The JUNO Awards are set to return to Hamilton in 2026 for their 55th edition, bringing Canada’s biggest night in music back to a city that once helped redefine the scope of the ceremony. The move comes at a moment of transition and momentum for the Canadian music industry, as the JUNOS continue to balance legacy recognition with a rapidly changing cultural and commercial landscape.
For more than five decades, the JUNOS have functioned as a marker of Canadian music’s priorities, spotlighting emerging artists while honouring established stars. This year’s nominations reflect that duality. Justin Bieber and Tate McRae lead with career-high nods, The Weeknd extends one of the most commercially and culturally dominant runs in Canadian music history, and Cameron Whitcomb earns a first-time nomination year that places him in conversation with veteran acts. The addition of Latin Music Recording of the Year marks the first time the JUNOS formally recognize Latin recordings, underscoring the growing impact of Latin artists within Canada’s music ecosystem.
Oversight of that evolution falls to Allan Reid, President and CEO of the Canadian Academy of Recording Arts and Sciences, CARAS. Reid, who also oversees MusiCounts and the JUNO Awards’ broader programming, has spent decades inside the Canadian music industry. His career began in radio, where he progressed from gardener at a Kelowna station to music director before the age of 18, later moving into artists and repertoire at Universal Music. That early exposure to both artist development and commercial strategy continues to shape his leadership approach.
Hamilton’s selection as host carries historical weight. Since the mid-1990s, the city played a key role in transforming the JUNOS from a largely industry-focused event into a touring, arena-scale awards show with national reach. Those Hamilton-hosted ceremonies helped establish the JUNOS as a destination event, capable of drawing large audiences and elevating Canadian artists beyond industry circles. “The energy was incredible,” Reid recalls, reflecting on those formative shows.
Under Reid’s tenure, the JUNOS have expanded their category structure to better reflect Canada’s evolving musical output. Additions recognizing South Asian, Francophone, and now Latin recordings point to a broader shift toward representation that mirrors changes in listening habits, artist demographics, and the global positioning of Canadian music. Reid has framed these updates as necessary adjustments rather than symbolic gestures, aimed at keeping the awards aligned with the industry they represent.
As the 2026 JUNO Awards approach, the event stands as both a celebration and a recalibration. It highlights the continued strength of Canadian artists on the global stage while acknowledging the structural changes shaping how music is created, consumed, and recognized at home. Reid sat down with us to discuss the significance of Hamilton’s return, the evolution of the JUNOS, and how the awards are positioning themselves for the next phase of Canadian music.
This interview has been edited for length and clarity.
The JUNOS are returning to Hamilton for the 55th edition. What does it mean for the awards to be back in the city, both culturally and economically?
Hamilton played a pivotal role in JUNOS history. Back in the mid-90s, the awards moved from Toronto’s O’Keeffe Centre, a soft-seat theater, into arenas—and Hamilton hosted five of those shows. That shift transformed the JUNOS from a small industry event into a full-scale touring show, with artists performing for 10,000–15,000 fans. I wasn’t with the organization at the time, but I saw firsthand how transformative it was. We were last in Hamilton in 2015, my first JUNOS as president, and returning now, over a decade later, feels really special. Hamilton’s deep musical culture makes it a perfect home for the awards.
Looking at the 2026 nominations, what do they reveal about the current state of Canadian music?
It’s remarkable. Canada has always punched above its weight globally, and this year’s nominees prove it. Artists like Tate McRae, Justin Bieber, and The Weeknd dominate international streaming, while emerging talents like Cameron Whitcomb are gaining recognition alongside them in major categories like Juno Fan Choice, Album of the Year, and Breakthrough Artist. Recognition through the JUNOS gives artists exposure, both to the industry and the public. Daniel Caesar returns this year with four nominations and the International Achievement Award, while Josh Ross, with a meteoric rise in both Canada and the U.S., also has four nominations. The mix of established and emerging talent highlights the breadth of Canadian music today.
This year brings together legacy artists alongside a large group of first-time nominees. How important is that balance to the JUNOS?
It’s crucial. While the big awards grab attention, over 40 awards are handed out during the Juno Awards Gala Dinner, showcasing Canada’s musical depth and diversity. New categories like Latin Music Recording of the Year and South Asian Recording highlight genres that may not be mainstream but deserve recognition. Digital engagement, like YouTube viewership, continues to grow worldwide, driven by fans discovering Canadian artists across genres.
Speaking of Latin Music Recording of the Year, what conversations led to the introduction of this category now?
The Latin category previously lived within the Global Music category. Advocates in the community, like Martin Anon and Ricardo Taco, demonstrated that Canadian Latin artists deserved their own platform. Over several years, they highlighted touring success, record releases, and growing fan bases to ensure the category could thrive. The JUNOS aim to reflect the evolution of Canadian music, and this was a natural step forward.
Do you foresee the JUNOS adding more categories in the future to reflect emerging genres, similar to how the Grammys recently added Best African Music Performance?
Absolutely. The JUNOS respond to emerging genres in Canada. While the Grammys draw globally, we focus on Canadian artists. Communities show us the strength of new scenes, and when a genre is thriving, it’s a candidate for recognition. It’s exciting to help shine a spotlight on Canada’s musical diversity.
With 65 artists receiving their first JUNOS nominations this year, what excites you most about the next generation of Canadian talent?
I spent over 20 years in A&R discovering and developing Canadian artists, so now, leading the JUNOS, it’s incredibly rewarding to celebrate and promote them. Every year, I create a playlist from the nomination list, discovering artists I’ve never heard before. Canada’s talent is extraordinary, diverse, and ever-growing. Submissions have increased almost every year, thanks to technology making music creation and distribution more accessible. Recognition through the JUNOS gives artists the platform to be seen and heard by their peers and the public.
A lot of Canadians feel Canadian artists need to break into the U.S. before they get recognition at home. How do you see that?
Not necessarily. The U.S. is huge and competitive, but Canada has a rich history of homegrown success. Bands like The Tragically Hip thrived without massive U.S. attention. Every artist’s path is different—some gain recognition abroad first, some build here. Touring Canada is challenging, which makes Canadian artists resilient and well-prepared for global success.
Beyond the awards themselves, how do events like the JUNOS help strengthen Canada’s music ecosystem and its global presence?
The JUNOS have four pillars: educate, develop, celebrate, and honor. Through MusiCounts, we’ve invested over $20 million in school and community music programs. Development programs like the Allan Slaight Juno Masterclass and RBC First Up nurture emerging talent. Celebrating artists on stage and honoring them in the Canadian Music Hall of Fame completes the trajectory from early discovery to legacy recognition. These programs ensure Canadian music thrives domestically and resonates worldwide.
Looking ahead to JUNO Week 2026, what moments or themes are you most excited for audiences to experience?
There’s so much. From the Songwriter’s Circle—an intimate session where artists share the stories behind their songs—to the Junior JUNOS for children’s nominees, JUNO Week highlights the craft and community of Canadian music. Beyond the performances, it’s an economic and cultural driver. Fans, artists, and industry professionals converge, boosting tourism, hospitality, and local businesses. It’s a celebration of music, a spotlight on cities like Hamilton, and a reflection of Canada’s cultural values on a global stage.
Featured Images: The Feldman Agency
