Thursday 23 April, 2026

Music Data & Insights Summit 2026

Speaker Bios

Day One - Monday May 18

Supporting First Nations-Led Music Business

Kaleena Smith, First Nations Development Manager, MusicNSW

Kaleena has been in the music industry for nearly 30 years as a vocalist/songwriter/performer with Stiff Gins. She is Wiradjuri/Yorta Yorta, originally from Naarm, on Wurundjeri Country, and has lived most of her life on Gadigal land. As First Nations Development Manager, Kaleena provides direct support to NSW-based First Nations creatives and connects them to opportunities and resources that will help sustain their music endeavours.

Robert C. Bundle, CEO of Songlines Music Aboriginal Corporation

I have been playing and writing music for many years, and my name is Robert C. Bundle, also known as Robbie to most who know me. I have been playing music in bands for over forty years across a few styles. A bit of blues, and country hard rock, but these days it's just a simple kind of attitude,…plus also a conscientious approach to song writing and talking up about the rights of our people and other cultures all over the world, the hard road faced by a lot of our mob.

I have played at many festivals over the years and have taken our story to the mainstream, and anybody willing to listen to the story of Australia’s first peoples. My intention for the future is to highlight the struggle of our people who are still living in adverse conditions of poverty in circumstances that should never be happening,…and by doing so with a gentle hand and a simple approach. My original songs are a reflection of the times in which we are living, and I play my music for the love of it, but more importantly, I have something very important to say to the masses that want to listen in an ever-evolving and quickly changing World. I have also played with many and met many Music Artists, luminaries, and I am still playing and working in the Music Industry as CEO of Songlines Music Aboriginal Corporation.

Why Is Gender Still An Issue in Australian Music?

Associate Professor Catherine Strong, RMIT

Cath Strong is a researcher in the Music Industry Program at RMIT University and a founding member of MIRC. She has published extensively on issues of creative justice in music.Freya Linke-LangleyFreya Linke-Langley is an early career researcher and PhD Candidate at the Centre for Social and Cultural Research at Griffith University (Magandjin/Brisbane). Her doctoral research explores women and gender-diverse people’s participation and experiences in local, grassroots music scenes in Australia, with a focus on gender inequality, under-representation and safety.

Jeri Karmelic 

Jeri is a PhD Candidate at RMIT University. Her research focuses on women and gender-diverse instrumentalists in Melbourne music scenes, as well as broader issues relating to gender in the music industry.

Hannah Fairlamb

Hannah Fairlamb is a final year PhD candidate looking into the relationship between grassroots music-focused gender equality interventions and DIY music scenes in Australia. Prior to her candidacy, Hannah worked in social and gender policy in the South Australian public sector for almost ten years, and has played music (solo and in bands) for over 20 years. In 2018, Hannah was part of the founding team that created the Adelaide (South Australia) chapter of feminist community music not-for-profit Girls Rock! and was a co-director for four years before moving to Melbourne. Now moving into academia, Hannah's research interests focus on gender, feminism and activism in Australian music scenes.

Freya Linke-Langley

Freya Linke-Langley is an early career researcher and PhD Candidate at the Centre for Social and Cultural Research at Griffith University (Magandjin/Brisbane). Her doctoral research explores women and gender-diverse people’s participation and experiences in local, grassroots music scenes in Australia, with a focus on gender inequality, under-representation and safety.

Hiding in Plain Sight: The Economic & Cultural Contribution…

Professor Shane Homan, Monash University

Shane Homan is an Associate Professor in Media and Cultural Industries in the School of Media, Film and Journalism at Monash University. His most recent publications are Interrogating Popular Music and the City (Routledge, 2024); the Bloomsbury Handbook of Popular Music Policy (2022); and co-author of Music City Melbourne: Urban Culture, History and Policy (Bloomsbury, 2021). 

Professor Susan Forde, Griffith University

Susan Forde is Professor of Journalism at Griffith University, Australia. Her work focuses on community and alternative media forms, and the relationship between social movements and media. She is on the Editorial Board of the public portal for academic research, The Conversation, and worked as a journalist in mainstream and alternative/community media sectors before joining academia.Kristen PatersonKristen manages PBS 106.7FM, Melbourne's specialist music community radio station. With a 20-year career across programming, events and management in music and community radio, she studied media and journalism and played in DIY bands along the way. At MDIS she will explore what radio's role in breaking artists and supporting Australian music actually looks like in an era of fragmenting audiences and shifting platforms. Originally from Aotearoa, she has been based in Melbourne for four years.

