As Aussie Music Diversifies, New Export Markets Come On Board (Australia/New Zealand Special 2025)

Australian music in hot demand on the global stage.” That was an oft-repeated statement at the June 12 launch of Music Australia’s first-of-its-kind “Charting The Bass Line: An Economic Analysis Of The Australian Music Industry” report. 

It’s a demand that transcends time zones, language and genres.

Current global drawcards and festival headliners vary from the rock of AC/DC and Tame Impala to pop’s Kylie Minogue, and Troye Sivan and EDM’s Dom Dolla and Rüfüs Du Sol and Fisher, as well as country acts like Keith Urban and hip-hop/R&B stars such as The Kid Laroi.

Data from The Bass Line showed that the “Australian music industry generated revenues of A$8.78 billion ($5.71 billion) and contributed A$2.82 billion ($1.86 billion) in direct gross value added to the Australian economy in 2023-24,” with live music performance alone contributing A$4.83 billion ($3.19 billion) in revenue and A$1.44 billion ($950 million) in direct GVA.

That has stirred plans by the music industry and government to amp up music exports with greater funding and greater diversity in styles.

“This evidence-based approach and ‘The Bass Line’’s findings has empowered key decision makers and stakeholders across the music ecosystem to unlock the sector’s full potential as a global cultural and economic powerhouse,” said Esti Zilber, executive producer of export body Sounds Australia.

Music Australia’s latest Export Development Fund saw a spend of A$997,787.95 ($650,010) on 78 acts including First Nations music, hip hop, African Australian producers, neo-soul, migrant stories, DJ producers and heavy metal.

Zilber noted, “Australian music is increasingly resonating in hypergrowth markets that have long existed but are now more accessible than ever, thanks to digital acceleration, deeper industry engagement, and a growing appetite for cross-cultural exchange.”

Last August, Sounds Australia took a trade delegation to Mumbai, and engaged three times in 18 months with Mexico while Southeast Asian markets also “present increasingly viable and attractive alternatives to traditional western markets.”

In June 2025 alone, Sounds Australia showcased six acts at the International Indigenous Music Summit in Toronto, a record 12 at the CMA Fest in Nashville and six at the fifth AUSSIE BBQ SummerStage in NYC’s Central Park. In the next months it leads a trade mission to the AXEAN Festival in Bali, Indonesia, and features at Americanafest in Nashville, Reeperbahn Festival in Germany and Amsterdam Dance Event where Australian House is again set up as a place of networking and discovery.

The changed perception of Australia came from edgy programming of export-ready showcases at BIGSOUND in Brisbane and SXSW Sydney, which attracted a community of international executives looking for the next big thing.

In its 24th year, BIGSOUND (Sept. 2-5) has 120 acts including folk, neo-soul, rap and indie over 18 stages, after a 40% jump in crowds last year.

CEO Kris Stewart said, “It was a really strong year for the number of new collaborations and business outcomes that were initiated at BIGSOUND, and we’ll see the successes of these moving forward.”

In its third year SXSW Sydney (Oct. 13-19) slashed prices to gigs, following 2024’s 20% rise in attendance to 300,000 from 56 countries, and incorporating acts from the US, UK, New Zealand, Thailand, Taiwan and Japan.

The Top 5 markets for Australian music are the U.S., the UK, Germany, Brazil and Canada, according to Spotify’s inaugural Global Impact Report. New markets include the Philippines, Indonesia, Mexico and France.

Brisbane singer-songwriter Hazlett now plans to tour Asia, and was “caught off guard” how U.S. cities Denver and Salt Lake City were huge markets for him. “We underestimate the influence of our music globally.”

Filipino-Australian singer-songwriter Grentperez notes, “It’s very, very cool that the rest of the world gets to experience what Australia has to offer.”

Dean Ormston, chief executive of music rights organisations APRA and AMCOS concludes, “With the right strategic focus and continued investment, Australia can set its sights on becoming a net exporter of music.”