Last year, I stood here and shared the challenges and opportunities facing our industry. Before we get into things, it’s really important to acknowledge that we’ve seen significant progress across a range of areas since then. It feels like momentum is building.
Over the past few years we have come together as an industry as never before. Everyone in this room knows it has not been an easy journey and there is still a lot of work to do across audience, representation, culture, safety and many other things in Aus music, but as we gather at Bigsound in 2024 it feels like a much better industry to work in than the one I joined three years ago.
I want to talk a bit about why that is, but before we do, let’s talk about the US election. Didn’t see that coming did you… Promise there’s a good reason.
Until recently – and like most people – I had been feeling a sense of bewilderment when it came to the upcoming US election, looking at the two options facing US voters and wondering how they got to that situation.
But when Kamala Harris took over as the Democratic candidate, almost overnight there was a massive shift in momentum. That momentum has delivered big changes to the polls and offered the potential of a vastly different result in November.
A week is a long time in politics, let alone months, but what Kamala and the Democrats seem to have achieved so far is to galvanise a feeling of hope. They’ve used passionate rhetoric, a unifying message and a sense of joy, and really importantly – fun – to shift the polls, particularly with young people, people of colour, and low income households. Now, the democratic campaign is not without its flaws, but it is very interesting to consider what we can learn from this.
Music has played a huge part in Kamala’s incredible momentum shift. The campaign came flying out of the gate almost immediately with one powerful tweet that captured a vibe and a moment.
And the Harris campaign has used music very successfully as part of their strategy. Of course they have. Music is one of the few things that can make people feel.
Tweets don’t win election campaigns and neither does jumping on viral social trends, what wins elections is competence and disciplined messaging that inspires hope, passion, strength, confidence and and most importantly, momentum.
We have that same momentum in our hands right now. It was obvious at the ARIAs last year, where I saw a confident, global facing industry that was proud to be Australian music.
But what we do with that momentum – whether we really use it or not – is up to us. The Harris campaign made me think about how great it would be if what came out of Bigsound this year – the resounding theme of speakers and attendees, the story that we presented to the Australian public – was one of excellence, confidence, positivity and excitement about what is ahead.
That’s not to say we stick our heads in the sand and ignore the very real, very substantial challenges Ausmusic still faces, particularly when it comes to connecting with audiences on our own shores. But that’s our business to work out together.
When it comes to the Australian public, the narrative of a struggling, squabbling Australian music industry doesn’t serve to excite new audiences to seek out and engage with our artists. What does that is curiosity, passion, confidence and pride. In many ways, when it comes to mainstream media and the public conversation, Ausmusic needs to get its swagger back. Or, dare I say it, be a bit more Brat?
And even if we don’t all feel it in the darkest moments of the night, or the mornings looking at the P&L, maybe we just fake it til we make it.
There are genuine strong signs of momentum. And they are coming at us for a number of reasons.
We have achieved so much as an industry in the past three years. These are bedrock changes. They are the things that will drive tectonic shifts with audiences and fans, who must be our focus. We need to keep asking ourselves what do the fans – new and old – really want to hear or see or engage with?
I still try to keep my perspective as a fan. It’s what I have been all my life and, while I feel like I’m now the industry’s biggest fan, I think there’s probably a few people in this room who’d give me a run for my money.
We know our challenges, we understand that there is still serious work to be done in fully understanding what’s driving them and how to solve them, but what are the competitive advantages of the Australian music industry?
First and foremost we are the home to the world’s oldest living culture. Always was, always will be. The talent, music, and storytelling of First Nations artists is something that no other country has and this country and our industry is immensely lucky for that alone. Over the past few years we have seen the incredible success of First Nations artists cutting across so many genres and connecting with audiences. We’re still working toward greater representation, but it’s thrilling to see more and more First Nations artists breakthrough and receive the recognition they deserve.
Second, we’ve got 99 problems. Talent isn’t one.
We know we have incredible talent across all genres. Seriously, just last month we had four consecutive Australian albums top the charts. That’s the first time four different Aussies have achieved that in a row since 2015.
Not to mention there’s been 15 positive stories on the Charts in the last month alone, and coverage of number 1 artists and Aus music news on national TV which must be some sort of decade record…
We still have people desperately wanting to be a part of this industry in both creative and business roles. The passion that draws people to music is a massive competitive advantage. Most industries would kill to have that.
We also have a strong and growing indie sector.
