Catch up on everything happening in our ever turbulent music industry!
AUTUMN FESTIVALS DELIVER CROWDS
After a healthy Australian summer during which 1 million tickets to concerts and festivals were sold, autumn looks like having the ultra buzz.
Fringe
Adelaide Fringe shifted 1,066,515 tickets, a 2.5% increase on 2024 and reaching the million tickets milestone for the third year in a row.
The box office total paid directly to artists and venues reached $26.7 million.
Fringe continued to drive tourism, with 60,500 national and international visitors attending.
Read all the latest product & music industry news here.
This week’s Bluesfest opened its gates with 106,000 sales, and two days sold out and a third unexpectedly hitting the two-third mark.
The festival’s chief Peter Noble told Mixdown, “People who said festivals were over never ran a festival in their lives.
“There seems to be a revival in festivals. I’m not exactly sure why but it’s just good news for the industry.”
Elsewhere ULTRA returned to Melbourne to 25,000 and the Gold Coast to 11,000.
Vivid Sydney has apparently moved 70 per cent of tickets before its May 23 opening.
Tasmania’s winter Dark Mofo, back after a year’s break, stunned organisers by flipping over 40,000 tickets on its first day of sale, leading artistic director Chris Twite to exclaim, “People are genuinely excited about winter”.
Investment
Noble hit out at insufficient investment in independent Australian-owned festivals, either on economic or cultural grounds.
Bluesfest could be worth $80 million to $100 million, has 2,000 workers on site this week, last year generated $235.1 million to the NSW economy, and keeps getting tourism awards.
Economic
Others also make their economic mark. Woodford Folk makes $28 million for the Moreton Bay region and $32 million across Queensland.
The Tamworth Country Music Festival which pulls a total 300,000 over ten days, puts $100,000 into the local economy.
Despite these figures, Noble says, independent festivals are “not valued and not invested in.”
Light
Alice Springs’ 10th Parrtjima – A Festival in Light set new records drew 23,500 to Desert Park, up from 21,000 last year.
The opening weekend saw the second highest attendance to date, while the closing set by the Darwin Symphony Orchestra set beneath clear skies and framed by the 300-million-year-old MacDonnell Ranges was the festival’s biggest night event, drawing 3,300.
Set beneath clear skies and framed by the 300-million-year-old MacDonnell Ranges, the Darwin Symphony Orchestra delivered a breathtaking performance to 3,300 festival-goers on Saturday – the highest nightly attendance in Parrtjima’s history.
Grove
In a slightly different tone, this long weekend’s four day non-approved rave Celestial Grove in regional Victoria was a sell-out.
But after complaints from residents, cops issued an injunction notice, leaving organisers scrambling to find another site.
After a 12-year freeze, Australian performers will again be paid from December 2025 when their music is played publicly in the United Kingdom.
Royalty payments were suspended in 2013 due to a lack of reciprocal protections.
But last December, the UK officially the Comprehensive and Progressive Agreement for Trans-Pacific Partnership (CPTPP).
Strengthens
This trade deal strengthens cross-border protections and ensures equitable remuneration for performers.
As part of the changes, New Zealand and Singapore performers get paid for the first time.
Long Time
“This has been a long time coming, and it’s an important step forward for our clients and many artists across the Asia-Pacific,” said Susan Cotchin, founder and managing director of Good Neighbour.
“Artists like Pnau, Empire of the Sun, Amyl And The Sniffers, Split Enz, and Crowded House will now receive the recognition and compensation they’ve long deserved from the UK.”
The Australian Music Industry Network (AMIN), the national coalition of Australia’s peak contemporary music bodies, has unveiled a new strategic vision – and begun a national search for a Project Manager to oversee it.
The organisation’s 2025 –2027 strategic priorities includes the exploration of a new National Regional Touring Network.
The others including growing industry development opportunities across each state and territory, and building cross-border programs that elevate local music industries and drive regional engagement.
Based
The new Project Manager role is based in South Australia, with all details here.
Deadline is 11:59pm ACST Sunday May 11.
AMIN was established in 1998 and brings together MusicACT, MusicNSW, MusicNT, MusicSA, Music Tasmania, Music Victoria, QMusic and West Australian Music (WAM).
