As the music industry grapples with significant challenges, Australian artist Ben Lee is calling for a renewed focus on homegrown talent. Lee is looking forward to joining this Saturday’s Hottest 100 countdown for the first time, with his hits “Cigarettes Will Kill You” and “Catch My Disease.” He says it’s time for platforms such as Triple J to increase pressure on Australian music.
In a press release last month, he proposed that every Hottest 100 countdown should feature Australian tracks exclusively. This proposal comes at a welcome time, as we hear increasing concern over the long-term viability of Australia’s live music scene. Since the onset of the COVID-19 pandemic, the nation has already lost over 1,300 permanent live music locations.
Lachlan Macara, the Head of Triple J, vehemently stood by the station’s directive. He said that it was the inclusion of local artists next to big international names that helped keep the Hottest 100 unique and attractive. He continued, “It’s such a gift… it’s really important to man the balance between showing lots of local people and lots of people from around the world.”
Caitlin Welsh, another supporter of Australian music, joined in Lee’s call for an all-Australian Hottest 100. She hopes this shift will help create a strong, supportive culture for local artists.
The demand for more support comes as the ongoing cost of living crisis continues to hit musicians hard nationwide. Joe Draffen, bassist for the Melbourne band Floodlights, noted that touring has become absurdly expensive. He pointed out that costs for travel, lodging, equipment rental and crew have greatly increased as well.
“The current economic climate has made it harder to sell tickets, as many people just don’t have as much disposable income right now due to the rising cost of living,” – Joe Draffen
India Wallis is the chief of the youth-focused record label Starving Kids. She runs an all-ages venue in Brisbane and has been outspoken about all of these challenges. She stated that Triple J “would love to see even more people and platforms supporting and prioritising Australian artists.”
The effects of the cost of living crisis cannot be understated, with noticeably impacted ticket sales and attendance at live events. A report from Creative Australia found that 62 percent of Australians consider music to be important in their lives. Unfortunately, many of them encounter significant financial obstacles that make attending live performances completely out of reach.
Tyson Koh, representing FBi radio and involved in the community radio sector, noted that the dual impact of rising living costs and algorithmic music streaming is affecting local stations. In particular, he said that community platforms needed to stay relevant against the changing demands of audiences.
“I think it’s important to see Australian music in a global context and that local artists just don’t exist in a silo,” – Tyson Koh
Lee’s push for Triple J to focus solely on Australian music goes beyond their countdowns. He envisions the station becoming an important part of the region’s industry renaissance.
“They could single-handedly lead the way to revitalising the Australian music industry if they wanted to,” – Ben Lee
He added that taxpayer-funded platforms should focus on promoting local acts rather than international ones that already have substantial support from major labels.
“At a time when there are so many platforms for international music discovery, I just don’t see the logic in a taxpayer-funded station using their platform to promote international acts,” – Ben Lee
Through this message, Lee is encouraging listeners to be proactive in their support of local music by going out to shows and engaging with the Australian music community.
“We really need our listeners to show up for us if we are to survive,” – Ben Lee
In the interview, he asked an existential question about what music means to society today. This perspective ultimately shapes the resources that artists are able to receive.
“I think we have to decide as a society whether music is important … if we can agree on that, then the question comes down to support and participation,” – Ben Lee
All is not lost, with many industry leaders staying positive about what the future holds for Australian music. From 2017 to 2019, Spotify has doubled its user base in Australia — a sign of increasing demand for music consumption.
Caitlin Welsh lit up the room when she discussed the labor of love that goes into uplifting homegrown talent through community arts. She pointed out that social media algorithms cannot replicate the experience of live performances, which are crucial for artists finding their audience.
“One thing that social media and algorithms can’t replace is the experience and joy of seeing a band,” – Tyson Koh
Others argue for making developing homegrown talent the top priority. Some contend that striking the right balance between recruiting local up-and-coming acts and more recognizable international talent is key to providing a diverse, complex musical experience to audiences.
