Country Profile: Australia

Australia’s live music market is set to be hot come summertime, bolstered by a roster of top-tier promoters, including Live Nation Australia & New Zealand, Frontier Touring, Mushroom Group, Chugg Entertainment, and TEG Dainty, alongside strong independents like Destroy All Lines, Untitled Group, UNIFIED Music Group, and Handsome Tours. Post-pandemic recovery has seen a resurgence of global superstars hitting Australian shores, driving record-breaking tours and packed festivals.

Matt Gudinski, CEO of Mushroom Group, shares an optimistic view: “The market is as strong as ever. More artists are wanting to come to Australia, and the demand for live music, whether it’s international acts or our incredible domestic artists, is stronger than ever.”

Promoters are actively working to bring the biggest names in music to Australian audiences. Live Nation, Frontier Touring, and TEG Dainty have led the way in securing major international acts, with many independent promoters thriving by catering to niche audiences.

Mark Vaughan, senior vice president of touring at Live Nation Australia & New Zealand, says that, “Despite cost-of- living pressures, demand for international artists remains high. We’ve seen record-setting tours from P!nk, blink-182, and SZA, and upcoming tours by Coldplay, Travis Scott, and The Weeknd are expected to perform similarly.”

“Despite cost-of- living pressures, demand for international artists remains high.”

The continued rise of electronic music is one of the biggest trends driving Australia’s live music market in 2024, with acts like Fred again.., Fisher, Dom Dolla, and Rüfüs Du Sol dominating the electronic scene.

Untitled Group has seen particular success with its electronic-focused festivals like Beyond the Valley, while Chugg Entertainment continues to bring its own brand of high-energy events to the market.

According to Geoff Jones from Chugg Entertainment, “It is extraordinary to see the huge drawing power of artists like Fred again.., Fisher, Dom Dolla, and Rüfüs Du Sol. Fans love the uplifting and positive experience at their shows and keep coming back for more, in whatever venue these artists choose.

“We had huge success with the recent Fred again.. tour in March, selling nearly 230,000 tickets instantly after announcement. Despite the doom and gloom surrounding festivals, Laneway Festival achieved record ticket sales, and we’re confident that 2025 will continue its 20+ years of success.”

“The electronic genres will continue to thrive, and I expect to see more producer/DJ acts move from festival or large warehouse settings into arenas and stadiums.”

Dion Brant of Frontier Touring adds, “The electronic genres will continue to thrive, and I expect to see more producer/DJ acts move from festival or large warehouse settings into arenas and stadiums.”

Independent promoter Destroy All Lines toured over 110 international artists in the past 12 months, including sold out arena runs for Bring Me The Horizon, Evanescence, James Blunt, Interpol and Bloc Party, and Parkway Drive. It sold over 700,000 tickets, with its Good Things Festival notching up 110,000 headlined by Fall Out Boy and Limp Bizkit, while Knotfest returned headlined by Pantera and Disturbed. “We also launched into comedy and have 10 tours on the books already and also launched into Country music which we are incredibly excited about,” says general manager Chris O’Brien.

“The live music business in Australia is highly competitive but with our relationships and results we are in a very healthy position.”

Tim McGregor of TEG Live says female pop artists are doing well, with Beyoncé. Billie Eilish and Olivia Rodrigo are already filling arenas, and breakout stars like Charli XCX and Chappell Roan set to follow suit.

The live music business in Australia is highly competitive but with our relationships and results we are in a very healthy position.”

“Gracie Abrams has seen massive growth,” says Brant. “She went from mid-sized venues earlier this year to a 12-date arena run across Australia and New Zealand, selling out most of the dates on the first day.”

Genre-wise, one is demonstrating huge growth, notes Vaughan: “We’ve seen a 600% increase in Asia-pop shows since 2015, with artists like Stray Kids and BLACKPINK achieving massive success. It’s one of the fastest-growing genres, particularly with younger audiences.”

He also highlights the increase in regional tours. “Regional Australia is becoming a staple on the tour circuit” he says.

