APRA AMCOS recently announced a record annual revenue figure of $333m; a 14 per cent growth in
payments to songwriters, composers and publishers and a huge increase of more than $20m in digital
APRA AMCOS milestone year: Record a one third of billion dollars in revenue following 11% growth
• $333m revenue, up 11%
• $27.4m streaming revenue, up 140%
• $294.6m paid to songwriters and publishers, up 14%
• $67.8m digital revenue, up 142%
• $38.3m export revenue, up 12%
While other sectors of the music industry have experienced marked fluctuations, APRA AMCOS has
enjoyed a reliable trajectory of income growth in recent years. Over the past three years, export
revenue has increased by 75 per cent to more than $38.3m per annum, highlighting the enormous
growth in the number and success of Australasians on the world stage.
“Before our single Geronimo took off, we worked really hard to build international audiences and networks by touring overseas and taking advantage of showcasing opportunities with Sounds Australia. That gave us a really strong foundation to export our music, and we’ve since played festivals around the world like Lollapalooza, Austin City Limits and Pinkpop, toured the US with Meghan Trainor, and performed live on shows like The Ellen Degeneres Show, The Tonight Show Starring Jimmy Fallon and the Today Show.”
“When we heard hundreds of thousands of people at Rock in Rio 2015 singing the words to our songs, despite having never toured Brazil before, we realised just how powerful the digital space is in getting music out to all corners of the globe.”
“The initial interest overseas came in form of our now manager for Europe, Dave Toethius. Our manager Regan sent our single It’s My Fault over to the Netherlands and Toethius came back with great support. Since then we’ve made efforts to build markets in the UK, Europe, India, and North America. We made headway in some areas and not so much in others, but throughout the UK and Europe we’ve made most headway through festivals and conferences. These have put us in front of large audiences and great networking contacts. Then we’ve just worked away at each market and tried to stay afloat at the same time. It can cost a lot of money, breaking in a new market!!
“Sounds Australia have been instrumental in introducing us to new markets and networking opportunities around the world. They held showcases at different events across the globe that we have been involved in, which has led to plenty of networking opportunities in the respective cities. If SA weren’t around, we’d definitely not be as far along as we are now.”
Just as radio and records revolutionised the music industry at the time of APRA’s foundation 90 years
ago, streaming is now having a similar effect as subscription services gain traction with Australasian
consumers. Royalty collections from streaming services were up 140 per cent year on year, to $27.4m.
Licence fees collected from all digital providers – including download services, streaming services, video
on demand, websites and user-generated services – increased by a similar percentage, and is now
significantly greater than, for example, traditional radio broadcasting ($45.3m).
APRA AMCOS Chief Executive, Brett Cottle said, “While revenue from digital services is growing rapidly,
the sheer volume of music being consumed is growing exponentially, which means that the fruits of this
growth are being spread over a vastly increased pool of songwriters.”
Public performance licensing, APRA AMCOS’ core activity for much of the last 90 years, continued to
provide increased revenue for songwriters, composers and publishers, reaching over $70m for the year.
Achieving 6.8 per cent growth from its 142,000 licensed businesses, APRA AMCOS performed well above
the global benchmark of 3.8 per cent growth.1
Songwriters remained prolific creators and performers in the financial year 2015-2016. The number of
works (songs, compositions) generating an income reached more than a million for the first time,
resulting in payments to over 248,000 songwriters, composers and publishers equalling more than
$294.6m (across APRA and AMCOS).
Brett Cottle said, “At a time when copyright is working in practice as it should, and just when the
culturally-rich and economically vital business of music is getting back on its feet, it’s difficult to fathom
why measures such as those relating to Safe Harbour expansion or so-called ‘fair use’ should be
contemplated by government”.
• Record rate of revenue growth as well as a record revenue figure for APRA as a stand-alone entity:
revenue grew by more than 12% to $258m.
• Record revenue figure for AMCOS $75m representing 7% lift.
• Broadcast division saw growth in revenue from subscription television $24m (up 13%).
• Licensing operations in New Zealand contributed approximately A$40m, or circa 13.6% to the APRA
AMCOS domestic revenue figure of $294m.
• Data from the Australian Securities and Investment Commission (ASIC) shows that of the 44
Australian companies registered with ASIC in 1926, only nine remain registered today, including