discretion, and no one should suffer negative consequences for raising a genuine issue in good faith.

We also recognise that music events and late nights can create situations where boundaries blur. We expect everyone to act responsibly, to look out for each other and to remember that they represent CMG wherever they are.

Because we work with creative material, contracts and money that belong to others, we hold ourselves to high standards of integrity.

Confidentiality

Unreleased music, financial information and personal details must be kept private. Colleagues are expected to share them only with those who need them to do their jobs.

Conflicts of interest

If a personal relationship or outside interest could affect, or appear to affect, a business decision, we ask people to raise it openly so that it can be managed fairly.

Gifts and hospitality

Friendly gestures are part of the industry, but they should never influence a decision. We ask colleagues to use good judgement and to be transparent about anything of significant value.

Respect for intellectual property

We protect the rights of creators and we respect the rights of others. Colleagues are expected to follow the same principles in their own work.

Music grows from communities, and we want to give something back to them. Colleagues are encouraged to support local initiatives, whether that means mentoring young musicians, speaking at schools and universities, helping at community events or sharing their expertise with organisations that support emerging creators.

We also look for ways to operate more responsibly as a business. That includes working digitally wherever we can, thinking carefully about the materials and travel involved in what we do and being thoughtful about the long-term impact of our decisions.

We are committed to being an equal opportunity employer. Employment decisions are based on skills, experience and potential, and not on race, ethnicity, nationality, religion, gender, sexual orientation, age, disability or any other characteristic that has no bearing on someone’s ability to do the job.

If you need any adjustments to take part in our recruitment process, please let us know and we will do our best to help. We want every candidate to have a fair chance to show who they are.

People sometimes move on from CMG, and that is natural. Careers change, interests develop and new opportunities appear. We want everyone who has worked with us to leave on good terms, and we are glad to stay in touch.

The music community is small, and today’s colleague is often tomorrow’s collaborator. We believe in treating people well at every stage, from the first interview to the last day and beyond.

We do not have any roles listed right now, but we are always glad to hear from talented people.

Openings are published on this page as soon as they become available. If you do not see a role that matches your skills, you are welcome to send an open application introducing yourself and describing the kind of work you would like to do with us.

Please use our contact page and tell us which team you are interested in. Include your CV or portfolio, links to relevant work and a few lines about why you would like to work in music.

Do I need music industry experience?

Not always. For some roles it is important, for others we value skills from other fields just as much. The role description will make this clear.

Can I apply if no roles are listed?

Yes. Open applications are welcome, and we keep them in mind when new positions arise.

What should I include in my application?

A short introduction, your CV or portfolio, and anything that shows your skills and your interest in music, such as projects, writing or links to work you are proud of.

Where would I work?

This depends on the role and the team, and will be explained during the process. If you have preferences or constraints, please mention them early.

How long does the process take?

It varies by role. We try to keep you informed at every stage so that you are never left wondering where things stand.

Do you offer flexible working?

Arrangements depend on the role and the team, and are explained during the hiring process. If flexibility is important to you, please say so early.

Will I need to be available outside normal hours?

Some work, such as shows and events, can happen in the evening or at weekends. When it does, we try to plan it fairly and to give people notice and time to recover.

Can I apply for more than one role?

Yes, if you are qualified for each. Please tell us which one you are most interested in.

Do I need to speak a particular language?

Our working language is stated in each job description. Other languages can be a real advantage when working with artists and partners.

Will you keep my details on file?

With your permission, we may keep your application so that we can contact you about future roles. We handle personal information carefully and will delete it on request.

Are there opportunities for people who are not based near your offices?

This depends on the role. Please mention your location in your application and we will tell you what is possible.

Do you hire musicians?

Many of our colleagues play or write music, and it is a real asset. However, we hire for the skills a role needs, and musical ability on its own is not required.

Can I send a demo with my job application?

If you are an artist or songwriter, please use the contact page to share your music with our creative teams. Job applications and music submissions are handled separately.

What if I am not sure which team suits me?

Tell us about your strengths and interests in an open application, and we will let you know where we think you could contribute.

Will I hear back if I am not selected?

We aim to respond to every candidate who reaches the interview stage, and to be respectful and honest in doing so.