By Christine Rau

When the producers of ABC Radio’s triple j Hottest 100 reviewed their 2024 countdown, they were alarmed to see only 29 Australian songs had made the list representing just 18 Australian artists.

In contrast, 24 of the top 100 songs came from only four US acts. It was the weakest Australian showing in nearly 30 years.

The problem, it turned out, wasn’t the quality of Australian musicians or a lack of support from local fans. It was the algorithm.

Like most streaming and voting systems, Australian artists were grouped alongside musicians from far more populous countries such as the United States, United Kingdom and Canada. Inevitably, local talent was overwhelmed.

In response, triple j introduced an Australian filter last year, and local representation rebounded strongly to 54 per cent.

However, financial support tells a different story. Peak royalty bodies report Australians now spend just 9.5 per cent of their streaming money on Australian artists a drop of 31 per cent over the past five years.

APRA, the musicians’ royalty organisation, is urging governments to introduce Australian content quotas for streaming platforms, similar to those already in place for television.

For young, emerging musicians in Western Sydney, the message is clear: uncertainty is the new normal. Passion and talent alone are no guarantee of financial stability.

Veteran music journalist and former manager of the Hoodoo Gurus and Paul Kelly, Stuart Coupe, puts it bluntly.

“It’s tough. It’s always been tough. Out of hundreds of bands, only one might make it,” he said.

“I wouldn’t want to be a young artist in 2026. The competition is phenomenal.”

Coupe, who now presents on 2SER and FBI Radio, says radio still plays an important role, but the volume of new music is overwhelming.

“Triple j’s Unearthed can get a thousand submissions in a single day. No one has time to listen to it all. Even on a quiet day, we’ll still get more than 200 submissions at FBI,” he said.

Songwriter Josh Pyke, an ARIA Award winner and former Australia Council grant recipient, advises emerging artists not to rely too heavily on streaming or social media.

“The best way to build an audience is to get out and play live shows — create your own scene,” he said.

“You have to throw your hat in the ring, but it’s incredibly hard when you still need to pay rent and bills.”

Pyke warns that online platforms are constantly changing.

“Algorithms shift, platforms fold, and suddenly the audience you built there is gone.”

Western Sydney reflects on a local level what Australia faces nationally — an abundance of untapped musical talent still seeking recognition and support.

Polynesian Artist Rissa

Polynesian artist Rissa, from Campbelltown and of Tongan heritage, is one of the region’s rising success stories. She recently received a $25,000 Western Sydney music fellowship, helping fund vocal collaborations and recording sessions.

These opportunities are rare, with the fellowship supported by Blacktown Arts, the Powerhouse Museum and Sound NSW.

Rissa says Western Sydney musicians face additional challenges compared to those in the inner west, where venues and industry connections are more accessible.

“Music is already hard enough anywhere,” she told ABC Radio. “But the community here really builds your work ethic. Being in the West means you have to work harder, or you won’t break through.”

Despite the challenges, she believes the local scene is growing.

“It’s really popped off compared to before,” she said.

Demand is also shifting. Surveys show more Western Sydney residents prefer entertainment closer to home, rather than travelling into the CBD.

Greens MP Cate Faehrmann, who chairs a NSW parliamentary committee on arts funding, says local investment is critical.

“Western Sydney has begun to outstrip Sydney’s CBD in night-time spending, as people increasingly go out closer to home,” she said.

“That’s why it’s crucial the government increases funding and support for local musicians, including young, culturally diverse and First Nations artists.”

Venues such as pubs, clubs and RSLs remain essential in connecting musicians with audiences.

Hills District drummer Lachie Pollard says emerging bands often struggle to secure gigs without guaranteeing large crowds.

“In Sydney, original bands are often expected to bring 200 people or more just to get a booking,” he said.

Coupe notes this expectation doesn’t always reflect reality.

“A band might have 10,000 followers on Spotify, but only 50 turn up to a live gig,” he said.

Riverstone Memorial Club general manager Glenn Hunter says venues will support local talent if audiences respond.

“If patrons enjoy the band, we’ll bring them back regularly,” he said.

A lifelong music fan, Hunter remembers the pub rock boom of the 1970s and 80s.

“We’d rather they bring a crowd, because that helps build return business,” he said.

Local acts such as Seattle Sound and The Frocks have drawn strong crowds, sometimes attracting up to 250 people on weekend nights.

Ultimately, while the industry continues to evolve, one thing remains constant.

As Coupe says, “It’s an endlessly changing world in music. Young artists just have to keep adapting.”

But for many Western Sydney musicians, passion remains their greatest strength  and their greatest hope.