Aside from the success of indie artists at the ARIAs over the past few years, one of the most encouraging developments we’ve seen in the 2024 ARIAs campaign is the incredible buy-in and participation from the independent sector of the music industry. Voting for noms opened yesterday and many of you will have noticed the number of independent entries for this year’s Best Indie ARIA Award. If you haven’t… there’s a LOT of them. The number of entries has actually increased by 20% to a whopping 174. I don’t envy everyone having to vote in that category, you’ve got some tricky choices to make.
This is a clear testament to the vitality and creativity of the independent music community, and it’s a trend that we’re incredibly proud to see.
But it’s not just the independent sector that’s making waves. There is a remarkable diversity in the industry and in ARIA winners and nominations across all of our categories, with a wide range of representation, genres, backgrounds, and perspectives represented.
I’m really happy about the fact that entries in hip hop/rap ARIA category have risen 56% this year, soul and RnB is up 36%. Yes that makes these categories super competitive but it proves that just getting a nomination is a huge achievement, let alone winning.
This all suggests to me that people are engaged and releasing incredible music. This engagement is something that we’ve been actively working towards at ARIA, and it’s a reflection of the incredible talent and creativity that exists within the Australian music industry.
This diversity and the strength of the local diaspora within our local talent pool and culture gives us a serious opportunity in growth markets that we have close geographic proximity to. Although with that comes the need to invest in better understanding and familiarising ourselves with neighbouring markets. Historically, that’s something Australia has never been very good at, particularly understanding or respecting Asia. But equally well, the last few years have proven that change and evolution are certainly in our wheelhouse.
At ARIA we don’t just celebrate the big names and the major label artists—we’re shining a spotlight on the entire ecosystem, from the grassroots up.
And that ecosystem is something that we should all be incredibly proud of. Because when we come together as an industry and support one another, regardless of our size or our background, that’s when we truly unlock the full potential of Australian music.
As an important aside, ARIAs voting opened yesterday and for those on the voting Academies please get involved, not just by voting, but by being a part of this incredible celebration. We have done a lot of work to balance up the voting panels but that won’t be reflected in the nominees unless everyone votes.
One of the most critical developments in Ausmusic’s competitive advantages over the past year has been increased investment and strategic focus from federal and state governments.
The creation of Music Australia and Sound NSW, adding to the existing state music agencies, shows support and renewed focus the likes of which we’ve never seen in this industry. It’s a serious step toward music being treated as the true social and economic contributor it can be alongside other creative exports like film.
The medium-term growth and success from these investments and initiatives won’t come through straight away, this is still a rebuild phase, but this new level of investment should be a game-changer. Whether it’s through funding initiatives, policy reforms, or a greater understanding of the industry’s needs, it’s clear that our voices are being heard and our commercial contribution is being recognized.
This is a significant shift from where we were just a few years ago. And it’s a testament to the hard work and advocacy of this industry, as well as the growing realisation that Australian music is a vital cultural and economic asset that deserves to be nurtured and supported.
But, the work is not done.
As we look ahead to the upcoming election, and the one after that, it will be crucial to maintain a unified and coordinated approach to engaging with policymakers and ensuring that music remains a priority on the political agenda. Governments, especially progressive ones, do not like choosing favourites within the creative industry. We must always work through our policy differences internally on key priority issues and then go to Government with a unified voice.
There is something else that is going to deliver the momentum and the results from this unprecedented level of investment, and that is the entrepreneurial and innovative people that work in this industry. Equipped with the right tools and development and educational opportunities, we know we have the brains here to solve the big challenges we face.
As we look to the future, it’s clear that the music industry must continue to evolve and adapt to the changing landscape. Providing access to knowledge and resources on how to do that is critical, and it’s something ARIA is keen to contribute to. Today I’m excited to announce our ARIA Innovator program, which will do exactly that, helping to grow innovation and strategic skills within our industry.
The first initiative out of this strategy is the ARIA Innovator mini-conference coming to Sydney in March next year.
Backed by Sound NSW, ARIA Innovator will bring together industry, artists, and creative and strategic thinkers to explore the latest trends, technologies, and strategies that are shaping the future of music. From AR-powered fan experiences to new revenue models and distribution channels, we’ll be diving deep into the ideas and solutions that can transform our industry.
Of course, we all know that the music industry globally is grappling with the impact of AI. There are numerous cases on foot in the US and other markets that will shape the way international regulators address the threats to music creation posed by AI apps and systems. Locally, we absolutely have to ensure that we get the regulatory parameters right so that artists and rights holders get to decide whether their music is used and if it is to ensure they get a cut of the proceeds.
