October 25, 2018 /

Music Doesn’t Just Happen: Music Industry stakes out position on Copyright Act review

Recorded Music New Zealand has today launched a position paper setting out the New Zealand music industry’s priorities for the upcoming review of the Copyright Act.

The paper, Music Doesn’t Just Happen, outlines the vital role that a robust copyright system plays in supporting music in New Zealand, the need for fair value to return to those who create and invest in music, and the key issues that the Copyright Act review needs to address.

“It’s an exciting time to be a music fan in New Zealand, with more options than ever before for fans to experience music how and when they want. The music industry has been a leader in the digital environment, investing in new business models and driving innovation.

But music doesn’t just happen – there is a huge investment of time, money and human resources behind the scenes. For this investment to continue it is essential that New Zealand has the right copyright framework”, says Recorded Music NZ CEO, Damian Vaughan.

“While the Copyright Act provides a sound framework, some key adjustments are needed to bring it into line with the reality of today’s market.

Music Doesn’t Just Happen sets out a roadmap for the Government to do this, to help ensure a sustainable future for Kiwi recording artists and all those employed in our local music industry, and continued investment in developing great talent and delivering it to music fans in New Zealand and around the world.

“In particular we have singled out four key issues that we believe need to be addressed in the review.

“We are asking the Government to ensure fair market conditions for negotiations with digital platforms, provide for effective enforcement of copyright online, harmonise New Zealand’s copyright term with that of other OECD countries and give recording artists and record companies a fair go on copyright exceptions.

“The New Zealand music industry employs over 2000 people directly, contributing over $550 million to GDP per year and with artists like Lorde and songwriters like Opetai Foa’i, it is clear that we are making our mark globally.

To secure the right environment for local and export success now and in the future it’s vital to address the issues we have highlighted. We look forward to working with the Government on this as they progress their work programme”, concluded Mr Vaughan.

The Government is expected to release an issues paper on the Copyright Act review by year end.

The full Recorded Music NZ paper Music Doesn’t Just Happen can be found here.

October 18, 2018 /


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Hip hop legends to enter Te Whare Taonga Puoro o Aotearoa (NZ Music Hall of Fame) on 15 November

For the last 30 years Upper Hutt Posse has been creating powerful and inspirational music to challenge the status quo and fight for social justice in Aotearoa.

On 15 November the group will be welcomed into the Te Whare Taonga Puoro o Aotearoa/ New Zealand Music Hall of Fame as the Tohu Whakareretanga/Legacy Award recipients.

Founding member Dean Hapeta (Te Kupu/D Word) says, “After three decades I welcome this esteemed accolade because it accords with the appreciation and respect shown us all along by grass roots hip hop heads and lovers of conscious music—whom I acknowledge first and foremost.

“Furthermore, in today’s increasingly interconnected world where environmental degradation, war profiteering, misogyny, police brutality and white privilege can no longer be denied I see our being recognised as according also with progressive activism over the last decade – from Occupy Wall Street and Arab Spring to Black Lives Matter, Me Too, and protests against that miserable good-for-nothing skirt-chaser in the white house.”

Upper Hutt Posse made waves with their debut single ‘E Tū’ – the first original Hiphop track recorded and released in Aotearoa, a commanding statement striking out against racism and injustice.

The song combines revolutionary rhetoric with an explicitly Māori frame of reference, paying homage to nineteenth century Māori warrior chiefs who fought against European colonialism; Hone Heke, Ka Witi, Tītokowaru, Te Kooti, Te Rauparaha and Te Rangihaeata.

Hapeta first started a reggae band, playing keyboards and singing, alongside his brother Matthew (aka MC Wiya) on bass, Aaron Thompson (aka Blue Dread) on guitar/vocals, and Darryl Thomson (aka DLT) on drums.

