Exit Interview: QMusic’s Outgoing Leadership Reflect on Challenges, Opportunities

With the announcement last week of Vivienne Mellish as the new president of QMusic, and John “JC” Collins as vice president, a new era was ushered in at the trade body.  

The incoming leaders respectively succeed president Natalie Strijland and VP D-J Wendt, who retire from the QMusic management committee, leaving an organisation that “has grown and blossomed” during their tenure, comments QMusic patron and music industry supporter Scott Hutchinson. 

Mellish and Collins step on up as QMusic reports record highs for private and public funding, and the trade body, which organises the annual Bigsound and QMAs events, is endorsed as the key partner for the night time economy at the 2032 Brisbane Olympics.

The Music Network caught up with Strijland and Wendt for their reflections on QMusic’s milestones, challenges and the opportunities that lie ahead.

(L-R) Natalie Strijland (president of QMusic), Hon Leeanne Enoch MP (minister for Qld Arts), Brian “Smash” Chladil and Stuart Field (Oztix co-founders).

What are your proudest moments leading QMusic?

NS: A couple of examples. Our intense and insistent advocacy into government during COVID which resulted in the $7 million support package for music venues in Queensland.

The more recent $3 million uplift in funding for Bigsound including a significant First Nations component enabling QMusic to launch Goolwal Goolwal to empower and elevate First Nation’s voices in the music industry.

During my tenure we have achieved record government funding at all levels, and fostered solid government relations through constant contact and advocacy and also initiatives like Parliamentary Friends of the Music Industry.

I’m really proud of the establishment of the advisory committees (Safety and Diversity and First Nations) because they speak directly into the board and can guide the board in targeted and important areas.

And I’m proud to have achieved equal male to female board representation and two First Nations people sitting on the board, which was important to me because when I first took a position on the board there were very few females and no First Nations representation.

The elevation and repute of the spectacular Queensland Music Awards and Bigsound are things I’m also proud of.

Bigsound has grown up and become one of the most important conferences and music showcase events, anywhere. Can it co-exist with SXSW Sydney?

DW: Most definitely Bigsound and SXSW can co-exist. Bigsound is about the music community, showcasing Australian and New Zealand talent to the world.

Where Bigsound excels is that it has the Fortitude Valley; it’s literally possible to do the 50-plus venues on foot in one night.  

For buyers and music lovers looking to discover new things, there is no better event in the world.

NS: QMusic is deeply focused on the music industry and community whereas SXSW is a big tent that includes tech, gaming and screen.

We try to offer something more focused and independent. It has been important for me that Bigsound stay true to what it is. It’s been the largest music industry conference in the southern hemisphere for decades and it is stepping up with Goolwal Goolwal and other programs to strongly place Brisbane as the global capital for First Nations music.

In the last few years we have attracted more international buyers and participants, and the export impact for Australian artists has been and will continue to be significant.

Viv Mellish

Viv and John now have the reins. What advice would you give them and what’s on the horizon?

NS: Viv and John are both legends and I’m excited to see where they take QMusic.

They have both been on the board for a few years now and their skills and experience in the industry are so valuable.

My only piece of advice to them would be to back themselves and each other.

It’s a tough gig sometimes and I was always grateful for D-J who has become a close friend and advocate of mine over the years.

He served on the board for a record 12 years — over two stints — and brought expertise and knowledge to the role of VP.

DW: Both Viv and JC have plenty of experience and knowledge of what has needed to be done to get the organisation and its programs to where they are.

They both have extensive experience working with both sides of government and now they get to put their fingerprints on the future growth of everything that QMusic does.  

Together with Kris Stewart, they’re poised to not only keep that growth going but see it triple in the next few years as Brisbane marches toward the Olympics. 

John ‘JC’ Collins

QMusic has faced its challenges, too. What are the biggest, and the biggest opportunities

NS: The music industry is going through a massive change at the moment with cost of living pressures affecting music businesses, the patronage of music venues and festivals.

There’s an advocacy piece there for QMusic to ensure the live industry in particular survives this period.

We recently spoke directly into the Premier’s office and were successful in achieving a $1.6 million commitment to live music venues.

Queensland is unique in that Fortitude Valley has that really dense population of live music venues within walking distance and there’s an opportunity there especially in the lead up to the Olympics to create a world class music precinct.

QMusic have presented to the Olympics Legacy Committee around getting started early with an Olympics music strategy with the intention that Queensland artists are highlighted throughout the Games and we utilise the world’s eyes being on Brisbane to ensure an ongoing and thriving music industry.

We have a lot of other exciting prospects in the pipeline which will be announced over time.

DW: Our biggest challenges are very manageable and that is the current growth, which is a great problem to have.

The organisation is now in a position to bring in the best people in all areas and Kris is a master at driving things forward and keeping the morale up with his own infectious energy.  

QMusic is focused on the now but very much working toward having Fortitude Valley looking and feeling like the coolest, most vibrant, part of the best city in Australia. 

Smash called QMusic “the biggest and best of all the state music organisations.” What is the importance of a state music trade body?

DW: A state music trade body is incredibly important to the music industry economy because the organisation is able to lobby on behalf of the entire music industry, we can represent all venues, as we did through Covid and recently prior to the state budget being announced.  

The same can be said for the work the organisation does for musicians, regional communities and industry behind the stage.  

QMusic’s role also extends to facilitating events and programs that enrich the general public community around Queensland, with its Tropic Fiesta in Townsville and many regional music initiatives.  

NS: We can be very focused to the different needs within our community – we actually have boots on the ground. Music is a very local artform, and needs local champions.

I came from a commercial and legal background so I brought that to the role and have been relentless in pushing the social, economic and cultural importance of music to the government.

I also have to give CEO Kris Stewart a shout out here. He has been outstanding in speaking with and on behalf of all aspects of the industry.

Also, we can’t do what we do without brilliant and local partners like Oztix who really care about the industry and its people.

What next for yourself?

NS: For me, I have been spending 10 – 20 hours on QMusic business a week sometimes so it’s time for me to focus on my own legal business NR Barbi Solicitor.

I also intend spending more time with the family on Minjerribah (NSI) and taking up other offers and challenges.

DW: Right now I am fully immersed in overseeing every part of the planning of The Ten Tenors‘ 30th anniversary world tour, that kicks off with a 37-city European tour in January 2025.

I’m building the new show, finalising the marketing materials, the styling for the group and negotiating deals for the other territories on the world tour which so far will take in, Europe, Australia, New Zealand, Brazil, Chile, Columbia, Argentina, USA and Canada with more dates being added every week.

When I started in this business back in 1995, I had no idea I would be producing a world tour with over 150 dates.