I am on the Attorney-General’s Steering Group looking at the copyright implications of AI with Dean Ormston and other colleagues from across the creative industries and we will ensure that this industry’s voice is heard in this debate which has some pretty big voices in it.
And while there are regulatory parameters that we have to make sure we get right, we need to be open-minded and proactive in exploring the opportunities that these technologies present. Some of the AI powered tools particularly on the business side are truly exciting and will provide exciting new functionality and access particularly for smaller and indie labels and marketing groups.
So let’s get the rules right and then let’s go for it.
After all, the music industry has always, for better or worse, been at the forefront of technological innovation, and this time we need to ensure that we take the lead in shaping the future of our industry. But to do that, we need to be willing to think outside the box, take risks, and embrace the kind of creative problem-solving that has always been the hallmark of this industry.
Another huge competitive advantage that we have is that Australian audiences are listening to more music than ever. In 2023 Australian recorded music posted its fifth consecutive year of growth with wholesale sales rising 10.9% to $676 million, their highest level since the addition of digital sales in 2005. That was largely driven by subscription streaming which is 69% of all streaming and digital as a whole which is 91% of all music sales.
We are fortunate that compared to other major global markets, our growth rates paint a favourable picture for the future of music in Australia. This data clearly shows that music is valuable, it is popular and it is growing.While no one is denying that the current cost of living crisis has hit our industry hard, overall Australia is lucky enough to have levels of prosperity that facilitate this spending and make us the 10th largest market in the world by recorded music revenue.
We just all need to work out how to get a bigger cut of that pie for local artists.
So what is ARIA doing to build this momentum and the positivity pipeline? What are we doing to attach success to Australian music and remind local audiences how great it is?
ARIA exists to promote Aus music to Aus audiences. We are an industry body representing the recorded music sector with over 200 members, major and indie.
We do this through the ARIA Awards, ARIA Charts, Great Southern Nights backed by DNSW, and now through the brand new ARIA Amplified.
Four weeks ago, with Music Australia and Amex we were so excited to launch ARIA Amplified with amazing support from across the music ecosystem including labels, artists, promoters, managers, other industry bodies, Spotify, YouTube and many media outlets including Channel Nine.
Produced by Craig Campbell and Roving (who did last year’s ARIAs), ARIA Amplified was born from the incredible spirit and momentum of last year’s ARIAs.
The content ethos is all about positivity, lifting each other up, artists supporting artists, and showing that connection with audiences through special viral and fan moments.
Amplified is 100% about celebrating success and the amazing achievements of our artists on a global stage. It is about telling stories to a local audience that has lost familiarity with our talent and it is 100% an audience development strategy to promote Australian music to Australian mainstream audiences.
As many media platforms to promote Aus music have shrunk or disappeared or focus incessantly on the negative, Amplified is a brand new hybrid broadcast and social platform for the industry to promote local music wins across all genres and all labels and artists, major and indie.
And now I’m going to play this week’s episode now because I know some of you haven’t seen it and if you have then enjoy it for a second time.
Amplified is for everyone in the music industry to use as a platform and we want your contributions each week so please go onto the ARIA website where you will find a submission form. Many of these submissions have already made it in to an episode, including a great contribution from Miss Kannina’s team which has been the gold standard so far. Get amongst it.
For some time now ARIA has been putting a focus on the Australian Artist Albums and Singles Charts. We release them at 4pm on a Friday, a full hour before the main Charts in order to give them a moment in the spotlight, and almost all of our content on socials is about Aus artists.
In order to double down on this strategy, four weeks ago we launched the Australian Artist Charts Number 1 Awards. These Awards are about recognising the hard work and achievement that goes into getting to the top of the Aus charts and also giving artists another opportunity to promote their music and talk about success. At a time when it is so hard to get attention in a global marketplace, I think tools like this are more important than ever to help artists stand out.
The new Awards have been really well received. and for anyone saying that number 1s don’t matter to artists anymore, I can tell you that is not the case, I’ve been the lucky person who gets to deliver the Awards to deserving artists lately. I promise you they absolutely mean a lot, as they should. Often both of us are in tears!
I would like to talk about the Charts for a second. They’re a contentious topic… depending on who you listen to the charts are either completely irrelevant to artists and audiences or are the single cause for the failure of Aus music not just in Australia but globally. Sometimes both at once.