The Future of Radio as a Discovery Tool

Lance Cheney (ChillCheney)

Radio broadcasting is one of the most important pieces of Australia’s cultural infrastructure, holding a special place in the broader radio ecosystem with its focus on discovery, community and diversity.

Lachlan Macara, Head of Triple J & Double J

Lachlan Macara is a content executive with almost 20 years of experience in youth & music media. After starting his career as an 18yo work experience kid at triple j, Lachlan’s career has come full circle to land him in his current post as Head of triple j & Double J. In the time in between, he has worked in Karratha for the ABC, UK for BBC Radio 1, Executive Produced triple j Unearthed, and led the award-winning UK production charity, National Prison Radio. His current role combines his passion for Australian music with his keenness to help young people find an audience for their creativity.

Kristen Paterson, Station Manager, PBS

Kristen manages PBS 106.7FM, Melbourne's specialist music community radio station. With a 20-year career across programming, events and management in music and community radio, she studied media and journalism and played in DIY bands along the way. At MDIS she will explore what radio's role in breaking artists and supporting Australian music actually looks like in an era of fragmenting audiences and shifting platforms. Originally from Aotearoa, she has been based in Melbourne for four years.

Dave Houchin, Station Manager, 3RRR

Station Manager at Melbourne's 3RRR, and a Non Executive Director at the Community Broadcasting Association of Australia, Dave has 20+ years of experience working with community radio stations since first starting as a volunteer music presenter.  A not-for-profit CEO and Director since 2007; he is a graduate of the Australian Institute of Company Directors, and holds bachelors degrees in commerce and arts. Dave is passionate about not-for-profits, independent media, music, arts, culture, education, community engagement, and public spaces.

Short Term Plays Could Kill the Music Industry

Chris Carey, Founder, FFWD Group

Chris is an entrepreneur, strategist and thought leader, and the founder of FastForward (FFWD). Chris Carey has a range of consulting services he offers, ranging from Big Data analysis, survey design and delivery, economic impact assessments and strategic data consultancy. Past clients include Sony Music, Spotify, The O2 Arena, Warner Music Group, Sony Music Publishing, and Hignosis Music.

Chris is a data specialist with past roles as Senior Economist at PRS for Music, Global Insight Director for EMI and Universal Music, and most recently as Chief Economist for UK live music trade body LIVE. 

Chris also offers one on one coaching for CEOs and entrepreneurs. He is a mentor for Abbey Road Red and also works as a non-executive director for Creventa.

The Social Media Ban: Disruption or Reset?

Marlen Hüllbrock, Director of Marketing & Strategy, Music Ally

Marlen is the Director of Marketing & Strategy at Music Ally, a well-respected insights company for the global music industry. In her role, she works across various areas of the business - including marketing services for artist teams, training around digital skills and strategies and events. Her key focus is to help keep the industry abreast of new strategies, trends and innovation relating to digital and music marketing, and to help artists and their teams execute them. She has worked with a range of industry clients from major labels, indie labels, music tech companies, managers and artists. Before joining Music Ally, Marlen started her career within Universal Music’s brand partnerships department.

Paige X. Cho, Media Director, BOLSTR Group

Paige X. Cho is a marketer curious about consumer psychology, advertising and data insights. She’s the Media Director at Bolster, an entertainment & culture marketing specialist agency in Melbourne, Australia. Clients include Splendour In The Grass, Elton John, Adele, Sia, QOTSA, Flume, The xx, Tame Impala, Falls, Laneway, Beyond the Valley, Pitch, RISING, Let The Eat Cake and many more. 

Mardi Caught, Founder, The Annex

Mardi Caught brings decades of global and domestic industry experience, holding senior executive roles at Warner, EMI, and Sony in Australia and the UK. In the early 2000s, she served as Vice President of Talent and Music at MTV UK, where she also judged the Mercury Music Prize and BBC Sound of 2006. In 2018, Mardi founded The Annex, with the business core values to focus on artist development, alongside empowering industry professionals behind the scenes. The Annex has since led multiple #1 ARIA campaigns, secured Spotify RADAR and YouTube Foundry placements and won accolades like Best Marketing Campaign (AIR, 2024) and Music Marketing Business of the Year (TMN Tinnies, 2021). Her untapped talent? Obscure Star Wars references.

