The Australian recorded music industry is facing a significant decline in local streaming audiences, with the proportion of Australian-made content accounting for just 8.5 percent of all audio streamed domestically, according to a recent report by APRA AMCOS, the music rights organisation. This figure represents a 37 percent drop from 13.6 percent four years ago.

Despite high-profile Australian music events and artists gaining notable attention—such as Kylie Minogue’s AFL grand final performance, Dom Dolla’s sold-out stadium concert in Melbourne, Tame Impala’s national arena tour supported by Ninajirachi, and the strong demand for Powderfinger’s upcoming reunion tour—the data suggests that Australian artists continue to struggle with retaining a substantial domestic streaming audience.

The report highlights that over 91 percent of music streamed in Australia last financial year was imported. APRA AMCOS chief executive Dean Ormston expressed concern over the trend, warning that if current patterns persist without intervention, local content could fall below five percent of streaming audiences within five years.

Amid the challenges, there is a positive financial outlook for APRA AMCOS members. Group revenues reached a record $857.4 million, an 8.8 percent increase, with international revenue surpassing $100 million for the first time. Ormston noted that this growth reflects strong international demand for Australian and New Zealand works but emphasised that visibility for local artists at home remains difficult due to the overwhelming volume of streamed content.

Reflecting on audience attitudes, Ormston cited prior research by Music Australia showing that 71 percent of mostly younger respondents (aged 18 to 24) reported pride in hearing Australian music, and two-thirds expressed a desire to hear more local content. He argued that this indicates commercial radio and streaming platforms could confidently increase the presence of Australian music without risking audience engagement.

To address the decline, APRA AMCOS is advocating for a regulatory framework that would introduce local content quotas on streaming platforms, similar to existing commercial radio standards requiring at least 25 percent Australian content between 6 a.m. and midnight. Ormston suggested that noncompliance could be met with levies, and stressed that the role of algorithms in limiting local visibility must be scrutinised. He pointed out that language-based algorithmic preferential treatment, common in countries like France and Germany, does not benefit Australia due to its English-language market, which competes heavily with US content.

Ormston concluded that the issue is not talent but alignment across the music ecosystem—including live venues, community and commercial radio, and streaming services—to ensure sustainable careers for Australian artists. He called for a coordinated industry effort to support local music and maximise its domestic presence.