APRA AMCOS has reported record-breaking revenue of $787.9 million for the 2025 financial year – a 6.5% increase from last year – marking the highest earnings ever for Australian and New Zealand songwriters, composers, and publishers. With streaming now accounting for over half of all revenue and international royalties continuing to surge, it’s clear that music consumption is thriving. But as more creators enter the scene thanks to increasingly accessible gear and production tools, the question shifts from how music is made to how it’s discovered and valued in the digital age.
Key Figures
- Record $787.9m in total revenue, up 6.5% year-on-year
- $683.4m distributed to rights holders, up 7.8%
- Digital streaming now accounts for 51.3% of all income
- International revenue up 14.8% to $98.8m
- Local content on streaming platforms dropped to 9.5%
It’s a fascinating contrast: musicians are earning more overall, yet fewer Australians are actually listening to them. According to APRA AMCOS’s Year in Review, digital streaming continues to dominate – driven by rising subscription fees and more people glued to services like Spotify, Apple Music, and Netflix. Major live events and the continued success of global tours like AC/DC’s Power Up have helped drive record performance income, while composers for exports like Bluey and Moana 2 are raking in royalties from overseas.
At the same time, Australian content on streaming platforms has dropped by 31% in five years. That means less homegrown music is being discovered by the people living closest to where it’s made. It’s a trend that paints a mixed picture for artists – the tools to create and release music have never been more affordable or within reach, yet getting that music heard remains the hardest part.
With options like Universal Audio interfaces, Korg workstations, and Arturia controllers, professional-quality recording setups are more accessible than ever, meaning more creators can compete on a global level from their bedrooms or home studios. But the APRA AMCOS report reminds us that visibility and discoverability are the new challenges – especially when algorithms and international catalogues dominate the digital landscape.
Dean Ormston, APRA AMCOS CEO, summed it up neatly: algorithms now “favour scale,” meaning massive international catalogues automatically dominate listener feeds. It’s not that Aussie music isn’t good enough – the data clearly shows it travels well globally – it’s that the systems designed to distribute music reward quantity and reach over cultural relevance.
On the positive side, APRA AMCOS continues to invest heavily in mentorship and diversity initiatives, with over 250 creative programs reaching 10,000 attendees, and the launch of Alyelhentye Nawu, a new department dedicated to Aboriginal and Torres Strait Islander creators and the protection of Indigenous Cultural and Intellectual Property.