Rose Riddell, Head of Content, Laneway

Rose Riddell is Head of Content at Laneway Festival, where she leads content and digital strategy across the festival’s Australia and New Zealand tour. Working closely across the wider marketing campaign, she focuses on engaging young audiences through social-first, platform-native storytelling. Her work has helped drive culturally relevant campaigns that translate into real-world impact, from audience growth to sold-out shows.

Ixaras

Ixaras doesn’t perform - she detonates. A live wire of punk grit and pop instinct, she’s electric, unfiltered, and unapologetic. Her music is messy, real, and impossible to ignore: a collision of raw emotion, razor-sharp lyrics, and chaotic hooks that map the confusion, love, and rebellion of growing up in a hyperconnected world. She doesn’t just make songs - she gives a voice to a generation that refuses to sit quietly.

Her rise is relentless. Ixaras’ debut headline tour in July 2025 sold out Melbourne and Sydney in under three minutes, with a second Melbourne show instantly added. She’s ignited stages supporting Grinspoon, The Rions, Esha Tewari, Skegss, Aleksiah, and Tyne-James Organ, and left festival crowds in shambles at Spilt Milk, NYE On The Hill, The Great Escape, Sweet Relief, and Valley Fiesta. With an audience of over 70K, Ixaras isn’t just developing a fanbase - she’s leading a movement, and she’s just getting started.Jamison Kehl Jamison is a musician, producer and creative industry professional, currently the Youth Lead (Training and Operations) at The Push. Originally from regional South East Queensland, she works across songwriting, performance, community engagement and workshop development and is passionate about creating pathways for young people into the creative industries.

The Push’s National Plan for Young Australians and Music

Abby Flett, Content and Communications Lead, The Push

As Content and Communications Youth Lead at The Push, Abby works across all things communications to amplify young voices, build culture, and create impactful content to ensure every young person can participate and thrive in Australian music.

Jamison Kehl, Youth Lead (Training & Operations), The Push

Jamison is a musician, producer and creative industry professional, currently the Youth Lead (Training and Operations) at The Push. Originally from regional South East Queensland, she works across songwriting, performance, community engagement and workshop development and is passionate about creating pathways for young people into the creative industries.

Data-Driven Insights for the Industry

Matthew Rogers, Chief Commercial Officer, GYRO.Group

GYRO.Group is a connected ecosystem of music distribution and artist services brands built for independent artists and labels who want premium support at every stage of their career - from debut to superstar. The GYRO.Group family includes G.Y.R.O., DistroDirect, GROUP SPEED and Soothe Sounds, with each brand purpose-built to meet artists and labels wherever they are. Headquartered in Brisbane with offices across Australia, the USA, UK, Canada, Brazil, the Philippines, the group combines genuine local knowledge with the reach and infrastructure of a global operation. Artists using GYRO.Group services have won ARIA Awards, earned Grammy nominations, achieved #1 albums, and secured global chart success.

Sarah Hamilton, Founder, Golden Hour

Sarah Hamilton has been working in digital distribution and the online music space since its inception in Australia in the mid 2000s, and was the Regional Manager of Australia and New Zealand for Ditto Music for close to ten years. She loves helping independent artists gain access to opportunities, understand the digital world, and promote their music internationally. Sarah is also a co-founder of the charity One of One, which highlights women and non-binary people working within the music industry.

Sarah has been listed in The Music’s Power 50 list of influential people in the Australian music industry twice, and was also awarded the Music Victoria inaugural award for an Outstanding Woman in Music for her work with One of One. She has recently launched her music consulting company Golden Hour, and is working with people and artists she loves.

Louis Parkinson, Artist Development Manager, Xelon

Louis is the Artist Development Manager at independent Melbourne based global distributor Xelon, helping sign, develop, and pitch local and international artists, alongside managing key client and industry partnerships. Before this, Louis was the Content & Programming Lead Editor at TikTok Music AU, having originally started in community radio as a presenter and Music Director at SYN, and presenter and board member at Edge Radio.

Keynote - Data is the New Oil

Dean Ormston, Chief Executive, APRA AMCOS

Dean Ormston is the Chief Executive of APRA AMCOS, Australia and New Zealand’s largest music industry organisation with over 124,000 songwriter, composer and music publisher members. 