Adding into the mix the Roland TR-505 drum machine, a turntable, vocalists—Bennett Pomana (aka MC Beware), Teremoana Rapley, Steve Rameka (aka Acid Dread), and a manager with a Roland TR-808 drum machine George Hubbard, the roots of Aotearoa/New Zealand’s pioneering Hiphop group were set. This foundation lineup combined singing, rapping and reggae toasting over live and programmed instrumentation making them unlike any other group in the world at the time.

After releasing their debut album Against The Flow in 1989, the group were invited by the Nation of Islam to play in Detroit, USA before returning home to Aotearoa to open for the political rap group Public Enemy in 1990.

During this period, the group faced challenges from mainstream media who were coming to terms with rap music as a political tool, with false accusations of causing a ‘racial punch-up’ and blocking Pākehā students from attending their shows.

Throughout all this, Upper Hutt Posse remained committed to equality for tangata whenua in Aotearoa. Their 1995 album Movement In Demand was released on their own label Kia Kaha, with strong political messages and educational blurbs about the Māori leaders pictured on the CD cover.

In 1996 Hapeta decided to further commit to learning Te Reo Māori and enrolled at Te Wānanga o Raukawa, the first modern wānanga/Māori university in Ōtaki. A solo album entirely in Te Reo under the name Te Kupu (with an english language counterpart) followed, influencing future Upper Hutt Posse releases.

The 2000 album Mā Te Wā, 2005 album Legacy, and 2010 album Tohe all heavily feature Te Reo Taketake, as well as a remix project called Te Reo Māori Remixes that revisited and reconstructed 10 Upper Hutt Posse tracks with Māori language vocals and received an award for ‘Best Mana Māori Album’ at the New Zealand Music Awards in 2003.

In 2011, Upper Hutt Posse released Declaration of Resistance that once again pushed their sound to evolve, solidifying their legacy as one of the country’s most thought-provoking groups and a commmitted outlet for social justice and equality in Aotearoa.

Recorded Music CEO Damian Vaughan applaudes Upper Hutt Posse for their revolutionary sound and commitment to championing the rights of Māori for the last three decades.

“Upper Hutt Posse were so uniquely different when they debuted ‘E Tū’ and were – and remain – trailblazers for hip hop in Aotearoa. They are an inspiration for young musicians and also to all New Zealanders to keep fighting for what they believe in.”

Celebrated on the night with a tribute performance by Che Fu and The Kratez, eighteen members of Upper Hutt Posse and their legacy will be acknowledged at the 2018 Vodafone New Zealand Music Awards on 15 November.

Looking forward, Upper Hutt Posse will continue creating music that challenges the status quo, and champions the human rights of the oppressed in Aotearoa and around the world.

October 11, 2018 /

Five Tui up for grabs at the VNZMA Artisan Awards

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The third annual Artisan Awards will be celebrated this year at Massey University’s School of Music and Creative Media Production in Wellington, recognising the creative talents behind the scenes of the top New Zealand records of 2018.

Five Tui awards will be presented at the Artisan Awards, including Massey University Best Producer, Best Engineer, Best Album Cover and NZ On Air Best Music Video as well as the presentation of the inaugural Music Teacher of the Year.

Recorded Music New Zealand CEO Damian Vaughan says: “We are thrilled to bring the Artisan Awards to Wellington and shine a light on the incredibly talented people bringing world-class quality to Aotearoa’s music industry. This is the third iteration of the Artisan Awards, and every year the calibre of the finalists continues to impress!”

The Massey University Best Producer finalists for 2018 are Simon Gooding, Tom Larkin and Hammerhead for their joint efforts on by Alien Weaponry, Estère for her work on her own double album My Design, On Others Lives, and Neil and Liam Finn for their production on Out Of Silence by Neil Finn.

Impressively, Simon Gooding has two nods for Best Engineer. He’s been recognised alongside Tom Larkin, Scott Seabright and Samuel Sproull for his efforts on by Alien Weaponry, as well as the work he did with Jordan Stone on Neil Finn’s Out Of Silence. Chris Chetland is a finalist for Best Engineer for the second year in a row after working on Rangatira by REI.

Always a hotly contested category, NZ On Air Best Music Video sees three outstanding finalists this year.

