Hilltop Hoods get their own Adelaide laneway, Noel Gallagher’s Epiphone sells at auction and Amazon pushes to cut songwriter royalties in this month’s round-up.
Report: Demand For Guitars Up In Australia, Keyboards Remain Level
The Australian Music Association (AMA)’s State of the Industry Report 2026 provided a slightly more positive picture of the music products sector than two years ago.
“(But) the improvement is uneven and important pressures remain,” the report said.
Guitars and accessories recorded positive net results for the past 12 months. Pianos / Keyboards were neutral.
“Most other categories remained negative but improved compared with the previous two years. Expectations for the next 12 months are more positive again, with only Print Music remaining in negative territory on a net-positive basis.”
In a survey done in August (and published in October), 52% of businesses in the product sector said financially their businesses were better off than a year ago, compared to 45% in 2025.
“Expectations for the next 12 months are generally more positive than assessments of the past, and this year they are stronger again.
“The net positive result for respondents expecting to be better off in 12 months reached +50 percentage points, the strongest result in the (three-year-old State Of The Industry) series.”
The improved results do not mean businesses are uniformly busy or better off. Only 15% reported being busier or very busy, while 45% said business was quieter or very quiet.
Making a profit remained the biggest concern. Weak current trading conditions had 97% worried, costs and legislation issues were also of concern. There were no plans to hire anyone.
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Club Song For Tassie Devils
The AFL Tasmanian Devils is looking for someone to write their first club song. They’re looking for:
Singability: Easy to learn, remember and sing together.
Emotional connection: Creates pride, passion and a sense of belonging.
Reflecting Tasmania: Authentically captures our character, identity, stories and spirit.
Originality: Distinctive and memorable, with a character of its own.
First impression: Makes an immediate impact and leaves you wanting to hear and sing it again.
No AI use. You’ll own the copyright. You have until November 25, see here for more details: https://www.devilsfc.com.au/song/club-song-submissions
150+ Join New Artists Alliance of Australia
Over 150 artists were launch members of the new Artists Alliance Of Australia, formed by Kristy Lee Peters (aka KLP) and Holly Rankin (aka Jack River).
“From AI and copyright to artist rights and government policy, decisions are being made every day that impact our careers. AAA will give artists a seat at the table.”
They include Bernard Fanning, Kate Ceberano, Tina Arena, G Flip, Thelma Plum, Spiderbait, John Butler, What So Not, Lime Cordiale, DOBBY, Troy Cassar-Daley and Peking Duk.
For more information, or to join, go to https://www.artistsaa.com/.
Hilltop Hoods Stick To Their Lane
The Hilltop Hoods released “The Hard Road” as the title track of their breakthrough album of 2006. Now, they’ve become the sixth South Australian act to have a lane named after them.
They follow Sia Furler, Cold Chisel, No Fixed Address, Paul Kelly and The Angels.
Clubhouse Lane off Hindley Street, next to the Plaza Hotel, is Hilltop Hoods Lane. You can’t miss it: there’s a large-scale mural on both sides of the laneway by local artist Vans The Omega.
Lord Mayor of Adelaide Dr Jane Lomax-Smith said the new laneway was a fitting tribute.
“From playing gigs at the Worldsend Hotel and Adelaide UniBar to performing in front of crowds of 50,000 adoring fans, hip-hop royalty Hilltop Hoods have helped reinforce a familiar Adelaide truth – that great talent starts local and can reach audiences across the globe,” she said.
At the announcement event, head of Universal Music Australia, Sean Warner, presented the Hoodies with a plaque with their single “1955”, a song about Adelaide, selling a million copies and certified 14 x platinum.
Finalists Named For Yamaha Grant
Yamaha Music Australia announced the finalists for its Main Stage Grants. Now in its second year, it amounts to $5,000 cash, and $5,000 worth of Yamaha gear.
A recipient will be chosen from each of these three categories:
Songwriter: Bonnie Jac, Fergus Hogan, Milly Strange, Yours, Georgina.
Producer: Alice Ruby, Juno Mamba, Mo•Louie, Nat Luna.