To be 100% clear – despite some recent great results, and they are great – we are fully aware of the problem we have on the ARIA main charts. We have spoken about it in public and at the ARIA Board and Chart Committee, and for the best part of this year we have been looking at options around how the Charts are calculated. We are not ignoring the potential to change or evolve. But the time and resources required to assess potential changes that would benefit Australian artists are significant. It takes time. And I want to be really clear that it is finding the benefit to Australian artists that’s what’s important here.
There are a lot of suggestions around things that could or should be changed but at the end of the day no one knows if any of that would actually help. There are also different views in industry, particularly around the weighting of physical v streaming.
I can tell you, for example, that many months of modelling the NZ Chart changes in our market shows minimal improvement for local artists. We are currently modelling the UK Chart rules to what impact that has.
We are open to looking at other practical suggestions, and we are looking at some others ourselves to see what is feasible and will have an impact, but it will take time to get right and we won’t make changes unless they move us forward. We also have to ensure that our Charts are rigorous and broadly consistent with international standards, as they currently are. The key to understand though is we are working toward positive change, we just have to get it right.
The Charts are very important - both as the only comprehensive data source in Australia - and as a marketing tool for music. But they are neither the cause of or the solution to the current situation. I recognise that they are a punching bag, and I get the frustration. That is fine. But for those who are keen to engage, we need to be realistic about what changing the Charts can actually achieve.
As an enthusiastic but highly unskilled boxing girl myself I also highly recommend an actual punching bag to vent frustration. Great cardio and strength too. ARIA and I daresay our colleagues at triple j would probably appreciate the break.
Of course the ARIA Awards are the big night of nights as they say for promoting Aus music, broadcast on national TV on Stan and Nine and generating a month of media attention on local music. We were so happy with last year’s event. It was a fun, exciting, aspirational evening celebrating the best of our local talent, across presenters, performers, nominees and winners.
The thing that I was most happy about was the number of people who told me they felt proud to be a part of the industry after last year’s glittering event. Just goes to show that if you create a big, shiny stage, cheer for each other, share and celebrate the stories of the artists on stage, you create momentum and pride.
This year is going to be even bigger. Sure it won’t challenge the Oasis ticket sales last weekend but if you want to be there this year I highly recommend you get in and buy your tickets as soon as they go on sale because they will sell out super fast.
In 2024 we will be inducting the fabulous Missy Higgins into the ARIA Hall of Fame. Missy is being inducted because of her enormous cultural impact on Australian culture over the past 20 years as well as the significant influence and inspiration she has provided for so many Australian artists, male and especially female since she first stomped Triple J Unearthed and leapt into the Hoff’s arms at the ARIAs in 2005.
Now, let’s quickly address an elephant in the room: we know that there are still many, many deserving artists who have yet to be inducted into the Hall of Fame. But as much as we exist to celebrate great art and artistry, we also exist to promote Australian artists. The Hall of Fame is a two way street: We select one artist a year to give them their true, deserving moment in the spotlight closing out the awards and we want that artist to be just as excited about their entry as we are. Believe it or not, there are artists we approach who aren’t just aren’t keen, or aren’t keen yet, to be inducted.
As you know there were a couple of years where we didn’t induct anyone as we saw our way through COVID and while we have been rebuilding the ARIAs in a new market post-pandemic, Hall of Fame inductees deserve us at our best. The Awards are a challenging, complicated and expensive event to deliver. I am super lucky that the team that delivers it does so with love, passion and a strong purpose to spotlight our incredible artists.
Hard to believe but 2026 will be the 40th anniversary of the ARIA Awards. To celebrate that milestone, in 2026, we will be holding a separate event to induct a number of people into the ARIA Hall of Fame at once. It’s something we have had in the pipeline for some time now, and a decision we made with the Board to ensure industry recognition of the incredible contributions many artists have made to the Australian music landscape.
We will be announcing more details next year. Being inducted into the ARIA Hall of Fame is a special moment and an important one for an artist. We are proud and unapologetic about giving these inductees a chance to springboard off this opportunity to benefit their careers, grow new fanbases, and take advantage of the spotlight that this honour can bring if they choose to do so.
We do face challenges, of course we all know that.
Streaming is growing, it is growing with Australian audiences, but Australian artists need a greater share of that.
Getting the settings right for AI is super important to make sure that where music is being used to train AI artists and rightsholders have to give permission and get paid.
Sounds Australia does an incredible job on the ground at key showcases, festivals, and events around the world. I swear I don’t know how those guys cover the ground they do. I’m not convinced they haven’t developed cloning technology tbh.
