Recent revelations surrounding the practices of the Ad Litteram group have sparked significant concern among artists and musicians in Canada. This group, known for its roles in record label management and artistic production, has recently been accused of unethical business practices, including delayed payments, false royalty declarations, and a lack of transparency in financial reporting.
Thirteen artists, including notable names like Catherine Major, Jeff Moran, Angel Forrest, and Reney Ray, have come forward to express their grievances. Some have severed ties completely with the Ad Litteram group or are planning to do so. Several have initiated or intend to file legal actions against the organization. Many of these artists have taken to personal funding to ensure their collaborators are paid, highlighting the financial strain caused by the group’s handling of their affairs.
Angel Forrest shared her feelings in an interview, stating, "I feel like my rights have been violated." She expressed disappointment in Guillaume Lombart, CEO of Ad Litteram, claiming that he had given her false hopes regarding her career trajectory. Despite her past achievements, Forrest feels betrayed by someone she once considered a trustworthy ally.
Reney Ray echoed these sentiments, saying, "I want my albums back; I want my business back." As the recipient of several prestigious awards, Ray has also been fighting for her rights after experiencing a similar lack of payment and transparency.
The investigation by Le Devoir, the media outlet that initially broke the story, attempted to reach out to Lombart for comments. However, he demanded the names of the artists involved and specifics of their allegations before agreeing to an interview. Le Devoir chose to protect its sources, especially given that some artists reported being approached by Ad Litteram in attempts to settle disputes or received cease-and-desist letters shortly after making claims against the company.
Guillaume Lombart founded the Ad Litteram group in 1998 and expanded it over the years by acquiring various music enterprises, including ATMA Classique and Label Étiquette. With annual subsidies exceeding one million dollars, this organization operates in multiple areas of the music field, including record production and promotion.
Artists who have worked with Ad Litteram have cited a growing concern over their reputations affected by the group’s late payments to collaborators. One artist recounted losing three musicians due to delays in payment that forced them to prioritize other projects. This echoed the sentiments of several artists who have taken on the financial responsibility to pay collaborators out of their own pockets, contrary to their contractual agreements.
Ricky Paquette, a guitarist who released his latest album via Ad Litteram, noted, "People don’t want to work with Guillaume or Ad Litteram because it takes months to get paid." In the music industry, it is customary to pay musicians promptly; delays can have catastrophic impacts on a musician’s livelihood.
The narrative of poor fiscal management extends beyond just individual artists; several collaborators—musicians, technicians, and dancers—have expressed dissatisfaction with the timing of payments from Ad Litteram. Maude Bastien, a drummer, indicated that it took two months and many persistent attempts to prompt payment for her work.
Diane Hébert, an experienced tour organizer, commented on the straightforward accounting expected in the industry, arguing, "It’s not complicated; it’s ticket sales, and royalties—it’s straightforward."
This troubling behavior extends to royalties, with recent reports suggesting Ad Litteram has either failed to remit owed royalties to artists or has incorrectly declared its share of those rights. Catherine Major, who initially signed with Ad Litteram’s neo-classical branch ATMA, was dismayed to discover discrepancies in the reported rights to her work. She shared, "I didn’t want to have anything to do with him anymore," after watching Lombart grapple with basic payments for her release.
Similarly, Angel Forrest uncovered that Ad Litteram had unjustly claimed portions of her royalties across several albums, leading to feelings of betrayal from someone she trusted.
Many artists interviewed voiced broader concerns about the opacity and irresponsibility surrounding Ad Litteram’s financial practices. Angel Forrest noted she received only one financial report in over seven years of collaboration, which was incomplete and misleading.
For Reney Ray, ongoing requests for transparency culminated in an audit of her financial records, revealing the need for a clearer understanding of projected revenues and grant allocations. After years of ambiguity and mismanagement, she now pursues legal avenues to regain control of her work and finances.
Even collaborators like Jeff Moran, who had worked with Lombart for nearly two decades, felt the need to sever ties, believing the situation had escalated beyond mismanagement into outright manipulation. Moran remarked, “This isn’t just mismanagement; this is serious manipulation.”
As this situation unfolds, it highlights a significant issue within the music industry regarding financial accountability and artist rights. The experiences of these artists underscore the importance of transparency and ethical practices in an industry that thrives on collaboration and creativity.
These painful narratives serve as critical calls to action for artists, informing them to carefully evaluate their partnerships and contractual agreements. The situation with Ad Litteram cannot be overlooked, as it poses vital questions about fairness and ethics in a landscape where many rely on timely payments and transparency to sustain their artistic endeavors.
Whether through legal means or public discourse, the artists have taken a stand to prevent further violations and betrayals in the music community. As they navigate these challenges, their stories may pave the way for reforms that protect the rights of artists and nurture a more transparent creative industry.