Band: The Smith & Western Jury, Memory Motel, Soleil, CHEEKY LEASH.
For every application, Yamaha will donate $5 to Support Act. Winners will be announced on Tuesday November 17, see www.au.yamaha.com.
BMG Ties Up Parcels Publishing
BMG has signed Aussie band Parcels to a worldwide publishing deal. The band, now based in Berlin, has notched up 1.5 billion streams and has a strong presence in the United States.
BMG Managing Director, GSA, Jasper Niebuhr called them “one of the most distinctive and compelling bands of their generation,” adding, “Their extraordinary musicianship, songwriting, and creative vision have enabled them to build a truly global career on their own terms, without compromising what makes them unique.”
Noel Gallagher Axe Sells For Over $22K
A guitar once owned by Noel Gallagher sold for £12,000 (AU$22,850) at a UK auction. The limited-edition 1997 Epiphone in Manchester City blue is thought to have been one of five given to the Oasis leader by the manufacturer.
The auction was part of a collection put up by the family of Huw Richards, a former front-of-house sound engineer for Oasis.
Going for £2,000 ($3,808) each were 11 framed platinum discs for the What’s the Story Morning Glory album, and a rain jacket produced for the tour entourage.
An early Oasis demo tape sold for £3,600 ($6,856), a collection of early Oasis photos for £5,400 ($10,285), and a pair of leather shoes owned by Gallagher for £1,200 ($2,285).
Not finding a buyer was the baby grand piano from the artwork for the “Supersonic” single, which was valued at between £100,000 ($190,500) and £150,000 ($285,750).
There was a drama when a set of unheard Oasis Desk Tape recordings – valued at £1.2 million ($2.28 million) and £1.6 million ($3 million) – was temporarily pulled at last minute when Oasis filed an injunction. That collection had 63 live shows, soundchecks, and over 100 hours of rehearsals from the 1990s.
Aussie Researchers Propose New Framework For AI, Fairer For Creators
A group of University of NSW academics have sent a proposal to the Federal Government of a framework which will give Australian creators a fairer deal – without turning back the clock on AI.
Called Copyright Plus, it gives artists greater power over how their work is used – as well as a share in the value their work creates.
“Artists simply don’t have power over how technology companies use their work, a meaningful say in how media companies license copyright in their works, nor any power to remove unauthorised synthetic works from circulation,” says Professor Kathy Bowrey, an IP specialist from UNSW Law.
She says Copyright Plus would give creators greater power in three main ways.
The right to say no: creators maintain the right to refuse permission of their work being used.
Companies will have to disclose how they use someone’s work – something which they are not obliged to do at present.
There’ll be a levy imposed on AI companies to create a fair payment, as well as a broader cultural fund to support the arts ecosystem.
Copyright Plus creates faster ways for artists and First Nations Peoples to identify unauthorised AI content and have it removed from circulation. This includes works that mimic real creators.
You can read more details at https://www.unsw.edu.au/newsroom/news/2026/10/copyright-plus-artists-creators-AI-intellectual-property
Aussie Biz Takes On AI Claims
The Australian Recording Industry Association (ARIA) and the Phonographic Performance Company of Australia (PPCA) hit back at statements made on Australian TV by co-Chairs of Joint Parliamentary Committee for AI.
Jo Briskey and Jono Duniam said that Australian copyright law isn’t working and that Australian creators will miss out for AI unless the copyright law is overhauled.
ARIA/PPCA CEO Annabelle Herd called their statements “wrong” and “ignores substantial evidence provided to the Committee.”
She pointed out, “Australian copyright law gives creators control. It is the only thing standing between major American AI companies and unchecked access to the world’s content right here from Australia.”
“ARIA’s submission and evidence to the Committee listed 18 major global AI deals that already exist between AI companies and the music industry. Since that submission, nine more have been made and many more are in the works. Local record labels and the artists they represent are part of these deals. That includes Australian-headquartered companies.
“The deals being done now prove global licensing works. That is how artists and rightsholders retain control and negotiate terms including remuneration. Record labels and music publishers have also brought copyright infringement action against AI companies for copyright infringement in the US.