Headliner-driven events are thriving Down Under, with artists developing their own event brands, says Nicholas Greco from Untitled Group. “Our festivals, like Beyond the Valley, sold out 85% of tickets in presale, showing the appetite for immersive festival experiences remains strong.”

McGregor highlights how social media has transformed artist engagement: “Artists who truly connect with their fan base … are having incredible success. Their ability to create authentic relationships with fans through platforms like Instagram and TikTok has changed the game.”

However, despite all this success, the geographical size of Australia continues to present logistical challenges. Rising transportation and production costs have hit promoters hard, particularly when organising shows in regional locations.

Jaddan Comerford of UNIFIED Music Group explains: “Costs are always a challenge, especially with currency exchange and the size of the country. However, there’s an opportunity in regional touring – artists like P!nk have done a great job of servicing not just cities but regional Australia.”

“Freight costs have exploded, and venues in markets like Perth are feeling the strain. But demand remains strong, especially when shows are priced right.”

Vaughan agrees: “Freight costs have exploded, and venues in markets like Perth are feeling the strain. But demand remains strong, especially when shows are priced right.”

Jones highlights the impact on festival production: “There are still big challenges for festivals, particularly in terms of operating costs in New South Wales. These need to be addressed if festivals are to thrive in the long term.”

Australia’s festival scene is evolving, with a mix of successes and challenges. On the one hand, festivals like Laneway and Beyond the Valley have seen record ticket sales, proving the enduring appeal of multi-day, immersive events. On the other, smaller and more generalist festivals have struggled to maintain momentum in a post-pandemic world.

Brant emphasises the challenges: “The multi-genre, multi-stage, camping festival scene has struggled with high-profile closures. I think we’ll see a new model or type of festival offering emerge, though, that will fill this gap.”

Jones remains optimistic about the future of festivals, adding, “Despite all the challenges, Laneway Festival achieved record ticket sales in 2024, and the team has pulled together another fantastic lineup for 2025 that we are confident will continue its two-decade success story.”

“The multi-genre, multi-stage, camping festival scene has struggled with high-profile closures.”

Australia’s grassroots music scene is experiencing a period of growth and difficulty. There’s no shortage of emerging talent, but rising costs and competition from international acts have made it harder for new artists to break through. Gudinski notes: “The talent coming out of Australia is incredible. We need to promote the grassroots scene, making it a meaningful cultural experience for younger audiences.”

Vaughan points to the importance of early investment. “The key is to be in the door early. We’re committed to supporting local talent, and our Ones To Watch programme has been instrumental in elevating emerging Australian artists. Tones and I, for example, supported P!nk on her recent tour and has since gone on to sell out arenas nationwide.”

Despite the challenges, Greco remains confident in the future: “The festival market will stabilise, and with Australia’s growing population and high-quality music scene, I’m excited about the opportunities ahead.”

“We are developing the 30,000-capacity Cedar Mill Amphitheatre in Lake Macquarie, which will provide a significant platform for both international and domestic artists, ensuring they have access to high-quality venues outside of the capital cities.”

Ewen Craig from Cedar Mill Group believes that regional infrastructure projects are also crucial to supporting artists. “We are developing the 30,000-capacity Cedar Mill Amphitheatre in Lake Macquarie, which will provide a significant platform for both international and domestic artists, ensuring they have access to high-quality venues outside of the capital cities.”

In the next 24-36 months, Australia’s live music industry is set to expand, with a focus on major international tours and niche, community-driven festivals. McGregor sees a bright future: “The market remains robust, and while challenges like rising costs persist, Australians’ love for live music will ensure a steady flow of top-tier artists and innovative events.”

“We’re planning strong arena and stadium content over the next 12-24 months, and with the rebuilding of the festival sector, the Australian market will continue to grow and evolve,” enthuses Vaughan.

Liza Evely-Thompson from Feld Entertainment says that families are still seeking “high-quality, affordable, and familiar experiences that can be enjoyed together. While families are experiencing cost-of-living pressures, they are still budgeting for quality entertainment, and hopefully that will continue.”