After consultation and feedback over 18 months, Music Victoria pulled its awards for 2025, to reimagine them to “ensure they are reflective of and aligned with Victoria’s diverse music community while operating in a financially sustainable manner.”
“This short-term action gives us the opportunity to set up the Music Victoria Awards for a robust and sustainable long-term future,” says CEO Fiona Duncan.
“We need to take one step back to allow leaps forward.”
A post shared by Music Victoria (@musicvictoria)
YouTube’s Music Assistant feature is an AI tool that allows the creation of instant copyright-free instrumental backing tracks.
A text field allows the user to choose details such as instruments, mood, and video context.
At this stage, it’s only available to creators who are in the YouTube Partner Program in the US.
Australia is one of five countries with the soft launch of TikTok for Artists after a long beta.
It offers artists analytics tools to see how their music is performing, which content is pressing fans’ buttons and how to promote their music.
It is similar to offerings by Spotify (free) and SoundCloud.
Spotify Turn Up Aus
Spotify Australia’s new initiative Turn Up Aus is, it says, “more than a campaign — it’s a long-term, company-wide program designed to make Australian music unmissable, undeniable, and inarguable.”
It works in a number of ways:
A bold identity showcased across Spotify’s most high-impact assets, including out-of-home, social content and programming
Hub
An editorial hub, set to function as a dedicated, multi-shelf destination featuring solely Australian music, accessible via the Spotify search page.
Three artist fan experiences in 2025, bringing fans closer to their favourite Australian artists, starting with Spacey Jane.
Open door manager sessions and community meet-ups to foster collaboration and learning for industry pros.
Youth music education initiatives to support the next generation of artists and industry leaders.
Apple DJ subscribers get to can build and mix their own sets directly from its catalogue of 100 million songs.
It is integrated with DJ software and hardware platforms AlphaTheta, Serato and InMusic’s Engine DJ, Denon DJ, Numark, and Rane DJ.
There is also a dedicated page with DJ-friendly editorial playlists, and a curator pages for each DJ software and hardware platform that will showcase any mixes or sample playlists that can be used to practice.
The Superjesus singer/guitarist Sarah McLeod – and just as much, a role model for female and gender-diverse artists – has been made chair of Australian Women In Music (AWMA).
The ground-breaking association said: “McLeod will play a pivotal role in advancing AWM’s mission, focusing on addressing the significant gender research gap in the sector and expanding the organisation’s impact beyond its award ceremony, First Nations showcase, and conference.”
Remains
Former chair Jennie Sager remains on the board as a non-executive director.
Also welcomed was award-winning First Nations soprano, Nina Korbe, as Board Observer.
Things are still up in the air to make a definite call on what’s going to happen. But:
(1) There might be more rules limiting the entry of Australian and other foreign acts into the US, increasing the cost of work permits or complicating the entry visa process.
There might be greater shipping or customs fees and performance tax.
Gear
(2) The tariffs on musical gear between Australia and China is negligible at the moment.
China’s cheaper guitars might rise in price, and China might look more closely at flooding the Australian and European markets.
(3) US acts that tour here will need to get rid of their merchandise (if these were made in Asia or Mexico) before they return home as they’ll have to pay duty.
Touring
(4) According to IQ, Australian acts touring abroad could be affected by rising production costs, the possibility of less festivals stage as a result, and less disposable income for shows if markets go into depression.
(5) Vinyl prices are likely going to rise too, as the materials used to make them are from overseas countries, including PVC and their paper sleeves.
Complex
(6) The most complex issue is that musical instruments parts are from all over the world.
Peter Heath, former European head of Japanese music tech firm Roland told IQ, “If I’m a manufacturer and 75% of my business is in Europe and the UK, and 25% is in the US, then I’ve only got a 10% tariff on 25% of my business, so how can I spread that load?
“Can I bury that 10% across the whole of my business, or do I have to put it on the American side?
“Can I take a little less margin? Can I save a point by using a different component?”
HOYTS’ NEW ‘MAIN STAGE’ STREAMING MUSIC
Main Stage is one of three streaming platforms launched by HOYTS, which involves music-related releases.
