Toronto-based indie rock quartet The Beaches are once again capturing international attention, leveraging a prominent feature in Prime Video\u2019s latest hit series, Off Campus<\/em>. Their 2023 track, "Edge of the Earth," from their acclaimed album Blame My Ex<\/em>, has become the soundtrack to a pivotal moment in the second episode of the show, triggering an unprecedented surge in its streaming numbers and overall discography engagement.<\/p>\n Off Campus<\/em>, which premiered globally on Prime Video on May 13, rapidly ascended to the number one spot worldwide, solidifying its status as a major streaming success. The series, an adaptation of the immensely popular book collection by Toronto author Elle Kennedy, delves into the burgeoning romance between Hannah Wells, portrayed by Ella Bright, and university hockey player Garrett Graham, played by Belmont Cameli. This narrative, a compelling blend of collegiate life and sports romance, has resonated deeply with a broad audience, propelling its accompanying soundtrack into the limelight.<\/p>\n Crucially, The Beaches’ involvement in Off Campus<\/em> transcends a mere background sync. Their music and name are intrinsically woven into the storyline, serving as a significant connection point for the two protagonists. In a scene that has quickly garnered fan attention, Hannah introduces Garrett to the band, asking, "Have you heard of The Beaches?" She then enthusiastically declares, channeling the iconic music-discovery moment from the film Garden State<\/em>, that "their Coachella set will change your life," before immersing him in a performance of "Edge of the Earth." The mention of their anticipated 2025 Coachella set within the show\u2019s narrative not only grounds the band in contemporary pop culture but also offers a glimpse into a fictional future, amplifying their artistic relevance.<\/p>\n This narrative integration has translated into tangible, record-breaking success for the band. In the week following the show’s premiere, "Edge of the Earth" witnessed an astounding 888% increase in week-over-week streaming growth, as confirmed by The Beaches\u2019 management to Billboard Canada. This exponential rise has propelled the song to become their most streamed track to date, surpassing the previous peak achieved by their 2024 viral hit, "Blame Brett," which gained significant traction on TikTok. The impact, however, is not confined to a single track; the band’s entire discography has experienced a substantial 48% week-over-week growth on streaming platforms, indicating that the "Edge of the Earth" moment is fostering broader catalogue discovery and attracting a new wave of listeners to their extensive body of work.<\/p>\n The band expressed their gratitude for this unexpected yet welcome turn of events. "We are incredibly grateful to be included in the world of Off Campus<\/em>," The Beaches shared with Billboard Canada. "This song has such a special place in our hearts, and it\u2019s humbling to see how it\u2019s resonated with the rest of the world." Their manager, Laurie Lee Boutet, underscored the significance of this moment, highlighting the culmination of years of dedication. "It\u2019s been a wild week. \u2018Edge of the Earth\u2019 has been around since 2023, and Off Campus<\/em> put it in front of millions overnight," Boutet remarked to Billboard Canada. "A week in, and it\u2019s the biggest streaming moment of their career. These four have been doing the work for over a decade; they\u2019ve earned this. We\u2019re just trying to keep up."<\/p>\n This latest triumph builds upon a period of significant recognition for The Beaches. Earlier this year, the band was honored with the Global Force Award at the Billboard Women in Music ceremony in Los Angeles, presented by FACTOR, after previously being named Women of the Year at the Billboard Canada Women in Music event in 2025. During their acceptance speech, frontwoman Jordan Miller emphasized the pride of representing Canada on an international platform, stating, "To be representing Canada on a global stage like this is not only an honour, but a dream come true." The synergy of their Canadian identity with a globally successful show, even one set in a fictional Massachusetts town but filmed at the University of British Columbia in Vancouver, underscores a fitting cultural exchange. This viral moment highlights the enduring power of sync licensing in contemporary music discovery, demonstrating how strategic placements in popular media can reinvigorate an artist’s career and introduce their music to vast new audiences, solidifying The Beaches’ position as a formidable force in the global music scene.<\/p>\n Toronto Unveils SOUNDSTAGE: A New Hub for Live Music and Culture<\/strong><\/p>\n In a significant development for Toronto’s vibrant cultural landscape, ArtsHouse Media Group (AMG) has officially launched SOUNDSTAGE, a cutting-edge venue poised to become a premier destination for live performances, entertainment, and industry events. Located on the sixth floor of the luxurious W Toronto hotel, nestled in the upscale Yorkville neighborhood, SOUNDSTAGE represents a strategic investment in the city’s artistic infrastructure, offering a sophisticated space designed to elevate the live experience.<\/p>\n The official unveiling took place on May 19 with a ribbon-cutting ceremony that brought together key figures from the city’s political, cultural, and hospitality sectors. Toronto Mayor Olivia Chow led the proceedings, joined by AMG President Mo Ghoneim and CCO Elizabeth Crisante, W Toronto General Manager Elie Sassine, and NXNE founder Michael Hollett, alongside members of the AMG and Billboard Canada<\/em> teams. This collective presence underscored the collaborative vision behind SOUNDSTAGE, positioning it as a nexus for diverse creative expressions.