“That is how enforcement works, it occurs in the jurisdiction where the infringing copying occurs. We are not asking the Australian parliament to solve overseas piracy by AI companies.”
Read Herd’s full statement here https://www.aria.com.au/industry/news/aria-and-ppca-reject-assertions-in-the-joint-select-committee-on-artificial-intelligence-interim-report
The Committee’s findings are set to be aired in late November.
Meantime, 12,000 have so far signed an open letter for greater copyright protection and warning the Government that Australia’s creators are not a tech subsidy. They include authors, artists, songwriters, composers, music publishers and industry organisations. Go to https://www.apraamcos.com.au/about-us/news-and-events/open-letter-to-government.
Peermusic Buys Aussie Publisher
New York-founded global music publisher Peermusic has bought Sydney-based 120 Publishing – and named its long-time GM Karen Hamilton as MD of Peermusic Australia.
120 Publishing was founded in 2009 by Tim McGee for Ministry of Sound Australia, which now operates as TMRW Music. 120’s 5,000 works specialises in dance and electronic music writers, producers, and topliners, and pairs local writers with international artists for collaborations. It also represents a number of K-pop and J-pop writers.
Dom Dolla Opens Fortune Cookie
Dom Dolla launched Good Fortune Records. It’s an extension of his party brand showcasing established and emerging acts in Melbourne, Los Angeles, New York, Miami, Detroit, London and Manchester, and featured Solomun, Green Velvet, Tiga, Fcukers and Skream.
First release on the new label is Melbourne inner west house and tech house Torren Foot & his frequent collaborator rhys from the sticks’ “DANCE”, a track that’s been on Dommie’s set for the past year. When Dom played to 60,000 at Marvel Stadium in hometown Melbourne, Torren Foot joined him on the track. Their previous track Be Randy generated 80 million global streams and got an ARIA nomination.
Ten Acts Vying For NSW Music Prize
Ten acts are in the final list of the NSW Government’s $80,000 NSW Music Prize, five in the $40,000 NSW First Nations Music Prize, and five ground-breakers in the $40,000 NSW Breakthrough Artist of the Year.
NSW Music Prize ($80,000)
BOY SODA – SOULSTAR
DON WEST – GIVE ME ALL YOUR LOVE
Esha Tewari – What Makes A Girl A Girl
Keli Holiday – Capital Fiction
MAY-A – Goodbye (If You Can Call That Gone)
Ninajirachi – I Love My Computer
Parcels – LOVED
SPEED – ALL MY ANGELS
The Rions – Everything Every Single Day
ZIPPORAH – Naungu Urui
NSW First Nations Music Prize ($40,000)
3% – These Days, Running Through My Head, Our Greats
KYARNA – Lost Soul Love Letters
ROX LAVI – Blah Blah about the Blah
THOM – Everything That Hurts Is Human
Velvet Trip – Glimmers Continued
NSW Breakthrough Artist of the Year ($40,000)
BOY SODA
Esha Tewari
Keli Holiday
RAGEFLOWER
Velvet Trip
Winners will be announced at a formal ceremony at the Museum of Contemporary Art’s Foundation Hall in Sydney on Monday November 9, kicking off Ausmusic Month.
Last year’s inaugural NSW Music Prize was won by SPEED for their album Only One Mode, the NSW First Nations Music Prize went to BARKAA for her EP Big Tidda and the NSW Breakthrough Artist of the Year was awarded to Ninajirachi.
Amazon Wants Songwriters Pay Rate Cut
Songwriters and publishers are spitting chips over the stance of streaming giants when it comes to what they’ll pay writers in royalties.
The current rate is 15.3% of service revenue, rising to 15.35% in 2027. The National Music Publishers’ Association (NMPA) and the Nashville Songwriters Association International (NSAI) gave an ultimatum.
The streaming services could (a) bring the rate to 20% of revenue which is 40% of what they pay record labels; or (b) pay US $2.40 per subscriber a month; or (c) $0.004 per play.