It launched a UK performance of Jesus Christ Superstar Live, Imagine Dragons: Live from the Hollywood Bowl (with the LA Film Orchestra), Seventeen (Right Here) World Tour, Billy Elliot The Musical Live, and André Rieu’s 75th Birthday Celebration in hometown Maastricht.
Coming up is a Neil Young road doco Coastal (scheduled April 17), an enhanced 4K version of Pink Floyd’s 1972 At Pompeii- MCMLXXII (April 24), Bonnie and Clyde: The Musical (May 1) and A Night With Janis Joplin, The Musical (May 29).
The 80-million album selling Kylie Minogue will be honoured with the Ted Albert Award for Outstanding Services to Australian Music at the APRA Music Awards on Wednesday April 30.
Performing on the night are hip hop supergroup Denni, Taija and Zaya, producers Dylan Atlantis, & FRIDAY, alt rockers Gut Health, social media star Jude York, Lior and Sarah Blasko, with Arnhem Land’s first all-female rock group Ripple Effect Band and Sydney’s indie-pop tiffi making their APRA Awards live debut.
A collaboration between hit-making LA-based Australian producer Rip Youth, buzz pop act Becks and ex-model Brandi Glanville of Real Housewives of Beverly Hills fame called “Remedy” has crossed the 1 million+ views across social media clips in its first month.
THREE VENUES CROWD-FUNDING TO SURVIVE
With more residential buildings springing up in inner city Fitzroy, the City of Yarra instructed the Night Cat to undertake sound proofing or close.
“As an independently owned venue, we simply can’t shoulder these costs alone and continue to operate,” said owner Justin Stanford.
To pay for $60,000 work and to additionally hire expert acousticians to prove they are compliant with planning laws, the campaign is at https://www.gofundme.com/f/bulletproof-the-night-cat-against-development.
After eight years of supporting live acts, Cairns’ last independent venue Elixir Music House, Sky Rixon and father Bill Shields have a problem.
The owners of the building want to sell but the two can’t afford to buy it and stay, as they can’t find somewhere else appropriate.
Quest
So a quest to stump up $1.2 million in three months is at https://www.gofundme.com/f/help-save-elixir-cairns-only-independent-live-music-venue.
The venue is also struggling with insurance up by 964% and harassment by various authorities due to a single complain by a resident.
Operators of the venue admitted, “We’re fighting to keep this special space alive.
“Rising trading costs, inflation, and the increasing cost of living have made it harder to keep the doors open.
“Unfortunately, we’re at a point where we need help from the one group of people we know truly care about this venue and the music scene — you.”
Target
The $200,000 target is to “pay off some existing debt and make some minor improvements, upgrading the facilities and expand the overall floor space, that will allow us to keep the music flowing and the Bearded Lady alive.”
Donate here: https://www.gofundme.com/f/help-keep-the-bearded-lady-alive?attribution_id=sl:91962f1c-6464-4d92-ab10-2e6d7aeb8707&lang=en_US&utm_campaign=fp_sharesheet&utm_medium=customer&utm_source=instagram_story
Mixdown readers get the chance to have their say on the Australian Communications and Media Authority’s public consultation on its first upgrade in decades on Commercial Radio Australia’s draft Code of Practice.
Deadline is May 18, go to https://cra.au/code-review.
Suggestions
The Australian Recording Industry Association (ARIA) and the Phonographic Performance Company of Australia (PPCA) have already made suggestions.
MUSIC EXECS JOIN GREEN MUSIC BOARD
At a time when the music industry pushed to get climate action in the election spotlight with No Music On A Dead Planet rallies that notified 50 festivals have cancelled since 2015 due to the climate crisis, Green Music Australia appointed three music biz figures to its board.
They were Georgie Martin, Operations Manager at live music venue and hospitality Corner Group, and a long-time advocate for environmental responsibility in music and hospitality industries; Mark Smith, Executive Director of MusicNT; and Joe Muller, Managing Director of MusicNSW.
CALL FOR DISABILITY ADVISORY GROUP
The Office for the Arts (OFTA) is establishing an Implementation Advisory Group to help implement activities under Equity: the Arts and Disability Associated Plan.
