APRA AMCOS Reports Record Revenue, But Aussies Are Discovering Less Local Music

APRA AMCOS has released its 2025 Year In Review report. By and large, the report is a positive one, marking a record high in returns for the group. However, some concerning user consumption trends have also been flagged.

In its report released on Wednesday, APRA announced it had recorded its highest group revenue to date, $787.9m AUD — a 6.5% increase from the previous financial year. As such, the net distributable revenue (the amount of royalties paid out to rights holders) has grown by 7.8% to $683.4m AUD, with new payment technologies ensuring that members and rights holders are paid faster and more generously.

Digital streaming continues to hold the lion’s share of revenue sources at 51.3%, almost double of FY20’s figures. Subscription VOD is the backbone of that data, with increasing subscription fees on services like Disney+, Apple TV+ and Netflix driving a 15.7% increase up to $88.2m AUD.

Joining the growth figures was OneMusic, which saw a revenue increase of $133.9m AUD.

But, there are some figures in the report that are sparking a growing demand for streaming platforms to hero more local artists.

Australian musicians and productions by and large continue to perform well, APRA AMCOS reports, with homegrown music releases and tours and entertainment products seeing a 14.8% year-on-year growth to $98.8 million AUD, thanks to major tours like AC/DC’s upcoming Australian stadium run. But the majority of that revenue comes from international listeners.

APRA AMCOS reports that music consumption in Australia across streaming and UGC has increased by 50% since FY21, but the portion of that figure that correlates to music made locally has dropped by 31%. Of all the music Aussies are listening to, on streaming only 9.5% of it was made in Australia, while 25.4% of listens on UGC platforms were to local artists.

“These strong results reflect our focus on service – growing revenue across every channel, sharpening operational efficiency, deploying smart technology that works for our business and members, delivering meaningful creative programs and celebrating our members’ incredible success,” Dean Ormston, CEO of APRA AMCOS, said.

“They also confirm what we already know: Australians and New Zealanders are world-leading music fans.”

Ormston added: “This isn’t happening because our music isn’t good enough…The talent is undeniable. Our platforms are borderless, but algorithms favour scale and international repertoire dominate by default.”

Ormston said that APRA AMCOS and other platforms must “continue to bang the drum as loud as we can for our members and advocate for their rights”, calling out live music tax offsets and refusing a weakened Copyright Act “when it comes to AI”.

APRA AMCOS supports over 128,000 songwriters, composers and music publishers with a suite of 250 creative programs and professional development opportunities, as well as awards, grants and prizes for all members.

Off the back of the report, APRA AMCOS has also announced the formation of Alyelhentye Nawu, a specialised team that will continue to support and advance Aboriginal and Torres Strait Islander members with new strategies, programs, showcases and funding opportunities under NATSIMO Programs Manager, Sue Ray.

“The launch of the new National Aboriginal and Torres Strait Islander Music Office’s (NATSIMO) Strategic Plan marks a pivotal moment in our journey to empower Aboriginal and Torres Strait Islander music creators. It reflects our commitment to self-determination, cultural ownership and industry leadership,” director Leah Flanagan said.

“At the heart of this evolution is Alyelhentye Nawu, a groundbreaking initiative that safeguards Indigenous Cultural and Intellectual Property rights and affirms that music is more than art; it is a living, self-determined expression of identity, heritage and sovereignty. Alyelhentye Nawu, meaning ‘song’ in both Arrernte and Kala Lagaw Ya, is a bold step forward in building a multilingual, culturally rich music industry that respects and remunerates our creators.”

Click here to read the full report.