Dean has worked with APRA AMCOS for over 20 years and across all key areas of the organisation. He has led advocacy with Federal and State Governments for the recognition and support of creators’ rights and the potential of the local music industry as a key economic and cultural asset that drives exports and educational outcomes across the country.  Dean and APRA AMCOS coordinated and led cross-sector advocacy during the COVID pandemic, articulating the cultural, social and economic importance of the contemporary music industry as well as the proposal to establish Music Australia, and the moon-shot opportunity for Australia to become a net-exporter of music. 

Under Dean’s leadership, APRA AMCOS has led industry and government co-investment strategies working to develop highly regarded capacity building programs, most notably the National Aboriginal and Torres Strait Islander Music Office, SongMakers songwriting program in schools, the Live Music Office to review the impact of policy frameworks and government regulation on the live music sector, SongHubs curated songwriting intensives and the internationally renowned music export program Sounds Australia. He is a driving voice on the importance of local content across all media, the opportunity and threat of AI to creative industries, and the call for a national catalyst to revitalise the live music sector in the form of tax-offsets for live music venues. 

Dean and APRA AMCOS continue to be a leading voice in industry discussions addressing gender equity, safety, diversity and inclusion in the Australian contemporary music industry.

Day Two - Tuesday May 19

Cultural Power is Political Power

Kate Ben-Tovim, Founding Director, Turning World

Kate is a curator, producer and cultural diplomacy specialist. She is driven by the power of culture to increase empathy and understanding between people and nations. During her 20+ years in the arts, Kate has worked with artists, cultural institutions and governments in Indonesia, India, China, PNG, the UK and throughout Australia. Kate has played a founding role in some of Australia’s most innovative cultural projects, including Asia TOPA (founding Associate Director- 2017 & 2020), Oz Fest India, Asia Pop Fest, PASIFIX and The Black Arm Band. Her boutique cultural agency, Turning World, provides advice to every level of Government, regularly collaborating with DFAT on cultural diplomacy initiatives and with major international events, including the London Olympics and the GC Commonwealth Games. 

Kate recently completed a Churchill Fellowship researching international best practice in soft power. She is a Sidney Myer Creative Fellow, and her work has received multiple Helpmann and Greenroom Awards. 

AI and the Future of the Australian Music Industries

Dr Sophie Freeman, RMIT/ University of Melbourne

Sophie Freeman is an interdisciplinary researcher in the School of Computing and Information Systems at the University of Melbourne, focusing on music streaming platforms and the impacts of AI and algorithmic systems on the economic and cultural conditions for Australian musicians and listeners.Associate Professor Jake GoldenfeinJake Goldenfein is a law and technology scholar at Melbourne Law School and an Chief Investigator in the ARC Centre of Excellence for Automated Decision-Making and Society. Prior to his appointment at MLS he was a Postdoctoral Research Fellow at the Digital Life Initiative at Cornell Tech, Cornell University. Jake studies platform regulation, data governance, digital surveillance, and the governance of automated decision-making. Jake's first monograph 'Monitoring Laws' was published with Cambridge University Press in 2019, and his current work explores the ways law constructs the data economy, digital surveillance including facial recognition, and tools for governing automated decision-making like a 'human in the loop' and AI explanations.

Associate Professor Jake Goldenfein, Melbourne Law School

Jake Goldenfein is a law and technology scholar at Melbourne Law School and a Chief Investigator in the ARC Centre of Excellence for Automated Decision-Making and Society. Before his appointment at MLS he was a Postdoctoral Research Fellow at the Digital Life Initiative at Cornell Tech, Cornell University. Jake studies platform regulation, data governance, digital surveillance, and the governance of automated decision-making. Jake's first monograph 'Monitoring Laws' was published with Cambridge University Press in 2019, and his current work explores the ways law constructs the data economy, digital surveillance including facial recognition, and tools for governing automated decision-making like a 'human in the loop' and AI explanations.

Music Tech Australia: Data, Discovery and the Future of Australian Music

Merida Sussex, Founder, MetaGen

Merida Sussex is the founder of MetaGen, a global initiative advancing data sovereignty in the creative industries, with a particular focus on music metadata and ensuring artists are paid fairly, quickly and transparently. As an artist (The Paradise Motel) and founder of Stolen Recordings — an award-winning independent record label established in London in 2005 — she brings lived experience to questions of creative ownership and rights.