It will be made up of d/Deaf and disabled artists and arts workers from diverse backgrounds with experience in the arts, screen, digital games or cultural sectors as paid members.
Members will be paid for their time preparing and attending meetings.
Plan
The Plan was developed in collaboration with artists and art workers with disability, and will be delivered by the Office for the Arts (OFTA) and Creative Australia, in close consultation with Screen Australia.
It is looking for Expressions of Interest to join, by 4pm (AEST) on Monday May 5, more info at
https://www.arts.gov.au/expression-interest-implementation-advisory-group-equity-arts-and-disability-associated-plan (.)
NEW SIGNINGS
Pete Murray and Tim Hart of Boy & Bear – both managed by Aidan McLaren, Joe Miles and Rhett McLaren – joined Unified Artist Management, as did Azure Ryder, who will be managed by Will Stoeckel.
In addition, Matt Walters joined the division, bringing Emma Donovan and The Stamps with him. 
Clive Hodson’s Perth-based Perfect Pitch Publishing struck a licensing agreement with Darwin-based classically trained singer-songwriter Leah Flanagan, who is also Director of the National Aboriginal and Torres Strait Islander Music Office at APRA AMCOS.
Fast rising Melbourne band Folk Bitch Trio is now on the roster of US indie Jagjaguwar, alongside Bon Iver, Gordi, Sharon Van Etten, Dinosaur Jr, and Unknown Mortal Orchestra.
With a new single called “The Actor”, the label described them as “a band with an undeniable point of view, timelessly rich harmonies, and above all a lack of fear.
“Their work is lively, layered, and thoughtful. At times serious but never humourless.”
New Zealand band The Beths were not only on heavy play with Concord Music Publishing’s global executives but also with Barrack Obama.
The band has continuously toured the US where it has developed a following for singer and songwriter Liz Stokes’ literary style.
Adelaide post-punk six piece Coldwave entered a deal with Ground Control Touring for North American booking ahead of its appearance at SXSW in Austin, Texas, and UK tour in February.
Singer songwriter Stella Bridie is now represented by ATC Live for UK and Europe, as the masterful story-telling act plans to tour that part of the world in May.
These include stops at Focus Wales, The Great Escape and London Calling, after she did her debut US run earlier this year.
NORTHERN RIVERS REPORT
A landmark report Who We Are from Arts Northern Rivers (NSW) mapped out the insights, challenges and opportunities in the region for the first time in 15 years.
To learn more go to http://www.artsnorthernrivers.com.au/.
Takeaways
But takeaways included that cultural and creative businesses grew 27% from 2016 to 2021, the creative workforce expanded four times faster than the national average from 2011 to 2020, and the sector generated an estimated $900 million in business turnover in 2021 helped by an engaged audience that has a strong demand for cultural experiences.
It’s been hit by natural disasters since 2019 (bushfires, flood and storms) and has fewer paid employment opportunities in the sector, but with cultural tourism a key strength (with potential for revival and future growth) and needing strategic investment, funding models, and policy support essential for long-term sustainability.
VALE (THOSE WE LOST THIS PAST MONTH)
Sydney guitarist Graham Ford helped form the Sebastian Hardie Blues Band in 1967 with Jon English as singer (it became dominant prog-rockers Sebastian Hardie) before leaving in 1973.
He went on the road with Johnny O’Keefe, managed Phil Emmanuel and made solo CDs.
Country music singer songwriter Lee Conway, 85, was with Sweet Peach Records with his publishing at Blue Pie.
He notched up from the ‘70s enough global hits as “Wanted Man” and “All I Want To Do” (a high charter in the US and UK) respected albums as the multi-award winning The Stories We Could Tell, and enough road miles here and abroad, to have his own yacht.
Leanne Chock nee Cowie was drummer (“and beating heart”, according to frontperson Kim Salmon) with Perth-hailed band The Scientists.
She met them in 1984 when she was living in London and they relocated there, and she in fact started working for them as tour manager.
Chock’s minimalist but aggressive approach fitted in with the band’s own brash attack, while singer songwriter Penny Ikinger remembered her as “a trailblazer … (with) so much style in everything she did.”
John Van Boxtel was a Melbourne drummer with the JVB Strings and owner of RAM Music store on Punt Road.