Australian music industry news: ARIA expands its Hip Hop and R&B group, Victoria pushes for a Music Trust

New additions to ARIA’s Hip Hop and R&B Advisory Group

The Australian Recording Industry Association (ARIA)’s Hip Hop and R&B Advisory Group, set up in 2024, has announced five new members. They are:

• Tani Webb, a Boorloo/Perth-based artist manager and co-founder of FN Focus, a platform dedicated to building opportunities and culturally safe spaces for First Nations artists such as Inkabee, FLEWNT, Taija and JJ Vacant.
• Alexander Franco, who founded artist development company Liquorice Music and has managed B Wise, Chandler Jewels, Dylan Atlantis, Chanel Loren and THEODORE.
• Neda Rahmani, an artist, writer and multi-percussionist who has recorded and toured internationally with The Cat Empire, and is Deputy Chair of Multicultural Arts Victoria (MAV).
• Kieran “KIZ” Lonergan, a proud Palawa artist from Lutruwita/Tasmania and founder of Seventhree, a creative hub supporting emerging artists. He is currently Tasmanian Aboriginal Youth Programs Officer with Music Tasmania.
• Peter Sabbagh, a Western Sydney-based artist developer, founder of Bodega Collective and co-founder of Bodega Studios. His Pass The Mic has presented more than 600 emerging artists, and he is developing Australia–Indonesia pathways.

Co-chaired by Mohamed Komba and Julia Robinson, the group has strengthened industry knowledge through sessions with Spotify, Sounds Australia and IFPI, covering playlisting, export pathways and global market data. It also helped deliver hip hop and R&B performances at the ARIA Awards.

Catch up on all the latest news here. 

The vote that I row

With Victoria’s election held on Saturday, November 28, the state’s music industry has set up the Vote Victorian Music platform to challenge political parties to make four connected commitments to the industry. They are creating a permanent source of funding, enabling sustainable careers, safeguarding and strengthening music venues and expanding audiences, businesses and Victoria’s global reputation as a music state.

On August 13, about 150 music execs gathered at Melbourne Town Hall to argue for all electioneering parties to commit to setting up a permanent Victorian Music Trust. They included Briggs, Public Figures, Robert Baxter, Cash Savage, Nina Las Vegas and UNIFIED Music Group founder Jaddan Comerford.

The idea is that a levy on ticket sales from major concerts would go to the Trust – which would be governed independently and protected by law – to be distributed to grassroots music venues, small low-cost operations and all-ages events.

Music Victoria CEO Fiona Duncan said of the Trust, “Victoria has one of the strongest and most distinctive music industries in the world, but we are relying on short-term programs to support an industry that needs long-term confidence and investment.

“A Victorian Music Trust would create a permanent foundation to rebuild the grassroots, support sustainable careers, protect venues and invest in the next generation of Victorian music.

“It would allow us to invest not only in the challenges facing music today, but in the opportunities ahead in recording, rights, screen, games, technology, export and new audiences.”

The Victorian music industry is also pushing for investment in contemporary music to reach at least $9 million a year, for programs to build skills and widen audiences, and for entertainment precincts to protect music venues. Music Victoria data shows that in 2023 the Victorian live music industry generated $483.9 million and accounted for 31% of live performance revenue and attendance in Australia. Since 2019, the number of venues hosting live music has fallen by 19.4%, and Victoria invests 48 cents per person in contemporary music, compared to $3.10 in New South Wales and $1.46 in South Australia.

Read the Vote Victorian Music policy paper here.

Why Apple Music keeps jacking up the price

Apple Music subscriptions in Australia have risen for the first time since 2022. The individual plan is now $14.99 per month, up from $12.99, and the family plan is now $23.99, up from $19.99. The Apple One bundles have also gone up, with one tier climbing to $34.95 from $31.95 and another now $52.95 instead of $49.95.