Responding, Spotify, Apple, Google, and Pandora want the 15.35% rate frozen in place from 2028 to 2032. Amazon went one step further: it wants the rate cut to 13.4%.
Dundas And Dusted
When Mushroom Group CEO Matt Gudinski put its long-time headquarters 9 Dundas Lane in Melbourne’s Albert Park for sale, some in the music industry suggested it be bought by a government body and turned into a music and memorabilia museum.
After all, many overseas tourists make it a point to do a pilgrimage there – as in, wow, Kylie breathed here!
But the Herald Sun found that of the buyers who identified themselves by the deadline for Expressions of Interest last week for the one-time biscuit factory, none are humming the refrain to folk singer Donovan’s “Museum”.
Plans were instead offered to turn the joint into a multi-office block, a residential complex, a couple of townhouses, “and even one planning to turn it into a single expansive dream home.”
Meantime, other property noos are Delta Goodrem and guitarist husband Matthew Copley have emerged as buyers of a $10.9 million Rose Bay mansion with four bedrooms and a pool.
Ross Wilson is selling his three-bedroom Port Melbourne home of the past eight years, which comes complete with jukebox. It’s in the price range of $2.4 million and $2.6 million.
Sugar Beach Ranch, the 25-hectare beachfront ranch in South Ballina (NSW) owned by the late INXS manager Chris Murphy, is for sale. Murphy hosted legendary parties for friends in music, tech, media and film. They all signed a London telephone booth which was actually a toilet.
He died suddenly in 2021 from mantle cell lymphoma. At the time he was working on a Broadway musical based around INXS songs, a fantasy movie based around Michael Hutchence, and an X-shaped building in Ballina that served as a tech hub and a room which included an immersive giant-sized recreation of INXS’s famous London Wembley Stadium to 72,000.
Oi! Oi! Oi!
Two musicians were nominated in the state lists for Australians of the Year kudos.
In Tasmania’s list was hip hop and R&B performer Grace Chia. She founded CHIA Studios to support emerging talent, produced concerts including Tassie’s first all-female hip hop shows, and delivered community and youth programs to regional schools and youth justice centres.
In Western Australia, Kav Temperley was nominated for his work with Eskimo Joe, using his Fremantle studio to help young acts, and co-founding ArtsiX as a space where creatives from different artforms could meet and collaborate.
He also advocated for songwriting rights at WA Parliament, and supports organisations such as Close The Gap and White Ribbon.
Report: Tickets To Ride
The cost of living has bitten into the live entertainment. In the newly released 2025 Live Performance Attendance and Revenue Report from Live Performance Australia (LPA), the live sector generated $3.4 billion in ticket revenue across 2025.
But it’s still a drop of 0.1%. Ticketed attendance fell by 2.4% to 30.7 million.
Only five of 12 categories recorded year-on-year growth in both revenue and attendance: they were Contemporary Music & Multi-Category Festivals; Circus & Physical Theatre; Classical Music; and Opera.
Contemporary music concerts and festivals drive live performance, generating 65% of total revenue and more than 51% of total attendance.
Contemporary music concerts generated almost $1.8 billion in revenue and 13.7 million attendances, close to the record levels of 2024.
Contemporary music festivals recorded growth in revenue by 20.7% to $399.9 million and attendance by 4.9% to 2.1 million in 2025.
The increase in average ticket price by 14.1% to $206.17 further contributed to the growth in revenue and further pressure on promoters. On the one hand, costs are rising. But at what point will the industry reach that price ceiling when consumers stop or cut back?
Ballet & Dance, Children’s/Family, Musical Theatre and Theatre dropped in both attendance and revenue. Musical Theatre was down 16% for both.
See full details at https://reports.liveperformance.com.au/ticket-survey-2025/index.html#/categories/
Vale (Those We Lost In The Past Eight Weeks)
* Adelaide metal and goth identity Suzanne Slaughter (born Suzanne Elizabeth Britcher) died at 46 after complications from surgery. She founded record label Seance Records, DJ’d at goth gigs, did podcasting and wrote feature stories on the scene.
