Australian and New Zealand music rights management company APRA AMCOS has released its annual report, outlining its key revenue streams and how its members are benefitting.
In the last financial year, the company’s Net Distributable Revenue – that’s the money it distributes to artists – has reportedly risen by 10.6% year-on-year to $755.7 million, outpacing gross revenue growth. Per the company, that’s a result of international success for Australian and New Zealand artists, and especially the inclusion of local music in entertainment programs and other digital platforms.
APRA AMCOS annual report – quick links
Where APRA AMCOS gains its revenue
As shared by APRA AMCOS, it has multiple streams for gathering revenue for artists, including through music and entertainment streaming platforms. Internationally, music made in Australia and New Zealand is reportedly performing very well.
Bluey is noted as being a major example of success, with this reaching audiences worldwide and being the most-streamed program in the US in 2025. APRA AMCOS also pointed to Ninajirachi’s recent international festival run, as further proof of local success on the global stage.
International group revenue has reportedly grown by 126.8% since FY19, growing from $47.3 million to $107.3 million.
The biggest contributor to this growth is digital, with subscription video on demand platforms – streaming services including Netflix, Disney+ and Apple TV – accounting for $113.4 million in the last financial year, representing year-on-year growth of 25.7%.
OneMusic’s public performance revenue was also reportedly up in the last financial year, with revenue growing 10.9% powered by ‘strong growth in concerts and events, fitness and restaurants,’ per the APRA AMCOS report.
Despite this success, APRA AMCOS has outlined challenges that are likely to significantly impact musicians and artists.
Local music faces discoverability challenges
As APRA AMCOS notes, local artists are having success with music featured in digital content streamed overseas.
Locally, this content is not having the same success. As the organisation notes, ‘More than 91% of the music Australians streamed in FY26 was imported.’ In New Zealand, that figure was 96%.
Dean Ormston, CEO of APRA AMCOS, says that while it’s a good sign that music made locally is winning over international audiences, with record revenue delivered, more must be done to improve discovery locally, and to allow musicians to grow in their home market.
‘Australian and New Zealand music continues to achieve extraordinary success around the world, but at home, the opportunities for our members to reach local audiences are shrinking,’ Ormston says.
‘Music made here is winning over global audiences and generating record international revenue, yet it is becoming harder to discover on the platforms we use every day. If the current trend continues, Australian members’ share of streaming is on track to fall to close to 5% within the next five years.
‘It’s a devastating statistic. If audiences cannot discover local music on the platforms they use every day, we break the chain that takes an artist from their first listener to community radio, the live stage and an international career.’
APRA AMCOS says it’s working hard for the local music industry, advocating initiatives like a potential federal live music tax incentive and a minimum Australian music requirement for every platform. It’s also working to deliver seminars, events and presentations to better equip local creatives; facilitating awards, grants and prizes for career development; and working to address emerging challenges, such as the rise of AI.
While the organisation says it’s had a strong year of results for its members, with ‘more money out the door to them than ever before’, it says it remains focused on addressing an array of challenges to buoy Australia’s music industry through developing storms.
‘Without decisive action, a whole generation of music fans will miss out on hearing their own sounds – whether online, broadcast and on live stages – which would be the ultimate tragedy,’ Ormston says.