Apple made the same increase in the US, UK and Europe, putting it down to “rising licensing costs” – the royalties paid to record labels, publishers and songwriters. Some find that hard to take, given Apple Music was estimated to have turned over $8.9 billion to $9.2 billion in the past 12 months.

But Apple isn’t worried about price-conscious subscribers sulkily pulling the plug. Recently, Spotify co-CEO Alex Norström reassured shareholders about that platform’s own increases: “We … saw steady retention rates following the rollout of our recent price increases across more than 150 markets. These results show the power of the product and the loyalty of our subscribers.”

The real culprits are the record companies, which have been aggressively pushing streaming services to raise their prices, complaining they’ve stayed too cheap for too long, unlike video streamers like Netflix. Netflix, for instance, raised prices in Australia in March 2026 by $2 to $3 per tier, after a hike in January 2025. Standard is currently $20.99 and Premium $28.99.

SA Music Awards open nominations

Nominations for the South Australian Music Awards are open in 34 categories, including Best Song, Best New Artist, Best Group and Best Release (EP/Album). Acts can nominate themselves, or the public and music executives can put forward someone they believe deserves recognition, at southaustralianmusicawards.com.au.

Winners are announced on Tuesday, November 10 at the Adelaide Entertainment Centre. Last year alt-pop singer Aleksiah and hip-hop outfit Dem Mob dominated with four wins each.

Mushroom Music extends deals

Mushroom Music has extended its publishing deals with a number of its signings, the latest being Melbourne songwriter and producer Rob Amoruso. His credits include Imagine Dragons, G Flip, Baker Boy, The Rubens, Mia Wray, Budjerah, Thelma Plum, KIAN, Briggs, Slowly Slowly, Haiku Hands, Emma Donovan, Mitch Tambo, The Moving Stills, Jean Deaux and Pardyalone, and take in multiple chart-toppers, five ARIA wins and the Music Producers and Engineers’ Guild (MPEG) Writer/Producer of the Year Award.

Mushroom Music Senior Director of A&R and Creative Erol Yurdagul says the publisher began working with him back in his early days in the band Jakubi, which struck deals with Epic Records and Capitol Records in the US. Other acts to have their deals renewed recently include Amy Shark, The Temper Trap, Jack Johnson, Julia Jacklin and Lorenzo Sillitto.

Jesse Parker leaves Laneway after 17 years…

Jesse Parker, GM and Festival Director of Laneway, is leaving the company at the end of August after 17 years. She is yet to unveil future plans but is “excited for what comes next and fully open to new opportunities.” She leaves at a time when Laneway 2026 hit a record crowd of 210,000 and took the crown as Best Festival at the ARIA Awards and Music Event of the Year at the New Zealand Events Awards.

…while Laneway’s 2027 plans draw a mixed response

For 2027, Laneway has announced it has dropped Perth and Adelaide due to costs and returned to Brisbane after a year on the Gold Coast. The response was, predictably, hostile. After drawing 30,000 people, the Southport Sharks had hoped Laneway’s continued presence would build up their grounds as an events destination, and its chief admitted to being “disappointed.”

The Gold Coast Bulletin ran a blog dismissing Laneway as “never trust a cheater,” and emphasised the Coast should only invest in those who show commitment to staying and building up the region. It cited Blues On Broadbeach, which has been on the Coast for 25 years and this year drew 100,000 to 120,000 to the free event, and Cooly Rocks On, which has staged there for 15 years and in June had 16,000 over five days. Both events, said the Bulletin, jointly injected $65 million into the Coast economy.

The piece hurled praise at the Pacific Airshow, which “is showing us everything the perfect event partner should be. Its 2024 iteration attracted close to 300,000 spectators and was estimated to have generated about $33 million for the local economy. This year it’s expected to generate an estimated $40 million in economic impact, with tens of thousands of interstate and international visitors. Laneway Festival was a fling, but the Pacific Airshow is a relationship.”

