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:

Radiators in action at Riverstone RSL

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, 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