<\/p>\n Mo Ghoneim, President of AMG, articulated the ambitious scope of the new venue. "SOUNDSTAGE was built to be more than a venue. We wanted to create a home for artists, culture, and live experiences that brings together music and media in a meaningful way," Ghoneim stated. He further emphasized AMG\u2019s commitment as a leading music media company to "creating a space that not only elevates performance, but helps artists and culture connect with audiences on a larger scale." This philosophy suggests a programming strategy that will likely blend traditional concerts with innovative media integrations, offering unique opportunities for artists to engage with their audiences.<\/p>\n SOUNDSTAGE is poised to quickly become an active cultural hub, with a robust schedule of events planned for June. Notably, it will host several Billboard Canada<\/em> LIVE events during the North by Northeast (NXNE) festival, a long-standing fixture in Toronto’s music calendar known for showcasing emerging talent and established acts. These events are slated to include engaging Q&A sessions and performances by prominent artists such as Frank Walker and Sickick, offering attendees intimate access to their creative processes. Beyond performances, the venue will also host the Billboard Canada<\/em> x Music Manager Forum Canada\u2019s "Managers to Watch x Honour Roll 2026" celebration, an important industry event recognizing the most impactful music managers in Canada. This dual focus on artistic presentation and industry recognition positions SOUNDSTAGE as a comprehensive platform for the music community.<\/p>\n Elie Sassine, General Manager of W Toronto, highlighted the synergy between the new venue and the hotel’s existing brand ethos. "W Toronto has always been committed to creating luxury spaces where culture, creativity and community come together," Sassine commented. "SOUNDSTAGE is an exciting evolution of that vision, bringing a fresh energy to Toronto\u2019s cultural and event landscape. By blending music, technology and hospitality, the venue creates a unique platform for artists, brands and industry leaders to connect in a way that feels distinctly Toronto." The integration of a cutting-edge performance space within a luxury hotel setting provides a unique value proposition, promising a premium experience for both artists and patrons.<\/p>\n The launch of SOUNDSTAGE comes at a crucial time for Toronto, a city renowned for its dynamic arts scene and as a global entertainment hub. The addition of a state-of-the-art venue like SOUNDSTAGE contributes significantly to the city’s post-pandemic cultural resurgence, offering a versatile space capable of accommodating a wide range of events, from intimate concerts and album launches to corporate gatherings and fashion shows. Its strategic location in Yorkville, a district known for its upscale amenities and cultural attractions, further enhances its appeal. This new development is expected to not only boost the local economy through increased tourism and cultural activity but also solidify Toronto’s reputation as a leading destination for music and entertainment in North America. The collaboration between a prominent media group, a luxury hospitality brand, and key municipal and industry stakeholders signals a promising future for live experiences in the city.<\/p>\n Canadian Music Community Mourns the Loss of Cris Derksen, Visionary Cellist and Composer<\/strong><\/p>\n The Canadian music and arts community is deeply mourning the sudden and tragic passing of Cris Derksen, an acclaimed Indigenous cellist and composer, who died in a car accident on May 15 at the age of 45. Derksen was returning from their father’s funeral near Slave Lake, Alberta, when the accident occurred, leaving a profound void in the lives of their loved ones and in the cultural landscape they so significantly enriched.<\/p>\n An obituary published in the Edmonton Journal<\/em> described Derksen as "a beloved fixture on Canada\u2019s classical and stringed music scene," highlighting their distinctive artistic approach that often "fused modern electronic sounds and Indigenous rhythms." This innovative blend was a hallmark of Derksen’s career, distinguishing them as a unique voice capable of traversing diverse musical genres and cultural traditions. Their work was characterized by a profound respect for Indigenous heritage, infused with contemporary experimentation, creating a sound that was both deeply rooted and forward-looking.<\/p>\n As a soloist-composer, Derksen’s prolific career saw them perform with 15 different symphonies and chamber orchestras across Canada. Their talent was recognized through numerous commissions from prestigious ensembles, including the Calgary Philharmonic Orchestra, the Toronto Symphony Orchestra, the Thunder Bay Symphony, and Orchestre M\u00e9tropolitain, underscoring their versatility and demand within the classical music world. Each commission reflected their ability to craft compelling narratives and sonic landscapes, earning critical acclaim and captivating audiences nationwide.