APRA AMCOS Reports Record $857.4M Revenue as Australian Music’s Streaming Share Plummets

Australian and New Zealand music creators are achieving record success internationally, but their share of music consumption at home continues to shrink, according to APRA AMCOS’s latest Year In Review report.

The music rights management organisation has reported record group revenue of $857.4 million for FY26, an 8.8% increase on the previous financial year, driven by growth across digital, international and OneMusic revenue streams.

Net Distributable Revenue (NDR), representing payments to members and rightsholders, rose 10.6% to $755.7 million, outpacing overall revenue growth.

But despite the strong financial results, the report paints a concerning picture of Australian music’s declining visibility on domestic streaming and user-generated content platforms.

More than 91% of music streamed by Australians during FY26 was created internationally, with Australian content accounting for just 8.5% of streaming consumption following a 37.5% decrease over five years.

The figures are even more pronounced on user-generated content (UGC) platforms, where Australian members’ share has fallen to 3.6%. In New Zealand, international creators account for 96% of music streamed, while local members hold just 1.7% of UGC consumption.

Across both countries, actual UGC streams of local members’ music have declined by approximately 28% year-on-year, despite overall consumption on those platforms increasing.

APRA AMCOS CEO Dean Ormston said the figures highlighted a growing disconnect between the international achievements of local creators and their opportunities to reach audiences at home.

“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 said.
“Music made here is winning over global audiences and generating international revenue, yet it is becoming harder to discover on platforms we use every day.”

The warning comes as APRA celebrates its centenary year, with the organisation reporting $557.2 million in revenue for FY26, including a record $103.2 million in international income.

That milestone reflects the continued global reach of Australian and New Zealand music, from Ninajirachi’s international festival appearances to the success of Bluey, which topped Nielsen’s US streaming rankings in 2025 and remained the second-most-streamed program halfway through 2026.
International APRA AMCOS Group revenue has more than doubled since FY19, rising from $47.3 million to $107.3 million, representing growth of 126.88%.

Digital remains the group’s largest revenue source, accounting for 53% of total revenue and increasing 12.5% year-on-year. Subscription video-on-demand services, including Netflix, Disney+ and Apple TV+, recorded particularly strong growth, up 25.7% to $113.8 million.

OneMusic public performance revenue also increased 10.9%, supported by concerts, events, fitness and hospitality, with restaurant revenue climbing 75%.

However, the report notes that audiences are increasingly directing their spending towards major, higher-priced concerts, including tours by AC/DC, Ed Sheeran and Oasis, while mid-tier tours and smaller festivals face softer ticket sales and greater price sensitivity.

Ormston warned that without intervention, Australian creators could face further losses in visibility and opportunities. “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,” he said, citing research from The Australia Institute.

“Music creators are squeezed on the platforms where fans first find them, and then on the stages where that support grows.”

APRA AMCOS is continuing to advocate for a federal live music tax incentive and minimum Australian music requirements across platforms to help reverse the decline.

The report also highlights growing concerns surrounding artificial intelligence and copyright protections, with APRA AMCOS urging the Federal Government to resist changes to the Copyright Act that could undermine creators’ rights.

In June, the organisation joined international partners at the CISAC General Assembly in Paris to support the Paris Commitment, which calls for the protection, recognition and fair remuneration of human creators.

It subsequently took that position to Canberra, reiterating that creators should have control over how their work is used to train or generate AI content.

“As AI technology advances, so too does the need to defend the simple principle at the heart of copyright: creators must retain the right to control the use of their work and be paid when that work is used,” Ormston said.

“Our position remains clear and simple: permission and payment.”

APRA AMCOS now represents over 135,000 songwriters, composers and music publishers, with its FY26 activities including more than 340 industry events and 110 awards, grants and prizes.

The full FY26 Year In Review is available through APRA AMCOS.