Over on the West Coast, Laneway was the third to drop Perth after Froth & Fury and Strummingbird, though two executives that Perth Is OK spoke to suggested it provided an opportunity to showcase local acts. WAAPA Arts and Cultural Management coordinator Dr Vahri McKenzie suggested, “We’re a big city, we’re a grown-up city, and there’s plenty of homegrown talent. For me, that means there’s an even more important role for our local peak bodies like West Australian Music (WAM) and our local homegrown talent, as well as producers and production crews.”

WAM CEO Owen Whittle agreed, telling the masthead, “Festivals like Arrival, New Farm New Country in Albany and local stalwarts like Nannup Music Festival and Bridgetown Blues are building audiences here and tend to give far more opportunity for established and emerging West Australian artists. Two-thirds of the music venues which existed in Perth 10 years ago are either closed or have stopped platforming contemporary music. We won’t get the international headliners to Perth if promoters and festivals can’t see a thriving live music scene in our state.”

A DJ saved my life last night

Becoming a club DJ is among the ten most dreamed-of careers for Australians – and tops the list in New Zealand, according to a new report from financial services company Remitly. It analysed Google search data across more than 140 countries, tracking phrases such as “how to become a DJ” and “how to be a DJ.”

In New Zealand, becoming a “steel wheeler” beat out accountant, YouTuber, CEO, creative writer and pilot for a place in the country’s top ten, with how to become a music producer at #15. Globally, being an actor was most desirable, then pilot, firefighter, lawyer and YouTuber.

New CEO for the Australian Festival Association

Lizzie Butterworth has been named the new Chief Executive Officer at the Australian Festival Association, replacing Olly Arkins, who resigned in mid-August. She was an important figure in shaping contemporary music policy in NSW, including the setting up of Sound NSW, modernising festival regulations, protecting music venues and contributing to regulatory and funding frameworks to support artists, music venues and festivals. Most recently she was also Business Director – Public Affairs.

“Lizzie has built trusted relationships across government and industry and is exactly the kind of leader the Association needs,” said AFA Chair Adelle Robinson.

Hobart music store closing

One of Hobart’s iconic record stores is pulling down the shutters in December after 36 years. Situated on Elizabeth Street, Solda’s Music Shop stocked second-hand guitars, amps, drums, lighting, DJ gear, FX pedals and live mixing equipment. Sensing the vinyl resurgence, owner Paul Solda-Tenko bought 15,000 records for $1 each and cashed in when the revival came.

Meantime, Music Without Frontiers closed its Liverpool Street doors last weekend after 50 years – but only temporarily, as it moves to the Hanging Gardens precinct. Hanging Gardens is a joint project by DarkLab and Riverlee, and DarkLab CEO and creative director Leigh Carmichael has been buying records at Music Without Frontiers for 30 years. When original owner Stefan Markovitch passed away in 2023, Carmichael and DarkLab took over operations a year later.

Battle to save The Black Wreath

The Australian heavy music community is rallying to save The Black Wreath in Central Australia. Set up in 2011 (launched 11.11.11) in a dilapidated industrial building, it grew from a backyard studio into a warehouse-format space with a recording and rehearsal studio, venue, record label, film studio, screen printing division and indoor and outdoor performance areas.

It has been a vital hub for remote and First Nations metal, punk and rock acts, and produces the annual Blacken Open Air Festival, last year collaborating with 400 acts from ten countries. It has paid $100,000 to industry workers, more than $250,000 to artists and more than $300,000 to businesses, and injected $15 million into the Northern Territory economy.

Its future looks dicey, with the space up for sale. The Save the Black Wreath campaign on Pozible has a million-dollar target, offering a thousand lifetime memberships at $1,000 each. On the final day of the campaign, Saturday, September 12, 30 heavy acts will play as part of Blacken Forever in the NT, Victoria, SA, WA, NSW and Queensland.

BMG does deals with Wolfmother, Velvet Trip

BMG has bought Andrew Stockdale’s publishing, recorded music royalties and neighbouring rights interests in the Wolfmother catalogue, bringing them under one roof for the first time.

