The world has changed substantially for everyone the last five years. There's no denying that.
The onset of AI, algorithm-saturated newsfeeds, clashing ideologies, the quest for 15 seconds of fame, meme culture, building your own brand/ following. It's enough to leave our heads dangling permanently on swivel sticks.
The music industry is no different, and in reality the scene is at the coalface of modern innovation and technology advancements more than you would think.
Which makes it ideal to have a quick chat with Fiona Duncan, CEO of Music Victoria, to get her take on how the state's peak body for music is adjusting to the rapid changes the industry is witnessing as well as the cultural and economical viability of music (especially independent practitioners) in shaping communities in the coming years as well as protecting the rights of creatives to. . . well, create.
Fiona Duncan
Music Victoria is undergoing structural/ funding changes; what can you share with us re: the future of the organisation?
[Fiona] Like many creative organisations, we're adjusting to new funding cycles and policy shifts – and there's been a leadership change with me coming onboard, but what hasn't changed is why we're here.
Music Victoria exists to represent musicians, venues, music businesses, and the music lovers who make up our vibrant contemporary scene. Our mission is pretty simple (and huge); to make sure music reaches its full social, cultural, and economic potential for all Victorians.
That means advocating on behalf of the sector, supporting the growth of our music community, and celebrating the incredible talent we have in this state. While recent changes are challenging, they also give us the chance to really focus on what matters most: that artists, venues, and the industry have the support they need to thrive into the future.
Like all the different state's peak bodies, we work closely with government because we know that policy, regulations and investment when done well can really shape the conditions for creativity.
What is the outlook for emerging talent in Victoria?
The outlook is really positive. Victoria continues to be Australia's music engine room. We saw that at the recent AIR Awards, where an incredible 80 per cent of the winners were Victorian artists and businesses. It's also the state where The Push was founded, now a national youth body, whose work developing young artists and growing new audiences is fantastic.
The creativity and energy coming through their programmes is a big part of why our emerging artist scene is so vibrant; and of course, this is the same state that's produced more recent global success stories like Amyl and the Sniffers, King Gizzard & the Lizard Wizard, Courtney Barnett, Dom Dolla, The Teskey Brothers and Vance Joy.
However, global recognition isn't the only measure of success. What matters most is that artists of all ages have the chance to create in the ways they choose, at the levels they aspire to, and to define success on their own terms.
Our role is to make sure that pipeline of career levels is supported to flourish for the long term, breaking down barriers and building the conditions that allow the whole industry to thrive.
COVID affected live entertainment globally. The lockdown in Victoria was particularly severe. Has this manifested in the live music scene?
The impact was deep everywhere, but especially in Victoria. Artists, venues, workers and businesses carried huge burdens through the world's longest lockdowns.
Yet, the Victorian scene is incredibly resilient and regional touring is stronger than ever thanks to incredible venues and bookers who've been really professional and strategic and built loyal local audiences.
The COVID scars are real, but so is the determination and innovation across our industry. Venues and artists need support to innovate as we navigate this post-COVID recovery period and adapt to a new landscape.
A new threat we all need to be aware of has emerged recently with the Productivity Commission releasing its interim report – Harnessing Data and Digital Technology.
Buried in the report is a proposal for a major change to Australian copyright law: a new 'fair dealing' exception for text and data mining (TDM). If implemented, this would allow AI companies to legally mine Australian songs, stories, art, research and other creative works, without consent or payment, to train their algorithms.
It would mean vast datasets of creative material could be scraped, copied and mimicked by machines, with no licensing or acknowledgement of the original creators. The cultural and economic impact would be devastating.
It would erode the value of Australian creative industries at home and overseas, handing profits to Big Tech while stripping creators of control over their work. While AI brings some great benefits, this isn't innovation. It's STEALING from and the exploitation of artists.
Artists already earn the lowest average income in the industry, even though they are the foundation of the music industry (Music Australia's The Bass Line report makes this clear). They can't afford to lose further income streams. We need to re-centre the artist in all of our policy, regulations and funding decisions.
What does Victorian emerging talent look like in 2025? Are there any surprise genres or directions in style?
Victorian artists showcasing at BIGSOUND are repping everything from pop, hip hop and folk to R&B and metalcore, a snapshot of just how diverse Victoria's emerging talent is.
We're seeing hip hop and rap led by First Peoples and culturally diverse artists; like everywhere in the world EDM is the powerhouse genre, inspired locally by international success stories like Dom Dolla; and a post-punk and alt-rock renaissance that keeps Melbourne's 'band city' reputation alive, with Amyl and King Gizz leading the charge globally.
At the same time, First Peoples' contemporary music is reshaping the national sound across hip hop, R&B, folk and fusion. Then there's the next wave of experimentation. From hyperpop and DIY bedroom pop to hybrids that blend folk, rock, country and electronica. The creativity and innovation we're seeing amongst the emerging artists is mind-blowing.
Name checking is always going to be problematic for a peak body, but are there any names you'd like us to particularly keep an eye out for?
I won't single out individuals, but what I will say is this: the next Amyl and the Sniffers, King Gizzard and the Lizard Wizard, Courtney Barnett, Briggs, Dom Dolla, The Teskey Brothers or Vance Joy will be on these BIGSOUND stages.
Get out there and support the people making the music and I'd urge the artists themselves to support each other, turn up to each other's shows, collaborate, and make new friends, build those connections and your music community.
It's team work. It makes our industry stronger, no matter what state you're from. That's how we'll all build the future of Australia's incredible music story together.
