A conversation with Stephen McGrath on Artist Development, Trust and the Allied Music Centre Residency
At the Indigenous Music Office, we pay close attention to the spaces where music creators are not only showcased, but also supported. This year marks the second year of the Artist in Residence program at Allied Music Centre, led by the Corporation of Massey Hall and Roy Thomson Hall, supporting Indigenous artists through creative development, mentorship, and performance opportunities within one of Canada’s most recognized music institutions.
We spoke with Stephen McGrath, Director of Artist Development & Original Content, about the vision behind the program and what meaningful artist development looks like in practice.
What was the original purpose behind creating the Artist in Residence program?
When the Allied Music Centre opened, thanks to the Massey Hall Revitalization, it gave us the opportunity to take our longstanding work in Artist Development even further. Having recording studios, creative suites, writing rooms, and multiple performance spaces meant we could offer artists meaningful, year-round support all under one roof, from inspiration to creation, through to recording and public performance.
This residency empowers Indigenous artists to claim the time, space, mentorship, continuity, and access to facilities they need to experiment, deepen their learning, and grow in meaningful, self-directed ways. At its heart, it’s about creating a clear road to Massey Hall and Roy Thomson Hall, while inspiring other artists who are watching to see what’s possible for them too.
What makes this residency different from other artist development programs?
This residency is custom-designed to support the needs of each individual artist and their unique direction. Participating artists create, perform, and work where the world’s most iconic global touring acts perform. They record in our world-class Deane Cameron Recording Studio and perform in venues such as TD Music Hall and the Allied Music Centre Theatre, working alongside the same technical teams that support every show at Massey Hall and Roy Thomson Hall.
The goal is to help artists see themselves on that historic stage and create the path to get there.
What do you look for when selecting artists?
Exterior of Massey Hall and Allied Music Centre, Toronto, at dusk
It’s a very tough decision. Thankfully, we have several voices and perspectives who help, including key folks from the Allied Music Centre team, the Indigenous Music Office, festival programmers like Tkaronto Music Festival, sākihiwē, and The International Indigenous Music Summit, and our friends from the Indigenous Performing Arts Alliance.
We look for artists with a clear creative voice and a strong sense of direction. Acts who aspire to careers performing at Massey Hall. Our inaugural residents, Sebastian Gaskin, Celeigh Cardinal, and Julian Taylor, and incoming residents Wyatt C. Louis, LOV, and Willows, are already making meaningful work and earning recognition, and are at a moment where mentorship, infrastructure, and time could make a real difference.
I think it’s no secret that some of the best music coming out right now is being created by Indigenous artists. It is an incredibly creative time that people will look back on and recognize as a real special moment in music history.
Have you seen early impacts from the first cohort?
It didn’t take long. We quickly started seeing artists dive into the Deane Cameron Recording Studio, try out new ideas on stage, explore the hallways, and use the stained glass backdrops for social media content. Just as importantly, they were building relationships throughout the space, connecting with our team, other artists, audiences, and creatives, while also participating in and leading workshops for youth through our Education and Community Engagement programs.
One moment that really stayed with me was watching Sebastian Gaskin record a live session on the Allan Slaight Stage at Massey Hall. He will be a regular headliner there one day; there is no doubt in my mind. (Watch it here: youtu.be/MCSKng51Kag)
Celeigh Cardinal shared that she had visited Roy Thomson Hall years earlier and quietly imagined herself singing on that stage one day, and then there she was, living that moment. Hearing her speak about feeling supported without pressure, and without ever being asked to change who she is, was incredibly affirming. That’s exactly what the residency aims to provide. Celeigh headlines TD Music Hall in June 2026.
Julian Taylor used the residency to record new material, create a mini-documentary, and redesign his live show working with Massey Hall’s technical team. He headlines a sold-out show this month at TD Music Hall, filmed for broadcast on CBC GEM and CBC Radio.
How do you balance mentorship with creative freedom?
We offer a framework and access to perspectives and information that allow artists to make their own informed decisions. We don’t offer a set of instructions or a checklist. Mentorship, studio time, and professional development are available, but artists decide how and when to use them. Our role is to remove barriers, not shape the work. They are the artists.
Celeigh Cardinal said that she thought the program honours who she is, without asking her to explain or shrink any part of herself. We just love that, and that philosophy guides the entire residency.
How have partnerships with Indigenous organizations shaped the program?
The residency was developed with guidance from the Indigenous Music Office and other leaders in the Indigenous music industry. Their leadership ensures the program reflects community priorities and respects its teachings. In so many ways, we get as much out of this residency as the artists do.
Next month, all six artists will travel together to Six Nations of the Grand River and Mississaugas of the Credit First Nation to participate in a music symposium hosted by the Indigenous Performing Arts Alliance. They’ll tour, learn about the Dish With One Spoon Wampum, and meet with a local knowledge keeper. We are incredibly grateful to our Program Advisors and the Indigenous community who are helping shape this program. It’s deeply moving to the participating artists and to us at Allied Music Centre.
What are your hopes as the program grows?
We hope to further strengthen the pathway from residency to the main stages and create more opportunities for alumni to continue working within the Allied Music Centre for many years to come. The hope is that by year 5 or year 10, the community of artists and audiences will be bigger and stronger. Slowly but surely.
The most inspiring part is watching artists move from possibility to reality. Helping artists realize their dreams is one of the most rewarding parts of this work.
About the Artist in Residence Program
Programs like the Allied Music Centre Artist in Residence highlight the importance of sustained artist development within the Canadian music ecosystem. The Indigenous Music Office will continue to support pathways for Indigenous artists and share opportunities that help artists build long-term careers in music.
About Stephen McGrath
Stephen McGrath is Director of Artist Development & Original Content at the Corporation of Massey Hall and Roy Thomson Hall. With the Corporation since 2010, he has created and produced notable live music films for CBC Music and CBC GEM, including Celebrating Gordon Lightfoot, the Polaris Music Prize Gala, and the Canadian Screen Award-nominated concert film series Live at Massey Hall. With over thirty years of experience in the music industry, Stephen has represented musicians, events, record labels, and venues across mainstream and underground circuits, with a background spanning touring, marketing, public relations, radio promotion, and artist management. He has previously held positions at Universal Music Canada and Arts & Crafts, co-founded PR firms Canvas Media and Nightshop Media, and served as guest faculty and Artist Mentor at The Banff Centre for the Performing Arts, Manitoba Music Indigenous Music Week, and Durham College, among others.
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