The way we consume music has changed dramatically in the past decades, with streaming platforms like Spotify and Apple Music reigning supreme. But as the cracks in their revenue models become impossible to ignore, artists worldwide are questioning whether the system works for them—or just for the tech giants behind it. For musicians in Aotearoa, where creativity thrives but financial resources are often stretched thin, this global conversation hits close to home. Could the dissatisfaction with streaming signal a chance for change, or will it leave Kiwi artists navigating an even murkier industry?

Streaming: The opportunity cost

Streaming has undeniably reshaped the music industry. It has allowed emerging Kiwi artists to reach global audiences, bypassing traditional gatekeepers like radio and record labels. But the promise of financial sustainability has not materialised for most. The stark reality is that the vast majority of streams translate to only minuscule payouts. For independent musicians—the question arises: Is streaming more a tool for exposure than a livelihood?

With the rise of artists speaking out, does this signal a shift in how we view streaming? If global superstars feel shortchanged, what chance do emerging acts have of creating sustainable careers?

Alternative revenue streams?

For local artists, diversification has always been key. Live performances, merchandise, and crowdfunding platforms like Patreon have become lifelines. But is this enough? Could we see a return to more direct-to-fan models that bypass streaming entirely? Bandcamp, for example, offers a more equitable split—but it lacks the algorithmic discovery power of Spotify.

This leads to another question: does the issue lie with the streaming model itself, or how it’s structured? For New Zealand musicians, would a regional streaming platform tailored to local artists offer a more sustainable model? Or would this simply fracture an already competitive market?

Changing the rules

Another point raised in the article is the potential for policy intervention. In New Zealand, government bodies like NZ On Air already provide funding and promotional support for Kiwi music. Could these organisations also push for changes to how streaming revenues are distributed? Or perhaps incentivise platforms to prioritise local content?

Disrupt or be disrupted

The dissatisfaction with streaming is clear, but the path forward is murky. For artists in Aotearoa, the question is not just how to adapt but how to innovate. Should we rethink what success looks like in this era of music consumption? Is there a unique solution waiting to emerge that can address these challenges head-on?

The global music industry might be facing a reckoning, but it’s also an opportunity—a chance to redefine fairness and sustainability for artists. For New Zealand’s musicians, the next steps could determine whether the promise of a thriving music scene becomes a reality or remains an aspiration.

What do you think? Is streaming salvageable, or should we be exploring new horizons entirely? Let’s start the kōrero.

Reference: https://www.bbc.com/news/articles/cg7rl3z3jmzo