The Australian music industry is continuing to face unprecedented challenges. Between rising cost of living and the effect of streaming algorithms, artists and businesses are facing extreme pressures. Ben Lee, an architect of the modern Australian music industry, is poised to shake things up in Saturday’s Hottest 100 countdown. His hits “Cigarettes Will Kill You” and “Catch My Disease” are guaranteed to leave a mark! He’s already been an advocate for more support for local artists that’s needed. He’s pushing ABC’s Triple J to feature Australian music on the airwaves.
Writing for the Guardian, Lee proposed that Triple J use its Hottest 100 countdown to only include Australian songs. The latter step, he contends, would help create an orchestra’s much-needed cushion for local artists as they face more competition from international acts. Triple J’s Head, Lachlan Macara, responded by emphasizing the unique experience of seeing homegrown talent alongside global names in the countdown. He explained that this mix is what makes the Hottest 100 “so special”.
The corporate pressures facing record labels go beyond just a lack of radio airplay. Tyson Koh, Managing Director of FBi Radio, highlighted how cost-of-living pressures and the rise of algorithmic music streaming impact community radio stations. He cautioned that if not given enough money, FBi Radio would have to step down. Koh remarked, “We know that we’re doing our bit, and I think Triple J does as well,” indicating a collective effort among local stations to promote Australian music.
The state of the economy has been a huge factor as musicians are struggling to sell tickets with today’s economic climate. Floodlights’ bassist Joe Draffen, whose band is originally from Gippsland but now based in Melbourne, agreed with this sentiment. He noted that the increasing cost of living is making it harder for artists to survive financially. This ongoing fight further cripples their ability to reach their audiences. “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,” Draffen said.
The outlook is bleak for most artists, with upwards of 25 music festivals in Australia shuttered since 2022. An April report revealed that while 62 percent of Australians consider music important, cost remains a major barrier to attending live shows. This pretty big disconnect makes us wonder how the industry can innovate and grow through tough times.
Since 2017, Spotify has shifted towards algorithmically generated personalized music recommendations, which some argue detract from the organic discovery of local talent. Between 2017 and 2020, the platform’s user base in Australia increased twofold. This increase underscores the growing trend of using streaming services to listen to music. tripleJ_CaitlinWelsh Broken down year by year, she staunchly advocates for the station to host exclusively Australian acts from start to finish one year. “Nobody does more for Australian music than Triple J,” Welsh stated.
Welsh criticized commercial radio stations for failing to meet local music quotas, asserting, “The ones who are letting down Australian music are the commercial stations … There has been zero accountability for commercial radio formats to meet their local music quotas.” This sentiment creates the backdrop of a mounting frustration among artists and advocates at the lack of support for Australian music.
One of them, India Wallis, is a Brisbane-based BALLER musician. Blank questioned what it would take to see further championing of unsigned local acts from Triple J Unearthed. “I strongly believe Triple J should be focusing more on a diverse range of homegrown acts, rather than commercial, international acts that already have a platform,” Wallis emphasized.
Artists are out there on the frontlines facing enormous challenges. All this, as they fight cost burdens of their own and adjust to a cultural revolution in how music is discovered and shared. Koh agreed that algorithmic systems are the key to music discovery today. They don’t really succeed at replicating that magic of the live experience. “One thing that social media and algorithms can’t replace is the experience and joy of seeing a band,” he stated. Perhaps that’s why this connection is always so important among artists looking to develop deep, meaningful relationships with their audiences.
