REPORT: TOP 25% OF AUSSIE ACTS EARN 82% OF INCOME
Australian artists earned an estimated $860 million from working in the music industry in 2023-24.
The median annual artist income is estimated at $14,700, with the top 25% earning artists getting an estimated 82% of total artist income.
The stats are from Music Australia’s first-of-a-kind report The Bass Line: Charting The Economic Contribution Of Australia’s Music Industry.
Royalties
Just over 70% of artists’ money come from gigs and royalties.
Synchronisation placement fees, commissions, and advances make up 11% of artist income.
Others are teaching fees (7%), session fees (5%), merchandise sales (3%), government grants (3%), and sponsorships, branding and other promotions (1%).
Read up on all the latest interviews, features and columns here.
Among takeaways:
* In the 2023-24 financial year, the Aussie music industry generated revenues of $8.78 billion and contributed $2.82 billion in direct gross value added (GVA) to the Australian economy.
* The most valuable was the live music performance sector, with $4.83 billion in revenue and $1.44 billion in direct GVA.
Ticket sales amounted to an estimated $2.25 billion (for both local and international artists).
Music Retail
* Music retail was second biggest, with $2.73 billion in revenue and $515 million in direct GVA.
* Music recording, production, label services and distribution contributed $790 million in revenue and $350 million in direct GVA.
* Composition, songwriting and music publishing brought in $470 million in revenue and $155 million in direct GVA.
Artist Management
* Artist management contributing $195 million in revenue (and $92 million in direct GVA).
* Music Export made up $975 million of industry revenue, of which music recording, production, label services and distribution made up the most with $485 million, with global demand for music retail at $310 million and gigs $105 million.
A STREAMING SERVICE FOR AUSSIE ACTS?
Given that Australian audiences are used to hearing only 25% of local music and playlists even less, how sustainable will a 100% Aussie streaming service be?
But it’s something that the music industry is considering after the latest findings by Music Australia’s Listening In series.
It looks at the link between music discovery and consumption in this country.
Gap
The latest results show an awful gap. 71% said they felt proud when they heard Australian music and two in three (66%) want to hear more.
But only 31% actively look for it, because they find it difficult to look through the clutter.
However 42% would support a 100% Aussie music streaming service.
Seek Out
Director of Music Australia Millie Millgate noted: “If we want a thriving and sustainable music industry, then we all really need to seek out and support local artists.”
The ‘Listening In’ study was in partnership with Untitled Group and The Daily Aus, and collaborating with youth music organisation The Push.
SHOULD RAP LYRICS BE ADMISSIBLE IN COURT?
Should rap lyrics be admissible in court as “real”, with so many of them exaggerated and macho bluster and seen as such by its audience?
US legal and black cultural reps have warned a judge overseeing Drake‘s defamation lawsuit against Universal Music Group (UMG) over Kendrick Lamar’s “Not Like Us” lyrics about “certified paedophile”, not to go down that path.
They say taking it seriously will create racism in the justice system against black people, and also take away the free speech protection that even the most laughably outrageous rap enjoys.
SIX NEW SIGNINGS
Ivana @ Place Called Home
In the latest instalment of Aussie artist Ivana’s rapid rise over the last 12 months, she has signed to German dance label German based dance label Place Called Home.
Her first global single “Burning” is out now, marked with dates at Yah Yahs in Melbourne (June 27) and Beresford Sundays Sydney (29).
The 20-year old was a Top 5 finalist on Australian Idol and followed it up with singles “Liar Liar” (1.5 million streams) and “Ooh La La La” and “Beating Heart” with 200,000 each.
Psycroptic @ Metal Blade
Tasmanian death metal outfit Psycroptic have joined California-based Metal Blade Records.
Guitarist Joe Haley stated: “Having grown up listening to countless amazing bands on the Metal Blade roster, the label had a big impact on shaping who we are as musicians, essentially becoming an integral part of our creative DNA.”
Visit
Over 25 years, the band has visited 40 countries, currently on a run through Australia (with Ne Obliviscaris) and Europe.
With a new single out called “Architects Of Extinction”, the band is putting the final touches of its ninth studio album.
Radical Son @ Perfect Pitch Publishing
Formidable hip hop/soul performer Radical Son, aka David Leha, has assigned his publishing to Perth-based Perfect Pitch Publishing.
Hailing from the Kamilaroi nation of Australia and the South Pacific nation of Tonga and mentored by Uncle Archie Roach, he has released two albums Cause N’Affect (2014) and Bilambiyal (2024) and also known as an actor and documentary maker.
Raw
Perfect Pitch Managing Director Clive Hodson said he’d caught Radical Son over many years “and admired the raw authenticity of his music, his words, and his performances.
