Every year, we gather around the Hottest 100 like it’s a national holiday. We dissect the winners, debate the snubs, and analyze the numbers. But this year, as we celebrate another countdown, the discourse around Australian representation reveals a growing concern: Is the industry doing enough to foster local music in an increasingly global and digital market?

With only 29% of songs in the Hottest 100 coming from Australian artists, and 42.5% in the top 200, it’s clear that local music is struggling to hold its ground. While there’s value in celebrating what we have, clapping ourselves on the back for simply making it into the conversation isn’t enough. We need to rethink how we’re supporting homegrown talent to compete globally. Positivity has its place, but action is long overdue.

If we benchmarked our Industry against the world, how would that look?

While recognising the Oz industry and ARIA Board is doing some of these things in different forms, the list is to start the debate on how we really rate against other countries as we all want better outcomes.

Celebrate With Substance

Australian music isn’t failing, but it isn’t thriving either. Despite standout acts like Royel Otis, Dom Dolla, Amyl and the Sniffers, and Ocean Alley making waves at home and abroad, the broader system is under pressure. Global streaming platforms are designed to promote international megastars, leaving local artists scrambling for space. Without strategic intervention, we risk reducing Australian music to a niche curiosity rather than a competitive global force.

But this problem isn’t unique to us — other countries have faced it head-on and won. Canada, South Korea, and Brazil have all successfully uplifted local talent in the face of global dominance. It’s time for Australia to follow suit with real, actionable strategies.

What We Can Do:

  1. Strengthen Content Quotas at Radio and Beyond Radio: Implement a 40% local content quota on streaming platforms, similar to Canada’s radio model, and hold platforms accountable for promoting Australian playlists.
  2. Fund International Tours: Expand programs like Sounds Australia to subsidize overseas tours, marketing campaigns, and collaborations for emerging artists. South Korea used this model to launch K-pop globally.
  3. Partner with Global Platforms: Work with Spotify, Apple Music, and YouTube to prioritize Australian talent on curated playlists that are heavily promoted or even mandated as part of licensing deals, as Brazil did with its sertanejo and funk carioca playlists.
  4. Digital Marketing Training: Provide government-funded workshops to teach emerging musicians how to build audiences through social media and playlisting, as independent UK artists have done with great success.
  5. Cross-Cultural Collaborations: Facilitate artist exchanges with global producers and musicians, a model that has helped Nordic countries like Sweden dominate global pop.

Build Community

Triple J and the ABC have been pillars of Australian music, but they can’t do it alone anymore. With global streaming platforms and social media dominating music discovery, relying solely on traditional outlets risks leaving parts of the community behind. Building community isn’t just about nostalgia — it’s about uniting all sectors of the industry toward a common goal, from grassroots venues to digital spaces.

We need to recognize the role of small venues, regional festivals, and independent platforms in shaping the next generation of artists. Just look at Iceland, a country with a population smaller than Canberra, that managed to turn its music scene into a global phenomenon through festivals like Iceland Airwaves. Community-driven, artist-first initiatives can work here, too.

What We Can Do:

  1. Local Digital Discovery Platforms: Develop an Australian-specific music discovery app that integrates with Spotify but focuses solely on emerging local talent, similar to South Africa’s NATIVV platform.
  2. Tax Breaks for Venues: Provide tax incentives for small venues hosting local acts, as the UK did with its Grassroots Music Venues Rescue Fund.
  3. Regional Music Festivals: Launch community-driven festivals in regional areas that highlight emerging talent, modeled after Iceland’s successful strategy.
  4. Mentorship Programs: Establish a formal mentorship network connecting established Australian musicians with emerging artists, focusing on long-term development.
  5. Annual Music Conventions: Create a national networking convention, blending physical and digital formats, where artists, managers, and policymakers collaborate on shared goals, inspired by France’s MaMA Music & Convention.

Stay Positive and Realistic

There’s a fine line between optimism and complacency. Saying “Let’s be positive” is easy. But ignoring hard truths doesn’t help anyone. The music industry needs structural reforms that go beyond feel-good statements. While we should celebrate our wins, they should come with actionable strategies that guarantee sustainable success.

Take France as an example. When faced with inequities in streaming royalties, they didn’t just complain — they reformed their system to benefit smaller, local artists through the Centre National de la Musique. Australia can take a similar approach by addressing the streaming payout model, supporting music exports, and encouraging partnerships with the film and television industry.

What We Can Do:

  1. Revise Streaming Royalty Models: Push for higher streaming payouts to local artists, similar to the reforms France implemented.
  2. Co-Funded Artist Development Programs: Launch a crowdfunded development model, where public donations are matched by government grants, based on Germany’s Initiative Musik.
  3. Export-Ready Programs: Expand Sounds Australia with a dedicated export growth scheme, modeled after the UK’s highly successful Music Export Growth Scheme.
  4. Sync Licensing Partnerships: Collaborate with the Australian film and TV industry to ensure local music is prominently featured, following Sweden’s model for sync licensing success.
  5. Comprehensive Music Education: Invest in music education programs modeled after Finland’s robust system, which has produced a disproportionate number of global successes.

Final Note: The Future of Australian Music Is in Our Hands

There’s no denying that Australian music has the talent and creativity to succeed globally, but it won’t happen on goodwill alone. We have the roadmap — countries like Canada, the UK, and South Korea have shown us the way. What we need now is the will to act.

We need quotas, grants, partnerships, government support, and infrastructure. If Australia can make bold and strong moves, we won’t just compete — we’ll thrive.

It’s time to get to work. Let’s make sure that the next time we gather around the Hottest 100, it’s not to debate why we’re underrepresented, but to celebrate an undeniable Australian resurgence.