<\/p>\n Derksen\u2019s contributions extended beyond the concert hall, reaching global audiences and interdisciplinary collaborations. In 2022, they served as the composer for the Canadian Pavilion at the World Expo in Dubai, a role they were slated to reprise for the 2025 World Expo in Osaka, demonstrating their international recognition and the global appeal of their unique sound. Their work on the podcast Stolen: Surviving St. Michael\u2019s<\/em> by Connie Walker and Gimlet Media, which explored critical Indigenous issues, earned both a Pulitzer Prize and a Peabody Award, illustrating their impact in media beyond music composition. In 2024, Derksen made their Carnegie Hall debut, performing their commissioned piece Controlled Burn<\/em> with Orchestre M\u00e9tropolitain and Yannick N\u00e9zet-S\u00e9guin, a testament to their growing international stature. Their collaborations also spanned the world of dance, including work with the Royal Winnipeg Ballet, and in 2026, they wrote a 75-minute ballet, Cikilaxwm: Controlled Burn<\/em>, for Ballet Kelowna in collaboration with Indigenous choreographer Cameron Fraser-Monroe, further solidifying their multidisciplinary artistic reach.<\/p>\n Beyond their artistic achievements, Cris Derksen was a passionate and dedicated advocate for diversity and inclusion within classical music. They founded the Indigenous Classical Gathering at the Banff Centre for the Arts, a crucial initiative aimed at fostering Indigenous representation in the genre. They also served as the Artistic Advisor for the Calgary Philharmonic Orchestra and chaired the Equity Committee for Orchestras Canada. Through these pivotal roles, Derksen relentlessly strived to make classical music more reflective of Canada\u2019s diverse population, actively working to open doors and create opportunities for Black, Indigenous, and People of Color (BIPOC) composers and performers, thereby challenging long-standing systemic barriers in the industry.<\/p>\n Derksen\u2019s discography includes four acclaimed albums: The Cusp<\/em> (2010), The Collapse<\/em> (2013), Orchestral Powwow Project<\/em> (2015), and The Visit<\/em> (2025), each showcasing their evolving artistic vision and mastery of their craft. They also performed as part of the Cris Derksen Trio, featuring drummer Jesse Baird and dancer Nimkii Osawamick, and their large-scale choral piece, Maada\u2019ookii Songlines<\/em>, incorporated 200 singers, demonstrating their ability to envision and execute ambitious musical projects. Throughout their career, Derksen garnered multiple award nominations, including the Indigenous Music Awards, Juno Awards for Instrumental Album of the Year (for Orchestral Powwow Project<\/em>), the Aboriginal Peoples Choice Music Awards, the Canadian Aboriginal Music Awards, and Western Canadian Music Awards, reflecting widespread recognition of their talent and impact. A performance by Derksen was scheduled for the Sled Island festival in Calgary in June, a testament to their continued presence and influence in the contemporary music scene.<\/p>\n As news of Derksen\u2019s untimely passing spread, there was an immediate and widespread outpouring of tributes from musical colleagues, industry leaders, and fans across Canada and beyond. Noted artists like Tanya Tagaq and institutions such as the Canadian Music Centre shared their grief and celebrated Derksen\u2019s profound legacy. Their passing represents an immense loss to the Canadian arts community, particularly to Indigenous artists and those striving for greater equity and representation in classical music. Cris Derksen\u2019s unwavering commitment to artistic excellence, cultural fusion, and social advocacy leaves an indelible mark, and their music and spirit will continue to inspire generations to come. The Canadian music community will forever remember their innovative spirit and their tireless efforts to create a more inclusive and vibrant cultural landscape.<\/p>\n","protected":false},"excerpt":{"rendered":" The Canadian music landscape is currently a nexus of dynamic developments, from an indie rock band experiencing a surge in global popularity to the inauguration of a state-of-the-art performance venue…<\/p>\n","protected":false},"author":12,"featured_media":9744,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[555],"tags":[3218,54,615,7121,7122,1062,56,55,181,921,68,1726,57,2191,2910,953,475,6495],"class_list":["post-9745","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-music-industry-business-finance","tag-beaches","tag-business","tag-canadian","tag-cris","tag-derksen","tag-experience","tag-finance","tag-industry","tag-live","tag-mourns","tag-music","tag-renewed","tag-streaming","tag-success","tag-toronto","tag-venue","tag-viral","tag-welcomes"],"_links":{"self":[{"href":"https:\/\/empire-music.net\/index.php\/wp-json\/wp\/v2\/posts\/9745","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/empire-music.net\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/empire-music.net\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/empire-music.net\/index.php\/wp-json\/wp\/v2\/users\/12"}],"replies":[{"embeddable":true,"href":"https:\/\/empire-music.net\/index.php\/wp-json\/wp\/v2\/comments?post=9745"}],"version-history":[{"count":0,"href":"https:\/\/empire-music.net\/index.php\/wp-json\/wp\/v2\/posts\/9745\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/empire-music.net\/index.php\/wp-json\/wp\/v2\/media\/9744"}],"wp:attachment":[{"href":"https:\/\/empire-music.net\/index.php\/wp-json\/wp\/v2\/media?parent=9745"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/empire-music.net\/index.php\/wp-json\/wp\/v2\/categories?post=9745"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/empire-music.net\/index.php\/wp-json\/wp\/v2\/tags?post=9745"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"In](\"https:\/\/www.billboard.com\/wp-content\/uploads\/2026\/05\/2233711014.jpg?w=1024\")
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