“But it wasn’t until I saw him perform the role of Mubarn (Clever Man) in WA Opera’s Noongar opera Wundig wer Wilura that I truly witnessed the full power of his artistry.”
BIORDI @ ONErpm
Sydney-based hip hop, rap, EDM and R&B label BIORDI, founded in 2019 by entrepreneur Lowkee, signed a global partnership with music distributor and label services company ONErpm.
ONErpm operates worldwide in 43 locations with a global workforce of 600, and offers facilities as YouTube Multi-Channel Networks, distribution, marketing support, supply chain tools, SAAS, business intelligence, publishing, accounting and global payment solutions.
Roster
BIORDI’s roster has Youngn Lipz, Billymaree, Bally Boy, Pistol Pete & Enzo, Ay Huncho, Masi Rooc and Nasa Nova, and jointly racked up over 300 million streams.
Rick Butterworth, ONErpm’s Brisbane-based Director of Business Development for AUNZ & Southeast Asia will lead the partnership and report to ONErpm’s CEO/founder Emmanuel Zunz who wants ONErpm to grow to become the fifth major label.
Butterworth said: “This partnership represents more than a business move. It’s a commitment to nurturing talent, expanding opportunities, and driving impactful artist-driven results.”
The Cat Empire @ Tixel
The Cat Empire struck a partnership with fan-first global ticket resale platform Tixel as their preferred resale partner for their Bird In Paradise world tour.
It spans North America, Australia, Europe and the UK from June through October 2025.
Zac Leigh, CEO and founder of Tixel pointed out, “Many of the shows on The Cat Empire’s last tour sold out and it can be a difficult or risky process for fans to find a ticket, and every concert has a significant number of fans that need to regretfully sell their ticket.”
Love Nor Money @ Golden Robot
Sydney-based global metal label Golden Robot has extended its roster with Love Nor Money, who formed in Birmingham, UK, in 2023.
Their new single “Blood Will Tell” is described as “a defiant anthem that confronts self-entitlement and the toxic desire to see others fail.”
TAMWORTH STUDIO FOR SALE
Enrec Studios in Tamworth is on the market. It took over eight years after Hadley Studios closed the doors in 2002.
Set on a 1,222m² block in Calala, John Williamson, Reg Lindsay, Tex Morton and Buddy Williams recorded there through the years.
The sale offers Studio GLA approx 140m2, and
Archiving room GLA approx 60m2.
KING CHARLIE LAUDS AUSSIE GUITARISTS
Two Australian guitarists were among those honoured in this month’s King’s Birthday List.
Now aged in his 90s, NSW-born Kenny Kitching is recognised one of the world’s best exponents of the steel guitar.
Family
Coming from a musical family, he picked up the instrument at seven, and toured with his bands, did sessions, and last released an album in 2020 with his wife Emma.
He got an Officer of the Order of Australia (OAM), adding to previous accolades as the Country Music Hands of Fame in 1977 and the Country Music Roll of Renown in 2004.
Perth
Perth-based Guy Ghouse, 2020 winner of Best Guitarist at the WA Music Awards, was made Member of the Order of Australia (AM).
Mowing lawns at 14 to buy his first axe, he became an international performer, band member, music director for SBS’ The Mary G Show, screen composer, mentor and featured artist with Cole Clarke Guitars.
Disappearing
Growing up for a time in the Kimberleys, he encountered disappearing First Nations languages, including the Noongar language which has only150 speakers left.
He and long time music collaborator Gina Williams released four Noongar-language albums from 2010, and composed the Noongar opera Wundig wer Wilura, which opened the Perth Festival in 2024.
They won WAM’s Indigenous Act of the Year in 2013, 2014, 2015, 2016, 2018 and 2022.
HEAVING ON A JET PLANE
Will we see these three acts back in Aussie?
Ed Sheeran, asked by a local fan on TikTok when we might see his red haired ass back here, replied simply, “Start of 2026”.
Rumour List
The Rumours List on who’s banging out the chords at the September 27 AFL Grand Final has Foo Fighters perched on top.
They are still in the pow-wow stage, but the Rock And Grohl outfit are nearby then, locked in a week later at the Singapore Grand Prix.
The Herald-Sun is citing rumours that AC/DC are to announce spring shows any day now,.
HELPING OUT WANTOK
Wantok Musik Foundation, which supports indigenous music and stories in Australia and the region through records and archiving, is calling out for donations by June 30 to keep up its good work.
$30 buys a guitar string or drum stick; $100 to record a traditional song; and $500 for songwriting or production workshop in the community.
Go to https://www.wantokmusik.org/donate
MIDDLE KIDS OFF THEIR TROLLEY
Rock band Middle Kids were tapped by 90-year old luggage brand American Tourister to feature in their latest ad campaign, It Can Take It to show off its strength and durability.
The band is seen in an airport car park pushing a trolley filled with luggage, and sending home the message when the trolley tips its contents.