Chris Graham worked with Louis Baker on the stylistic music video for his 2018 single ‘Black Crow’, and Shae Sterling crafted the video for ‘Bloodlines’ by The Adults featuring powerful performances from Estère & JessB. The last finalist spot goes to Marlon Williams for the work on his own track ‘Vampire Again’.

This year’s finalists for Best Album Cover include Barny Bewick for his work on Seven by Cairo Knife Fight, Jaime Robertson and Matthias Heiderich for their collaboration on In Spaces EP by Sola Rosa, and Tami Neilson, Ashley Church, Xoe Hall and Jules Koblun for their group efforts on the album cover for Tami’s Sassafrass.

This standalone event specifically acknowledges those who capture, craft and enrich the artists’ musical works into final recordings, as well as the talented visual artists translating the musicians’ visions into album artworks and music videos.

Also announced on the night will be the winner of the inaugural Music Teacher of the Year, and finalists (already previously announced) are Elizabeth Sneyd, founder of Virtuoso Strings Charitable Trust in East Porirua, Jane Egan from Gisborne Girls High School, and Judith Bell who has led the development of the music program at Chisnallwood Intermediate School for the last 20 years.

This year’s Artisan Awards will be supported by a performance from New Zealand supergroup The Adults, a collaborative project started by John Toogood and including Raiza Biza, Ben Wood (Trinity Roots) Emily C. Browning and 2018 Vodafone New Zealand Music Award finalists Estere, JessB and Kings.

Andre Ktori, Head of School of Music and Creative Media says: “We are excited to have these awards come to Wellington. It aligns with our interests in supporting the sector and the creative industries in the city.  Having Jon and the Adult’s play at the awards is so cool especially having completed his MFA with us this year.”

Not only will the Massey University Artisan Awards be presented but Recorded Music NZ and Massey University and with the support of NZ On Air will also be holding three seminars the day of the awards at Massey premises as part of the Tui Music Series:

  • 11:00am – 12:00pm: Designmakers Studio with Tami Neilson, Jaime Robertson, Barny Bewick, and Ashley Church with a focus on design.
  • 12:30pm – 1:30pm: Filmmakers Studio with Shae Sterling and David Ridler with a focus on music video making.
  • 2:00pm – 4:00pm: NZ Music Producer Series masterclass with Sylvia Massy, Gil Norton, Clint Murphy and moderated by Greg Haver.

The Tui Music Series gives Kiwis the chance to hone their skills and learn from the best in their chosen field from both local and international professionals.


Artisan Award Finalists:

Best Album Cover:

  • Jaime Robertson & Matthias Heiderich – In Spaces EP (Sola Rosa)
  • Barny Bewick – Seven (Cairo Knife Fight)
  • Tami Neilson, Ashley Church, Xoe Hall, Jules Koblun – Sassafrass! (Tami Neilson)

Best Engineer:

  • Chris Chetland – Rangatira (REI)
  • Simon Gooding, Tom Larkin, Scott Seabright, and Samuel Sproull – (Alien Weaponry)
  • Jordan Stone & Simon Gooding – Out Of Silence (Neil Finn)

NZ On Air Best Music Video:

  • Chris Graham – ‘Black Crow’ (Louis Baker)
  • Shae Sterling – ‘Bloodlines’ (The Adults ft Estère & JessB)
  • Marlon Williams – ‘Vampire Again’ (Marlon Williams)

Best Producer:

  • Estère – My Design, On Others’ Lives (Estère)
  • Simon Gooding, Tom Larkin, Hammerhead – (Alien Weaponry)
  • Neil and Liam Finn – Out Of Silence (Neil Finn)

Music Teacher of the Year:

  • Elizabeth Sneyd
  • Jane Egan
  • Judith Bell


The Vodafone New Zealand Music Awards will be broadcast live on TV Three on November 15 from 8.30pm. Tickets are on sale now, $35 general admission + booking fee, available from Ticketmaster.