Heath Johns, BMG’s President for Australia, New Zealand and Southeast Asia, said: “I signed Andrew to his first publishing deal in 2005, before the band took over the world and two years before they won a Grammy. I still have that original demo CD with ‘Woman’, ‘Joker And The Thief’, ‘Dimension’ and ‘White Unicorn’ on my desk.”

BMG has also signed Velvet Trip, the musical project of Wiradjuri songwriter, producer and multi-instrumentalist Zeppelin Hamilton, to a global publishing deal. Discovered by triple j’s Unearthed, Velvet Trip’s second album, Glimmers Continued, debuted at #5 on the ARIA Australian Albums Chart.

New entertainment law firm launches

Walkom Entertainment Lawyers, an entertainment legal service, has launched in Brisbane. It is run by Marcus Walkom, one-time partner of Media Arts Lawyers, which recently closed, with lawyer, musician and artist Lauren Holyoak. Clients at launch included Wolfmother, The Teskey Brothers, The Amity Affliction, King Stingray, The Chats, Playlunch and Untitled Group.

Walkom continues to run management company and record label We Are Golden, and remains a board member of the Association of Artist Managers and the Gold Coast Music Alliance.

Vale: remembering nine

The music community has said goodbye to nine of its own in recent weeks. We remember them here.

Bill Armstrong is best remembered as founder of Armstrong Studios in Melbourne in the ’60s, which at one point had the only 8-track outside the United States. Back in the 1940s, the tech-minded Armstrong helped build the local jazz scene, creating new devices to record albums and setting up and signing labels, and was regarded as a mentor by the road crews he taught.

Glenn A. Baker was a music journalist and historian, travel writer, co-founder of reissue label Raven Records and manager of multi-platinum band Ol’55. At a public celebration at Canterbury Hurlstone Park RSL in Sydney, PM Anthony Albanese sent a tribute and many stories were told, among them how Baker’s idols were fans of his writing: Bob Dylan asked to meet him before a Sydney concert, and The Who’s Pete Townshend wrote asking if he’d write his biography, which Baker had to turn down because of his schedule. Performing were Ol’55, Melinda Schneider, Mark Gable, Leo Sayer, Paul Field and Stewart D’Arrietta.

Belinda Webster was a flautist, artist, teacher and engineer who set up Tall Poppies Records in 1991 to release 200 solo and chamber records. She also served as Artistic Director of Kangaroo Valley’s Arts In The Valley festival.

Johnny Young, born in Holland and raised in WA, was a pop singer in the 1960s (“Step Back”, “Cara-Lyn”) before a purple patch writing hits for others, including Russell Morris’ “The Real Thing”, Ronnie Burns’ “Smiley”, Lionel Rose’s “I Thank You” and Ross D. Wylie’s “Here Comes The Star”. He then became host of TV’s Young Talent Time, which launched numerous young acts including Tina Arena and Dannii Minogue.

Ian “Spider” Digance started out in Adelaide as a 17-year-old building road cases, before doing sound for local acts. He rose with The Angels, Rose Tattoo, Jimmy Barnes, Diesel, INXS and Hoodoo Gurus, and for his last ten years worked as Tour Director and Tour Accountant for Deep Purple. Barnes posted that Spider was “right up there when it came to crew members, one of the best.”

Peter Katsis was part of The Church’s management team for the last few years. “He was larger than life, with a big old cigar. He was a big guy, he had a lot of presence and physicality,” said Steve Kilbey.

Roger Beilby was President and life member of the Victorian Jazz Club and founder of Jazz On A Saturday, which ran on Melbourne community radio 3CR for 50 years. He promoted Manly Jazz in St Kilda and was considered to have an encyclopaedic knowledge of all things jazz.

Russell Kidner was a WA crew member who emerged 50 years ago as part of the team for Perth band Bakery, and later worked with acts such as Men At Work.

Michael Cowen was a Perth-based crew member who worked with Little Heroes, Girl Overboard, Separate Tables and Short Story.