* Chris Sweeney, best known as drummer with Sydney band Wa Wa Nee, was once voted Outstanding Drummer of the Year by the Hollywood Musicians Institute. Fellow drummer Barton Price posted on his passing: “he had a smoking hot groove.”
* Chris Welsh, drummer with Died Pretty, succumbed to a battle with cancer. The band farewelled: “Chris was an integral part of the band and much loved and we will miss him dearly.”
* Richard ‘Rockpile’ Jones sang on eight Ol’ 55 hits and five albums. He had a distinctive, if underrated, falsetto, best displayed on their Top 10 chart hit and live favourite “Looking For An Echo”. The band’s Wilbur Wilde remembered him as “a man who inspired me to play music” and “He always wowed audiences (and all the chicks!)”
* At 18, Perth-based DJ Andrei Maz (born Andrei Mazandarani, 55) bought a one-way ticket to London and opened up to the warehouse and illegal raves scenes in the UK and Europe. He returned to Perth and helped form the band Yummy Fur, and ran Death Disco at Amplifier Bar / Capitol for over 10 years. He died after an eight-week battle with gallbladder cancer.
* Thomas Taylor was a Melbourne-based music writer, emerging with The Age’s EG (Entertainment Guide) in 1990. His colleague Dugald Jellie recalled, “Soft-spoken he was never overly excitable nor demonstrative. He didn’t seek the limelight. Didn’t require accolades. He kept often to himself. Head down doing his thing. If asked, he’d offer mostly the driest wit, reserving his wryness for everything.”
* Stephen Jones was a long-time member of Severed Heads and a pioneer of the Australian video & art sector. He built his own video synthesiser and operated Heuristic Video Sydney. His book Synthetics: Aspects of Art And Technology In Australia 1956–1975 was ground-breaking. Media reports say the 75-year-old died two days after being attacked outside his music studio. A suspect was charged with manslaughter.
* Chris Loft was a mainstay of the Adelaide live sector for 50 years, booking bands, and operating lights at gigs like the Tivoli and most recently at CLUBHideaway at The Magill Club. He was a mentor to road and production crews. Sound engineer Julie Grace revealed he came to the rescue when she lost her rental property in 2022. “His extraordinary breadth of talents and traits has touched literally thousands of people who love music, life and sharing.”
* John Crawford was a broadcaster in Melbourne, first at 3CR co-presenting The New and Experimental Music program, then switching to the ABC managing Classic FM 2001 to 2008. He was its Live Music Director before retiring in 2014. From 2016 he worked at the Australian Festival of Chamber Music in Townsville, Qld.
* Matthew James Fagan was a Melbourne-based international guitarist whose use of the 10-string classical guitar and penchant for epic performances gave him a following in 120 countries. So too did the way he fused classical, flamenco, folk, blues and Latin. One of his multimedia projects was a tribute to his ancestor Cecil Parkes, a virtuoso violinist associated with Dame Nellie Melba.
* Angry Anderson played his final sell-out show at his funeral at St Andrew’s Cathedral in Sydney. Tributes were from daughter Roxy, son Galen and Major Charlie Lynn, whom Angry had accompanied on the Kokoda Trail. Rose Tattoo were pall-bearers, a biker club gave him a motorcade honour, and among the congregation were colleagues who flew from Europe.
Angry learned his “volume is art, anger is an energy” mantra from Lobby Lloyde. What stood out to this columnist was his love for conversation and refusal to back down from arguments.
In the ’70s when I was an editor of Juke, I did a review which suggested the Tatts take a break as they sounded tired. A request came from Angry via the Tatts’ record company that I do an interview. Armed with a set of knuckledusters (in case) and expecting a brief one-grunt-for-yes-two-grunts for no interview, he agreed with my review and what followed was a four-hour articulate conversation ranging from US punk to ancient Greek mythology to First Australian astrology.
Another time when he was touring Queensland, I needed to do a quick phone interview to get a comment. This was in the ’70s when phone calls were exorbitant. What was to be a five-minute call expanded into a 45-minute argument-fest. The record company publicist groaned, “It would have been cheaper to fly you up to Queensland!”
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