September 27, 2018 /

Diverse line-up of finalists for the 2018 Vodafone NZ Music Awards

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Four groups share the prestige of having the most Tui nods at the 2018 Vodafone New Zealand Music Awards.

Beloved Kiwi group Six60 will be looking to add to their trophy cabinet which already hosts nine Tui. After releasing their third self-titled album earlier this year, and  recently announced as the first kiwi act to sell out Western Springs stadium in Auckland they’re up for four awards in 2018; Album of the Year, Best Group, The Edge Best Pop Artist and Vodafone Single of the Year for ‘Don’t Give It Up’.

Northland-based metal group Alien Weaponry are up for four Tuis for Album of the Year, Best Group, Te Māngai Pāho Best Māori Artist and Best Rock Artist. Their hard-hitting combination of classic thrash and te reo Māori offers a uniquely New Zealand metal experience.

After opening for Ed Sheeran earlier this year, Drax Project have continued to make waves in the New Zealand music scene. The pop group are up for Vodafone Single of the Year for the smash hit ‘Woke Up Late’, along with Breakthrough Artist of the Year, Best Group and The Edge Best Pop Artist.

Psychedelic rock group Unknown Mortal Orchestra are returning to the Vodafone New Zealand Music Awards as finalists in the Album of the Year category for their 2018 album Sex & Food, which was recorded across the globe. In addition, the band is up for Vodafone Single of the Year for the hazy tune ‘Hunnybee’, Best Group, and Best Alternative Artist.

Three-time Tui winner Marlon Williams is a finalist again this year, in the running for Album of the Year for his 2018 release Make Way For Love, as well as Three Best Solo Artist and Best Alternative Artist. He will join two Kiwi songstresses who both have previously won Tui awards themselves, Julia Deans and Tami Neilson who are both finalists for Three Best Solo Artist and Album of the Year – for We Light Fire and Sassafrass! respectively.

Newcomer Robinson is up for Breakthrough Artist of the Year and Vodafone Single of the Year for the pop anthem ‘Nothing To Regret’, and Sons of Zion are up for Best Roots Artist and Vodafone Single of the Year for ‘Drift Away’.

Aotearoa’s latest hip hop heavyweight JessB has also received the finalist nod for Best Hip Hop Artist alongside Kings and Onehunga’s own SWIDT, who won two Tuis last year including Best Hip Hop Artist. JessB is also in the running for Breakthrough Artist of the Year.

We’re also celebrating the latest wave of New Zealand’s electronic artists, who push the boundaries of dance music in Aotearoa. The finalists for Best Electronic Artist this year are Arma Del Amor, Boycrush and Chores.

Other finalists include Kimbra (Three Best Solo Artist, The Edge Best Pop Artist), Troy Kingi (Te Māngai Pāho Best Māori Artist, Best Soul / R&B Artist), Katchafire (Te Māngai Pāho Best Māori Artist, Best Roots Artist), Mitch James (Vodafone Single of the Year), L.A.B. (Breakthrough Artist of the Year), Cairo Knife Fight (Best Rock Artist), Skinny Hobos (Best Rock Artist), Wax Chattels (Best Alternative Artist), Tomorrow People (Best Roots Artist), Israel Starr (Best Soul / R&B Artist), and Vince Harder (Best Soul / R&B Artist).

EFKS Te Atatu Junior Youth, Equippers Revolution, and Kane Adams are finalists for Best Worship Artist, while Eve de Castro Robinson, Henry Wong Doe, and Michael Houstoun have all been recognised as finalists for Best Classical Artist.

For the first time, all finalists are eligible for the Vodafone People’s Choice Award, which is announced at the 2018 Vodafone New Zealand Music Awards on 15 November. Voting for the Vodafone People’s Choice Award will be opening soon to the public.

Recorded Music New Zealand CEO Damian Vaughan says the success of Kiwi musicians across different genres is a reminder of New Zealand’s diverse, vibrant music scene.

“From rock and metal through to reggae, electronica, hip hop and funk, there’s so much diversity in the music being created by Aotearoa’s talented musicians at the moment,” says Vaughan.

