APRA AMCOS announces record $787.9m revenue
Record high revenue for Group, APRA and AMCOS: Group revenue tops $787.9m, up 6.5% from last financial year, with record earnings for members and rights holders distributed faster than ever before
Digital streaming continues to dominate: Doubling in value since FY20 and 51.3% share of overall revenue with Subscription Video on Demand showing significant growth in FY25
Songwriters and composers reach global heights: International revenue continues upward trajectory thanks to the likes of AC/DC’s Power Up tour, Bluey and Moana 2
Aussies hearing and discovering less local music: Despite the surge in digital streaming, percentage of local content on music streaming platforms continues to decline year-on-year, dropping 31% to just 9.5% in FY25
Australian and Aotearoa New Zealand music rights management organisation, APRA AMCOS, has unveiled its annual Year In Review report, revealing its highest group revenue to date of $787.9 million, up 6.5% from the previous financial year (FY).
Net distributable revenue (the amount of royalties paid out to rights holders) has grown by 7.8% to $683.4m, meaning that members and rights holders are being paid more, with the implementation of new technology facilitating faster payment times overall.
Digital streaming continues to dominate as the largest revenue source with a 51.3% overall share, nearly doubling in value from FY20. Subscription Video on Demand (Netflix, Disney+, Apple TV+ etc.) is this year's standout in this category, growing 15.7% to $88.2m, driven by increases in monthly subscription charges and subscriber numbers.
Following the launch of a new e-commerce platform providing a world class service experience for licensees, OneMusic continues to go from strength to strength, streamlining the experience of purchasing a licence to play music and ultimately getting more money into the pockets of members, more efficiently. OneMusic public performance grew once again to $133.9m, with major concerts and events taking the biggest share thanks to local and international tours.
Australian and New Zealand songwriters and composers are still hitting the big time globally, from international tours like AC/DC’s Power Up European tour to the ever-popular Bluey hitting no.1 US streaming show and Moana 2 taking the top spot for US streaming feature film, continuing international revenue’s uninterrupted growth trajectory, up 14.8% year-on-year to $98.8m.
The hits have been huge as members working overseas from LA to London to Nashville are taking the top spots internationally. Lorde’s highly anticipated return single “What Was That?” went straight to No.1 on the Spotify US Chart; Nashville-based Jordan Dozzi’s hit for Post Malone and Blake Shelton, “Pour Me a Drink”, topped the No.1 Billboard Country Airplay Chart; and Taka Perry took up the K-Pop mantel, teaming up with Kota Banks on the Katseye hit “Touch”. Unfortunately, the story at home is dramatically different.
APRA AMCOS data reflects the incredible increase in year-on-year consumption of music in Australia, both on music streaming and User Generated Content (UGC) services, growing 50% since FY21. Alarmingly, the percentage of that consumption that relates to local songwriter and composer content in that same period has dramatically declined by 31% to just 9.5% in music streaming over the past five years and 25.4% in UGC over the past three years, highlighting the urgent need to advocate for local content obligations for local music to be seen and heard across all platforms.
Dean Ormston, CEO of APRA AMCOS, explains: “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.
“They also confirm what we already know: Australians and New Zealanders are world-leading music fans. We consume more music per capita than almost anywhere else on the planet, yet the ability for our members to be seen and heard is becoming more difficult every year.
“We've seen a 31% collapse in local content on streaming platforms over five years. This isn't happening because our music isn't good enough, and our surging export revenues prove our artists are among the best in the world. They're writing hits, filling venues internationally and competing at the highest level. The talent is undeniable. Our platforms are borderless, but algorithms favour scale and international repertoire dominate by default.
“We must continue to bang the drum as loud as we can for our members and advocate for their rights, from campaigning for live music tax offsets and the importance of being seen and heard to being crystal clear with policymakers: we will not accept any weakening of the Copyright Act when it comes to AI, and we will fight relentlessly for transparency, consent and fair remuneration when our members' intellectual property is used.”
For APRA AMCOS’s membership of over 128,000 songwriters, composers and music publishers, FY25’s suite of over 250 creative programs provided mentorships and professional development opportunities to over 10,000 attendees across Australia, New Zealand and internationally, in addition to 85 awards, grants and prizes. Programs specifically supporting women and gender diverse members, including the 23% mentorship and EQUALIZE one-day workshops, gave over 180 members direct access to skills development, networking and funding support aimed at addressing the gender inequity in music.
For Aboriginal and Torres Strait Islander members, a world-first department within APRA AMCOS, Alyelhentye Nawu, has been announced today that will specifically support and advocate for their rights, including in regard to Indigenous Cultural and Intellectual Property (ICIP).
The National Aboriginal and Torres Strait Islander Music Office (NATSIMO), will continue to support and advance all Aboriginal and Torres Strait Islander music creators through a new strategic plan and suite of programs, showcases and funding opportunities, headed up by new NATSIMO Programs Manager, Sue Ray.
Leah Flanagan, Director of Aboriginal and Torres Strait Islander Programs and Strategy, explains: “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.
“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.”
Read the full report at apraamcos.com.au/yearinreview
Dean Ormston and Jenny Morris's APRA AMCOS FY25 Year in Review message
