New Zealand Music Makes Up 4% of Local Streaming

APRA AMCOS reported record group revenue of $857.4 million for 2025-26, marking a nearly 9% increase from the previous year. But that financial growth contrasted sharply with new data concerning local music consumption in New Zealand. Just 4% of music streamed within Aotearoa during the period was local content. On user-generated content platforms like TikTok, consumption grew overall, but the share belonging to New Zealand members dropped to 1.7%.

Streaming Revenue Rises as Local Share Shrinks

Digital platforms now account for 53% of APRA AMCOS revenue, dwarfing traditional streams like radio, public performance, and television. Yet Anthony Healey, head of APRA’s New Zealand operations, pointed out that while revenues climb across the board, New Zealand’s share of that listening pool continues to shrink locally.

That disconnect leaves many established artists questioning the value of streaming as an income source. Jan Hellriegel, a New Zealand singer-songwriter with multiple top 40 albums, questioned the industry celebration. For APRA to celebrate rising income while musicians face depleted earnings feels out of whack, she said, noting that the contrast remains stark.

Algorithmic Disadvantage on Global Platforms

Dr Jesse Austin-Stewart, a music researcher at Massey University’s Creative Futures research cluster, linked the declining local numbers to the growing dominance of international tech companies. Streaming services became the primary mode of music discovery for New Zealanders starting in 2020, while the impact of radio airplay and live performances dropped significantly over the past decade.

These global tech companies have no incentive to promote New Zealand music, and it means that gigantic international artists with global marketing strategies are enabled to outcompete Aotearoa artists at home. It’s not that New Zealanders don’t support local music, it’s that the market doesn’t allow them to discover it in the first place.

Dr Jesse Austin-Stewart

A 2025 report by former Spotify chief economist Will Page suggested that streaming algorithms recognize language easily but struggle with geography. That leaves local artists in English-speaking markets competing directly against the vast United States catalogue.

Alternative Revenue Streams for Local Artists

Some artists treat streaming primarily as marketing rather than a livelihood. Lontalius, also known as Eddie Benjamin, has accumulated 300,000 monthly listeners on Spotify and 144 million streams on his song Sleep Thru Ur Alarms. While that viral track paid his bills for a few years, he noted that playlist placements often generate plays without driving fans to social media or ticketed shows.

I have one song that sort of went viral in its own way and that has paid my bills the last few years. I mean, it’s definitely diminishing, but I’ve been one of the lucky ones. Streaming’s a fascinating beast. It has pros and cons. I’m generally of the opinion that I don’t ever want to take my music off Spotify because that is where people listen to music, and I want to be wherever people are listening to music.

Lontalius

Hellriegel relies on sync licensing for film, television, and advertising, alongside physical sales, to generate income. She noted that a single book sale including her album earns her significantly more than streaming yields.

Direct Fan Engagement Drives Album Release

Other performers bypass streaming discovery loops entirely by focusing on direct fan engagement. Auckland pop artist Jason Parker attributes the chart performance of his single One Week Sober to fans purchasing digital copies directly on Bandcamp and iTunes rather than algorithms driving discovery.

Parker’s debut album, What Makes A Man, is scheduled for release on November 13, supported by daily posting campaigns across TikTok, Instagram, and YouTube. He argues that streaming platforms should contribute fair taxes back to artist touring and creation funds to support the local industry.