“We’re proud of all recording artists in New Zealand who are taking charge of their own creativity and pushing the boundaries of what is Kiwi music is capable of.”

The recipients of the Vodafone Highest Selling Single, Highest Selling Album, NZ On Air Radio Airplay Record of the Year, Recorded Music NZ Legacy Award, and the International Achievement Award will also be announced at the 2018 Vodafone New Zealand Music Awards.



  1. Album of the Year
    Alien Weaponry –
    Julia Deans – We Light Fire
    Marlon Williams – Make Way For Love
    Six60 – Six60
    Tami Neilson – Sassafrass!
    Unknown Mortal Orchestra – Sex & Food
  2. Vodafone Single of the Year
    Drax Project – ‘Woke Up Late’
    Mitch James – ‘21’
    Robinson – ‘Nothing To Regret’
    Six60 – ‘Don’t Give It Up’
    Sons Of Zion – ‘Drift Away’
    Unknown Mortal Orchestra – ‘Hunnybee’
  3. Best Group
    Alien Weaponry –
    Drax Project – Noon
    Six60 – Six60
    Unknown Mortal Orchestra – Sex & Food
  4. THREE Best Solo Artist
    Julia Deans – We Light Fire
    Kimbra – Primal Heart
    Marlon Williams – Make Way For Love
    Tami Neilson – Sassafrass!
  5. Breakthrough Artist of the Year
    Drax Project
  6. Te Māngai Pāho Best Māori Artist
    Alien Weaponry
    Troy Kingi
  7. The Edge Best Pop Artist
    Drax Project
  8. Best Alternative Artist
    Marlon Williams
    Unknown Mortal Orchestra
    Wax Chattels
  9. Best Soul/RnB Artist
    Israel Starr
    Troy Kingi
    Vince Harder
  10. Best Hip Hop Artist
  11. Best Roots Artist
    Sons of Zion
    Tomorrow People
  12. Best Electronic Artist
    Arma Del Amor
  13. Best Rock Artist
    Alien Weaponry
    Cairo Knife Fight
    Skinny Hobos
  14. Best Worship Artist
    EFKS Te Atatu Junior Youth
    Equippers Revolution
    Kane Adams
  15. Best Classical Artist
    Eve de Castro Robinson
    Henry Wong Doe
    Michael Houstoun
  16. Vodafone People’s Choice Award
  17. Recorded Music NZ Legacy Award
  18. Vodafone Highest Selling Single
  19. Highest Selling Album
  20. NZ On Air Radio Airplay Record of the Year
  21. International Achievement


Additional Tuis presented in 2018

  • Best Pacific Album
    Winner: Ladi 6 – Royal Blue 3000 EP
    EFKS Te Atatu Junior Youth – Fa’afetai Le Atua
    Noah Slee – Otherland
    Sol3 MioA Very Merry Christmas
  • Best Country Artist
    Winner: Reb Fountain – Hopeful and Hopeless
    Lana Doublet – Beautiful Human
    Phil Doublet – Strength, Love, Music & Light
  • Best Folk Artist
    Albi & The Wolves – One Eye Open
    Reb Fountain – Little Arrows
    Candice Milner – Evergreen
  • Best Jazz Artist
    Winner: Umar Zakaria – Fearless Music
    Hayden Chisholm, Norman Meehan and Paul Dyne – Unwind
    Lucien Johnson – West of the Sun
  • Best Children’s Artist
    Winner: Levity Beet – My Best Friend Jake Is A Cyborg
    Chanelle & Friends – The Little Green Turtle And Other Songs For Kids
    Moe & Friends – The Moe Album
September 10, 2018 /

International music producers to front world class seminars in New Zealand

Producer Series returns as part of Recorded Music NZ Tui Music Series

The third New Zealand Music Producer Series will be held in Auckland from 30 October to 10 November.