It comes as singer Kita Alexander covered Madonna’s “Holiday” in Queensland’s latest tourism campaign to brand itself as the main holiday destination.
SUPPORT ACT WELLBEING LINE EXPANDS
Thanks to a Federal Government grant, Support Act’s Wellbeing Helpline number (1800 959 500) is now accessed by artists and arts workers in every sector.
Improved, tailored assistance now includes a dedicated First Nations Support Line with ATSI counsellors, and an LGBTQI+ Support Line with those with ACON Pride Inclusion training.
A Safety At Work Support Line provides support for matters related to sexual harassment or sexual abuse in an arts workspace.
APRA AMCOS 23% CLUB
APRA AMCOS unveiled 14 women and gender diverse music creators for 23% mentorship.
They are Alice Hurwood, Ange Nishimwe (ange-bella), Athanasia Sakoutis (ATHANASIA), Ayda Akbal, Doolie Shadforth (DOOLIE), Georgia Slater (Solly Fern), Kyah Parrott (Hayku Kyah), Layla George (Jean Elliot), Lucie O’Connor (Lucie Tiger), Naomi Geste, Nicole Issa, Roz Yuen, Sasha Gavlek and Siobhan McGinnity (MAGNETS).
Mentors
Mentors, based in Australia, the UK and the US include Bumpy, KLP, Mo’Ju, Milan Ring, Nat Dunn and Tammy Ari.
Screen composer, Ayda Akbal, who will be working with LA-based composer Tammy Ari and one time Hans Zimmer student, said “Tammy Ari is not only an extraordinary composer, but also a fellow Melburnian who has been living and working in Los Angeles for many years.
“She’s trodden a path that I would be proud to follow, which makes our one-on-one mentorship particularly meaningful, especially since we are able to meet in person in a city that’s new to me, just as it once was for her.”
BEYOND THE VALLEY TO EXPAND?
Festival promoters Untitled Group are hoping to enlarge their flagship end-of-the-year three-day Beyond The Valley in Victoria.
They have applied to increase the capacity from 35,000 to 40,000 and add a fourth stage, the Geelong Advertiser reported.
BTV has been a fast growing brand. It started with 8,000 in Philip Island, and leaped to 16,000 in its second year.
Locks In
The application will also lock in the Barunah Plains site in Hesse, 40km west of Geelong, for another ten years.
It generates $18.5 million each year for the local economy. Last year the Greater Geelong council launched a strategy to increase the value of its major events to $131 million per year by 2029.
ROLLING UP THE YEARS
As Timbik 3 once sang, the future’s so bright I gotta wear shades.
The latest instalment of financial giant Goldman Sachs’ Music In The Air report lowered some of its global music-market forecast for 2025.
Recorded music is down to US$31.4 billion instead of the $33.9 billion expected, while revenue expected from music streaming subscriptions was down from $33 billion to $31.3 billion, while ad-funded streaming is down by $2.1 billion to $11.3 billion.
Subscribers
Goldman Sachs reckons there will be 827 million music streaming subscribers by end of 2025 – 75 million new subscribers since last year.
Significantly, 75% of these new payees will come from emerging music markets.
But the growth from 2024 is 10%, slightly down from the 10.6% growth in 2024 and down from the 12.8% expansion in 2023.
Live Music
But live music was up slightly from $37.7 billion to $38.2 billion while music publishing remained at $10.7 billion as forecast.
But it still sees a healthy boom in years ahead.
By 2035, the global music market will be worth $196.8 billion, and a $141 billion of net revenue breaking down into $67.1 billion for live music, $55 billion for recorded music and $18.9 billion for publishing.
Continual Growth
Live music’s continued growth will come with more integration between ticketing and streaming, and better technology to provide awesome experiences for consumers.
The recorded and live industries’ push to make money out of superfans through such goodies as VIP exclusives and privileges will make them $4.3 billion richer by end of 2026.
Despite concerns about artificial intelligence flooding streaming platforms with generated content, Music In The Air insists that it’s currently still minimal, and no more than 0.1% of the royalty pool.
Rise
But there is no doubt there is a rise of AI tracks.
Deezer said in April that 20,000 deep fake tracks were being uploaded each day, and Sony took down 75,000 A1 tracks mostly imitating its biggest artists.
Goldman Sachs agrees it is a growing problem, stating “Ongoing concerted efforts among the large music players are necessary to further evolve royalty payment structures and protect music copyrights.”
“IKO IKO” SONG HEADS TO QLD COURT
Solomon Islands reggae band Small Jam and PNG-born Cairns singer Justin Wellington head to Supreme Court in Queensland this week over the globally successful remake of “Iko Iko”.
According to the Cairns Post, Wellington did a remake in 2017 and a “summer version” in 2021, featuring Small Jam.
