Canary Islands Music Scene Booming, But Industry Support Lags

Recently, the Canary Islands have seen a huge surge in musical talent, both in Spain and internationally. A new wave of urban artists from across the islands has made a big impact on digital platforms and at festivals nationwide. The numbers prove it – their songs are connecting with audiences.

However, this success hasn't been matched by the growth of a strong local music industry to support them in the long run.

"There isn't a business network here to help artists grow," says Fabiola Zamorín (Tenerife, 1996), a music marketing expert and founder of Crownd, one of the few Spanish agencies specializing in digital strategy for musicians. "Even established musicians have to move to Madrid to further their careers. There's plenty of talent on the islands, but not enough support to nurture it."

Fabiola is part of a new generation of professionals who are returning to the Canary Islands after gaining training and experience abroad, hoping to improve the local cultural scene. She previously worked for a US music agency before starting her own company. She believes the main issue isn't a lack of creativity, but a lack of infrastructure.

The Canary Islands have a wealth of emerging artists, especially in the urban music scene. However, Fabiola points out that most of these artists lack technical, legal, and professional support on the islands, making it difficult to build a sustainable career from there.

"There aren't enough managers, venues for large concerts, specialized lawyers, or well-trained producers. There's also a lack of specific training in music marketing, distribution, copyright, and executive production. Everything is very fragmented," she explains.

This leads to a "fragile system" where artists often have to move to mainland Spain to develop professionally.

Fabiola highlights a disconnect between "young people's interests and the training available on the islands." She says, "There are young people who want to make music, and others who want to produce, but they don't know the software or the basic setup of a studio."

She also notes that higher education courses related to sound and image "aren't geared towards the real needs of the modern music industry."

The same applies to areas like styling, creative direction, and specialized law. "If you want to become a musical stylist, you're trained to design carnival costumes, not to dress an artist for a tour or music video."

Fabiola believes the solution requires action on several fronts: education, access, and the creation of professional networks. "Institutes, talks, lectures, workshops, extracurricular activities... We need to explain how the industry works and what different roles exist."

Crownd, her company, aims to improve music marketing in an industry dominated by traditional methods. Inspired by her time at the US agency, she decided to apply that model to the Spanish market, focusing on emerging artists.

One of her key goals is to highlight the importance of marketing in music releases. "The credits usually mention the director and cameraman, but not the marketing team. We insist that this work is recognized, which has helped us stand out," she explains.

Fabiola emphasizes the need for greater support from local authorities. "There are empty cultural centers that, with a little help, could be used for workshops, talks, and meeting spaces. But there needs to be understanding of young people, their culture, their tastes, and especially their interests."

It's not just about funding, but about creating policies that support the new generation of artists. "The music industry is no longer just radio, television, and festivals. It also includes TikTok, digital distribution, content creation, and copyright. And that's not being taught."