Presented by Recorded Music New Zealand and curated by producer Greg Haver with support from NZ On Air, APRA AMCOS NZ, SAE Auckland and Auckland Council, the series brings internationally renowned producers and engineers to New Zealand to host public seminars at Auckland’s Roundhead Studio.

This year’s renowned visiting producers are Sylvia Massy (Tool, Red Hot Chilli Peppers, System Of A Down) and Gil Norton (Foo Fighters, Pixies, Throwing Muses, Belly, Jimmy Eat World), who will also be joined by New Zealand sound engineer and Tui winner Clint Murphy (Devilskin, Manic Street Preachers, Thunder, Melanie C).

Sylvia Massy began her career as part of the San Francisco alt-punk scene in the all-female band Revolver. In the late 1980’s she became engineer at Larrabee Sound in Los Angeles engineering for Prince, Paula Abdul, Big Daddy Kane, Seal and Aerosmith.

Her production work with the band Green Jello led her to produce the “Undertow” and “Opiate” albums for Tool. She then began work with producer Rick Rubin, which included System Of A Down, Smashing Pumpkins, Tom Petty and Johnny Cash.

After a stint at Sound City Studios she set up her own RadioStar studios in Weed, California. Massy now travels widely, holding seminars around the world to share her unusual techniques for manipulating sound.

This will be Massy’s first trip to New Zealand: “Visiting and participating in the NZ Music Producer Series is a dream come true,” she says.

Massy with be hosting a four-day production and engineering workshop from 7 to 10 November, along with an evening public seminar on 6 November.

Gil Norton started his career as an engineer at Liverpool’s Amazon Studios, he soon emerged as a world-class record producer, working with highly influential bands such as Pixies on their “Doolittle” and “Bossa Nova” albums, along with their label mates Throwing Muses and Belly.

His subsequent production for artists such as Counting Crows, Feeder, Dashboard Confessional, the Distillers and Jimmy Eat World cemented his reputation. Some of his most high-profile work came when he produced “The Colour and the Shape” and the Grammy award-winning “Echoes, Silence, Patience and Grace” for Foo Fighters.

“I’m truly excited to be coming back to New Zealand, it’s one of my favourite places on the planet and I know it’s filled with talented musicians, producers and engineers,” says Norton.

Clint Murphy is an award-winning producer, engineer and mixer who began his career as an engineer at York Street Studios in Auckland, working with both New Zealand and international artists and producers, securing a Vodafone NZ Music Award for his work on Blindspott’s self-titled album.

He has since had three further Tui nominations and won Best Engineer again in 2017 for Devilskin’s second album “Be Like The River”.

Currently based in the UK he’s become an in-demand engineer, mix engineer and songwriter, working with international acts Thunder, Melanie C, Chinaski, Codes and Trouble Gang. He also works developing new artists including Youth Club, Keir, Courts, Twin Wild and Moses.

“My very first studio work with Gil Norton in New Zealand was 18 years ago at the legendary York Street Studios, so when I was asked to work with him at the New Zealand Music Producer Series I jumped at the opportunity,” says Murphey.

Norton and Murphy will be hosting a four-day production workshop from 31 October to 3 November, along with an evening public seminar on the 30th October.

Applications for the New Zealand Music Producer Series are open from 6 September to 10 October.

Each seminar includes a three-day recording and one-day mixing workshop with the selected producer at Roundhead Studio and guaranteed attendance at the public seminars.

The cost for each four-day seminar is $600 plus GST. The cost of each mix-day only is $200 plus GST.


July 5, 2018 /

Official Hot40 Singles Chart to count down the fast-rising music stars

New music charts will reveal the hottest singles each week

The Official Top40 Singles Chart has provided the best overview of music popularity across New Zealand each week for more than 40 years now. However, as the musical landscape continues to evolve, so do the opportunities for a new interpretation of Kiwi music consumption habits.

As a result, Recorded Music NZ is launching the Official Hot40 Singles Chart today. The current Top40 is not going away and will continue to provide the traditional measure of the total sales and stream volume each week.