Merida has served two terms on the boards of the Association of Independent Music (UK) and the Merlin Network. Currently, she is a member of the UK Intellectual Property Office's Data Expert Working Group and sits on the WIPO AI Infrastructure Interface TEN Group. Her work sits at the intersection of policy, technology and the music industry, advocating for systems that give creators meaningful control over their work and their data.

Nick Thorpe, Founder, Live Music Locator

Nick is the founder of the Live Music Locator software platform and a working musician. He draws on 20+ years across software delivery and 40 years in the music industry. Leading people and teams has been his throughline — including 12 years at Thoughtworks as Principal Consultant, Head of People for Australia, plus earlier stints scaling software delivery at Lonely Planet, lecturing at RMIT, and founding Digerati, a serial startup. He specialises in large-scale software delivery and in teaching the essential soft skills we need to collaborate productively.

Dr. Andrew Cullen, CTO, MetaGen

Dr Andrew Cullen is a senior researcher and consultant specialising in AI, a member of Music Technology Australia, and the Chief Technology Officer of MetaGen - a start up serving the music industry. As an advisor to the World Intellectual Property Organisation and the QUAD Leaders summit, he has significant experience in both technical solutions and governance frameworks. Sophie FreemanSophie Freeman is an interdisciplinary researcher in the School of Computing and Information Systems at the University of Melbourne, focusing on music streaming platforms and the impacts of AI and algorithmic systems on the economic and cultural conditions for Australian musicians and listeners.

Data After Dark – Unlocking Insights via Data Collaboration

Dr. Xiangyi Kong, Associate Director Data & Research, Data After Dark

Xiangyi is an economist dedicated to leveraging contemporary economic theories and models to help the government foster a more prosperous economy for all, driving positive change across diverse communities.

With over 15 years of experience spanning industry, academia, and the public sector, Xiangyi has developed deep expertise in complex data integration, visualisation, and analysis. He excels at transforming data into actionable insights, enabling efficient communication, evidence-based policy-making, and cross-sector collaboration.

Currently, Xiangyi leads the Data After Dark project at the Office of the 24-Hour Economy Commissioner, where he oversees the development of a pioneering data platform designed to generate comprehensive, real-time insights into NSW’s night-time economy. The initiative integrates diverse datasets across government and private sector to build a shared, consistent understanding of economic activity after dark, supporting strategic planning and policy design.

Emily Collins, Head of Sound NSW

Emily Collins is a music industry specialist with extensive experience in strategy, policy, and program development. Prior to joining Sound NSW as Head of Sound NSW, Emily was the Managing Director of MusicNSW for eight years, where she led initiatives to strengthen and support the contemporary music sector across the state.

Emily began her career in the arts and music industries, working across a range of organisations in marketing and leadership roles. She is a long‑standing advocate for the NSW music industry and continues to support artists, businesses and organisations through her work with Sound NSW.

A Barometer, not a Scorecard

Bron Adams, Morph Consulting | Live and Local Program Manager

Bron Adams is an Urban and Creative Strategist with over 20 years' experience at the intersection of design, research, and project delivery. She currently wears two hats: Program Manager at the Live Music Office, and is a co-director of Morph Consulting, where she partners with local governments to develop music sector plans and creative strategies.

Her career spans urban planning, live music, academia, and government advocacy. Bron has led social enterprise-driven renewal projects, managed major cultural events and music festivals, and developed a wide range of creative industry programs. She also contributes to sector development, including the MusicVic Policy and Regulation Subcommittee, NSW Govt 24-Hour Economy Advisory Council, and the Sunshine Coast Creative Alliance.

Why Music Matters for the Australian Games Industry

Professor Dan Golding, Monash University

Dan Golding is Professor of Media at Monash University. As a presenter, he is the host of ABC Classic's weekly Screen Sounds program and co-hosts the Art of the Score concert series, which is currently engaged by every Australian state orchestra. As a composer, he created the soundtrack for the BAFTA and ARIA nominated Untitled Goose Game, as well as Mars First Logistics and the Frog Detective series.Cameron LamCameron Lam is a Melbourne-based composer, obsessive dabbler, excitable research nerd, and joyful collaborator. He creates music-based works that connect multiple artforms (and hopefully multiple humans) with his production company/record label Kammerklang and on other freelance projects. They are also a passionate curator and champion of the Australian art music community, running the Australian Art Music playlist and Guide to Australian Composers with Limelight, and writing the Sound Fair? Report on commissioning practices in partnership with Music Australia & Creative Australia.