Millie and the Music Australia team know that export has to be a key plank of our growth strategy and for that reason there is a strong focus on export facing initiatives. Same with the state agencies.
We need to keep pushing on where we focus our limited resources, we can’t be everywhere. How we compete with the other major dominant english language markets, how we navigate our weak dollar and the huge barriers posed by the US visa system. The rise of non-English language music both here and internationally. Which genres do we double down on? Aus Dance and electronic is absolutely smashing it at the moment, what more can we do to seize this momentum? A conversation that every part of the industry must be a part of.
Discoverability in a sea of choice is a very hard nut to crack.
And we still are contending with a lack of support from radio and traditional media, including some mainstream outlets that can’t seem to publish anything in support of commercial Australian music. At least, not without including a swipe – and often a pretty nasty one – at our artists and our industry.
That’s not to say that we shouldn’t debate the big issues (and the small ones). It’s not to say we don’t still have a lot of room for growth. But let’s keep that debate and rigorous discussion amongst ourselves.
Let’s not air our dirty laundry for the Australian public to see.
Because I can tell you that is not going to get people back into Aus music, especially when many would so love to work in this industry. Australian audiences don’t want to see us talking our industry down. If we don’t back ourselves – or even really like ourselves – why should they?
Let’s be honest. Progress is progress, but we’ve still got a long way to go. The road ahead may still have its challenges, but I’m confident that with the momentum we’ve built and the unwavering support of this industry, we are poised for an even brighter future.
Right now, we have a fantastic opportunity to seize on this momentum and reconnect our industry with Australian fans – and the globe – ensuring the Troyes, LAROIs and Kylies of the world are not isolated success stories. We really do have that opportunity.
But to get there we need to support each other. In the words of Mardi Caught: we need more hope, less nope.
It’s no secret that ARIA and the Australian music industry at large has been the recipient of sometimes frequent criticism. I want to be clear right now. We’re not perfect. We’re people. People who are working their asses off year round to promote Australian music: to the public, to the government, and to each other.
We’re open for discussion at all times and honestly I really welcome constructive feedback, we need it to think differently and help our industry grow and our lines of communication are open for those discussions. We have plenty of examples of this at work from the last two years, and I’m incredibly proud of the conversations and success facilitated by initiatives like our Hip Hop and RnB advisory committee, which was born from plenty of difficult conversations that have blossomed into something really positive.
But when the lines of communication are open, and high-profile public forums are used instead, that’s not constructive, and I draw the line at coverage that seems more interested in using our industry’s challenges to generate clicks rather than solve problems. Not because we can’t handle it, but because it can be detrimental to the overall progress and morale of Australian music and our ability to excite Australian music fans.
One of the most important things we can do as an industry is to rally behind and support one another. We’ve seen how powerful that can be. That’s the message that I want to reinforce today. When we come together and lift each other up, amazing things can happen.
We’ve witnessed it with the recent success of Australian artists topping the charts, and we’ve seen it in the way the industry has rallied around initiatives like Amplified. But the work doesn’t stop there. We need to continue to champion and celebrate the achievements of our artists, no matter their genre or background.
We need to be unapologetic in our promotion of Australian music and the incredible talent that this country has to offer. At the same time, we need to be open-minded and supportive of the innovative ways in which artists are engaging with their fans. Whether it’s through creative merch bundles, direct-to-fan platforms, or new digital experiences, we should be embracing these unconventional approaches—not criticising them.
As we look ahead to the coming year, there are a few key points that I want to emphasise:
First and foremost, we need to continue to build on the momentum and progress that we’ve seen over the past 12 months. The government’s increased support for the music industry has been a game-changer, and we need to ensure that we maintain a strong and unified voice in advocating for our needs and priorities.
At the same time, we need to be unapologetic in our promotion of Australian music. We’ve got an incredible wealth of talent in this country, and we need to be shouting that from the rooftops. Whether it’s through initiatives like Amplified or the upcoming ARIA Hall of Fame inductions, we need to be relentless in celebrating and championing our local artists.
And, of course, we need to continue to foster a sense of unity and collaboration within the industry. We’ve seen the power of what can happen when we come together, and we need to build on that momentum. That means being supportive of one another, embracing new and innovative ideas, and always putting the best interests of Australian music first.
So, as we look ahead to the coming year, let’s approach it with a renewed sense of optimism and determination. We’ve got the talent, the support, and the drive to take Australian music to new heights. I can’t wait to see what we can accomplish together. Let’s make Australian music something that the world can’t ignore.