Meanwhile the new hot chart will reflect the ‘velocity’ of songs as they gain sales, increase streams and airplay, pick up new fans and show all the signs of being the hottest new tunes of the week, says Recorded Music NZ Chart Manager Paul Kennedy.

“The key question the Hot40 Chart seeks to answer is how many more fans are interested in a track this week compared to last week?

“To stay in this chart, artists will need to keep gaining new fans. A song will need to keep on growing every week, making it very difficult for anything to enjoy long chart runs.”

As a result, the Hot40 will be dynamic, with new releases likely to feature heavily.

The main Hot40 Singles Chart will also be joined by a version exclusive to New Zealand music – the NZ Hot20 – where all the same principles apply but will showcase only the freshest, fastest-moving Kiwi releases.

Winner of the 2017 Vodafone Highest Selling Single Tui Kings said the changes were exactly what was needed to keep people engaged with the charts.

“The new Hot40 and NZ Hot20 Charts will give us local artists another opportunity to be creative in our marketing to keep our tracks popping – and maybe encourage a little bit of friendly competition. I can’t wait to get a track on there!”

The upshot of this new methodology is that the Hot Charts will provide an alternative take on what’s happening on the music scene each week.

The brand new Hot40 Singles Chart will launch Friday 6 July on the Official Chart website www.nztop40.co.nz.

May 11, 2018 /

NZ Music Industry Economic Report 2016

2016 was a mixed year for the music industry in New Zealand. The key success story for the music industry in New Zealand is the growth in online streaming, which facilitated the second consecutive year of growth in total retail revenue. After a bumper year in 2015, live music returned to historical levels. 

In 2016, the music industry in New Zealand directly contributed $252 million to national gross domestic product (GDP) and the equivalent of 2,152 full time equivalent employees (FTEs). After accounting for multiplier effects, the music industry contributed a total of $543 million to national GDP and the equivalent of 4,697 full-time jobs. New Zealand generated content was responsible for approximately 26% to 28% of the direct impacts. 

Strengthening consumer preferences towards online consumption has grown the overall retail sector – but the challenge remains for the industry to accurately and adequately capture earnings from online music consumption. 

Click here to read the full report.

May 9, 2018 /

Recorded Music NZ Annual Report 2017

Recorded Music NZ Annual Report 2013

The Recorded Music New Zealand 2017 annual report is now available and we are pleased to report that we met our 2017 strategic goals across our three core divisions: maximising our collective licensing revenue, delivering world class services to membership and protecting and promoting music via our ProMusic activities.

We managed to grow our collective licensing income again in 2017 and we will pay out a record distribution of $11.5m in royalties to our members this year. Our membership continues to grow and the number of New Zealand recording artists registered in the Direct-to-Artist royalty scheme now comprises of more than 2,850 kiwi artists. The industry is also on a positive trajectory with another year of double digit growth driven by the rapid adoption and use of music streaming services.

We are certainly optimistic about the coming year and the opportunities ahead but a key focus will be to ensure that copyright, as the foundation to the earning of a fair return on creativity for recording artists and record companies, is front and centre with our legislators as we proceed through the review of the New Zealand copyright act.

Click here to view and/or download the full report: RecordedMusicNZ_AnnualReport_2017

April 18, 2018


Streaming revenue grows by 41.6 per cent. Digital now accounts for more than 70 per cent of music consumption locally. For the third year in a row the New Zealand music industry has experienced double digit percentage growth with wholesale revenue growing by 14.6 per cent in 2017 to $98.8m, driven largely by New Zealand’s ever-increasing adoption and use of music streaming s...
February 16, 2018 /


In 2017, during the lead up to the General Election, Recorded Music NZ collaborated with APRA AMCOS and others in the industry to create a document that would give voice to the priorities of music creators in New Zealand and describe a vision for the future.

The resulting NZ Music Industry Manifesto is a tool for advocacy and a declaration of our shared goals – not only as a united and economically important business community, but also as an indispensable cultural community of individual creators. You can check out and download the full Manifesto here.