Sound Fair? - On Listening, then Acting

Cameron Lam, Musician & Researcher

Cameron Lam is a Melbourne-based composer, obsessive dabbler, excitable research nerd, and joyful collaborator. He creates music-based works that connect multiple artforms (and hopefully multiple humans) with his production company/record label Kammerklang and on other freelance projects.They are also a passionate curator and champion of the Australian art music community, running the Australian Art Music playlist and Guide to Australian Composers with Limelight, and writing the Sound Fair? Report on commissioning practices in partnership with Music Australia & Creative Australia.

Qualification Trends and Occupational Shortages

Rachel Simoons, Research & Analysis Manager, SaCSA

Rachel Simoons is a Research & Analysis Manager at Service and Creative Skills Australia (SaCSA), with responsibility for the arts and creative industry. Rachel has over 25 years of experience in research and is a specialist in the arts and cultural sectors. Prior to SaCSA, Rachel was Research & Evaluation Manager at Creative Australia and Director, Research & Knowledge at Arts Council England. She has led research projects on topics including employment and career patterns, quantifying the wellbeing impact of arts engagement, the economics of the arts and new business models, and forecasting and future visioning for the cultural sector. Rachel brings to her role lived experience as an arts practitioner. In 2023, she completed a fine arts degree at RMIT in Melbourne. She was included in the Craft Victoria Fresh! The 2024 exhibition, which profiles top craft, design and fine art graduates of the year. 

Bronwyn Coulston, Stakeholder Engagement Manager - Arts, SaCSA

Bronwyn Coulston is the Stakeholder Engagement Manager — Arts at Service and Creative Skills Australia (SaCSA). Bronwyn brings over 20 years of experience as an Arts Manager and professional, working across both metro and regional arts organisations.

Before joining SaCSA, Bronwyn was the Director at the Shoalhaven Regional Gallery. During her time at the gallery, Bronwyn delivered a range of initiatives to support community engagement with arts and culture, including major public art projects, supporting the establishment of a regional arts development office in the Shoalhaven area and the delivery of a collection digitisation project across five volunteer museums in the Shoalhaven.

Since joining SaCSA, Bronwyn has been crucial in leading key Arts workforce initiatives, including the Creative Workforce Scoping Study, which is a groundbreaking piece of research that provides critical insights into long-standing and emerging workforce challenges in Australia’s creative sector.

Music Australia: The Bass Line 2

James McAtamney, Managing Director, McAtamney & Advisors

James is an actuary and musician. He is the Founder and Managing Director of McAtamney & Advisors and Principal of Vanguard Overwatch, bringing 15 years’ experience and a rare mix of analytical and creative skills to complex commercial problems across industries. James has advised extensively on strategic, economic, public policy, regulatory, commercial, and operational matters across industry sectors, including in the arts and wider creative economy. Clients trust him for sound judgement under uncertainty, candour, and the ability to connect diverse insights and perspectives into new opportunities.

Kate Murray,Managing Director, Kingfisher & Co.

With extensive experience across government and the private sector, spanning the creative industries, economic development, infrastructure, and community sectors, Kate brings a perspective that is equal parts strategic and practical. Founder of Kingfisher & Co. and Principal of McAtamney Advisors, Kate works as a strategic adviser on industry analysis, organisational strategy, policy, governance and impact.

Millie Millgate, Director, Music Australia

Millie started her career as a venue booker for Macquarie University, followed by iconic live music venues – the Annandale and the Hopetoun Hotels. She spent a decade working in artist management and has also held executive positions with the Association of Artists Managers and as Creative Director for MusicNSW. Spending close to 15 years as the Executive Producer for Sounds Australia, Millgate has been instrumental in shaping Australia’s modern export footprint. In 2023, Millie was appointed as the inaugural Director of Music Australia, charged with standing up and leading the dedicated new body within Creative Australia, announced as part of the National Cultural Policy, to support and invest in the Australian contemporary music industry.