The numbers don’t lie: Australia is an important market in the global electronic music ecosystem.
When discussing the global electronic music scene, you might overlook Australia, but perhaps you shouldn’t. The statistics for streaming and live events indicate that dance music is the leading genre in the country, and Australian-produced dance music is gaining traction in international markets.
Sounds Australia, an initiative supported by the Australian government, collaborated with Mixmag Australia/NZ to gather data that backs this claim. Their report coincided with the launch of the 2024 Australia House event, scheduled for October 16-17 at Box Sociaal Jordaan during the Amsterdam Dance Event.
According to Sounds Australia, a remarkable 23% of festivals in the country feature electronic music. Additionally, recent data from SoundCloud reveals that 33% of streams in Australia originate from the electronic genre, surpassing the global average of 22% by 50%.
The report not only highlights the preferences of Australian electronic music enthusiasts but also showcases the country’s influence on the global music industry. It points out that three Australian promoters—Frontier Touring, Untitled Group, and Handsome Tours—made it onto Pollstar’s list of the top 50 promoters worldwide. This recognition has helped Australian dance music artists secure spots at major festivals like Creamfields, Tomorrowland, and Ultra Music Festival.
In terms of revenue, Spotify royalties for Australian artists reached nearly $275 million AUD in 2023, reflecting a 10% increase from 2022. Interestingly, only 20% of these streams originated from Australia itself. Germany, Brazil, and Mexico have emerged as significant consumers of Australian music, with Australian artists being discovered 2.7 billion times on Spotify, owing to the inclusion of over 4,000 Australian artists in the platform’s editorial playlists.
“The stats don’t lie,” remarked Australia-born, Berlin-based rising star Upper90 during a panel discussion at Australia House. “It’s surprising to see such high streaming numbers from Australia, but I’m not shocked. Many artists I speak with in Europe mention that their largest audiences are in Melbourne and Sydney.”
Nina Las Vegas, an Australian artist who has been in the industry for two decades, emphasized that the benefits extend beyond just the artists. “There are many more opportunities behind the scenes,” she noted during the Australia House panel. “Now more than ever, there are individuals making significant contributions behind the scenes. Dom Dolla is a prime example of someone who has become incredibly successful and has built a substantial team.”
In conclusion, it is crucial not to underestimate Australia as a rising powerhouse in the electronic music landscape. While we often reflect on past milestones in the genre, the next cultural revolution might just be unfolding right before our eyes.