Million Views
Both tracks generated 170 YouTube million views and topped multiple music charts.
Small Jam claim they are entitled to get paid in a 50/50 share as their collaboration was roughly equal with Wellington’s.
SA BUDGET COMMITS TO CREATING
The South Australian budget committed to $13 million in new money over four years as part of its new ten year $80 million cultural policy, A Place To Create.
The policy includes $3 million to increase SA creativity’s global profile, $1 million to attract private investment and donations, $1 million in extra grants, $2.3 million for First Nations arts and culture in SA, and $500,000 for arts and culture in the regions.
According to CreateSA Executive Director Clare Mockler, the sector consists of 10,000 creative businesses employing 15,000 and contributing more than $1.8 billion to SA’s economy.
SYDNEYMUSIC CLOSES
After launching in March 2022 as a Sydney-based gig guide and music publication, SydneyMusic.net goes dark this week.
“We had hoped that we would make it through a difficult period, but it has become clear that we can not go any further,” said founders Joe Hardy (Project and Technology Direction), Will McKinnon (Art Direction and Web Design), and Caitlin Welsh (Content Direction) in a statement.
FUZZY GETS NYE DEAL
After Sydney’s Waverley Council decided to bring New Year’s Eve celebrations back to Bondi Beach to 15,000 revellers, it appointed original promoter Fuzzy for an initial two years to run the rebooted event.
THE DAY OF THE TRIFFID
Brisbane live music Triffid won its court case against property developer Panettiere Developments and Brisbane City Council over plans for a three-tower “Little Italy” development that would include 1001 build-to-rent units.
The venue told the Planning and Environment Court the size of the development and its proximity to it would initiate troublesome complaints from residents.
Redesigned
It suggested that the $1.5 billion project be axed or redesigned.
Judge Michael Williamson decided on the latter, saying Little Italy could only continue once redesigns would cut down on noise.
END OF ROAD FOR ADELAIDE CABARET FRINGE FEST?
Following from the Perth International Cabaret Festival’s decision to close after five years because of “a critical shortfall of funding,” the Adelaide Cabaret Fringe Festival has indicated a similar fate after its three year funding deal, of $45,000 a year from the Adelaide Economic Development Agency (AEDA) ended.
WALKING ON SUNSHINE
Among the standouts at the inaugural Sunshine Coast Music Awards were Betty Taylor (live act, song of the year, rising star), Ziggy Alberts (artist of the year), Minnie Marks (musician of the year), Frank And Louis (newcomers), Kevin Starkey (First Nations) and Yama Nui Studios (recording studio of the year).
The 11-category awards were put together by the Sunshine Coast Music Industry Collective (SCMIC) with the Sunshine Coast Council and held at The Station in Birtinya.
VALE (EIGHT WE LOST IN THE LAST MONTH)
Fergus Hunt (b: 1973) was guitarist with Melbourne ‘90s band bZARK, a trio which formed in 1994, released three albums (two through Rubber Records) and split in 1999. He died suddenly at home after a battle with illness.
Highly acclaimed Melbourne keyboard player Peter Jones played on many records, as well as those by Little River Band and John Farnham as well as Skyhooks, Morrissey, Prefab Sprout, Australian Crawl and Vince Jones, and produced Kate Ceberano and Her Sextet’s Like Now.
Mark Fenech was a energetic and unpredictable identity in Adelaide punk scene in the 1980s and 1990s, fronting The Mutants, Festered Vestoons and Clowns of Decadence for whom he took on the stage name Ockerboz. He died from a rare bone cancer at 61.
Yogi
Grahame “Yogi” Harrison was an audio wizard who after a short stint as a journalist, went on to do sound for everyone – Buffalo (paid $5 a gig), Rose Tattoo, Air Supply, Jon English, The Sunnyboys, The Johnnys and The Saints, with whom he went to the UK.
New Zealand police are investigating the death of dubstep musician Oliver Hayes, 40, whose body was found on a property in Wellington.
Singer Kerrilee Male arrived in Melbourne from Britain in 1967 and fronted folk-rock band Eclection. She played with The Driftwood Band, Yarra-Yarra New Orleans Jazz Band and Ray Price Quartet before retreating to Magnetic Island in Far North Queensland.
Cookies
Marcie Jones was a ‘60s pop singer who formed Marcie and the Cookies, later moving into writing children’s books and becoming involved with Olivia Newton-John fashion and lifestyle label Koala Blue in the 1990s.
She released her memoir Runs In The Blood in 2008 and died in a Melbourne hospital weeks after being diagnosed with leukaemia at 79.
Radio announcer John Carroll was a successful radio presenter (2SM, Triple M Sydney, 2Day FM and Music Director of Music Max, who was renowned for his passion for Australian music and champion of its charity Support Act.
