Spotify just released Spotify Wrapped, its annual end-of-year viral promoting effort. However, there was little to be enthusiastic about for New Zealand musicians.
Spotify Wrapped goals to reflect users' listening habits and show them probably the most listened to songs, artists, podcasts and more.
It's meant to be fun and lighthearted, but you don't must look closely on the 2025 list Top 100 streamed songs in Aotearoa It ought to be noted that only five New Zealand songs are included.
Global Korean-Kiwi superstar ROSÉ takes sixth place for her collaboration with Bruno Mars. SUITABLE (released 2024), followed by Crowded House's Don't dream that it's over (1986), Hori Shaws Back in my arms (2024), LAB's In the air (2019) and Te Wehis Not consciously (2024) in sixtieth, 72nd, 73rd and 78th place.
Kiwi Music was also apparently beaten by the KPop Demon Hunters soundtrack with six tracks in the highest 100 Spotify also doesn’t consider ROSÉ or Crowded House New Zealand artists.
Last yr, Spotify Wrapped achieved similar results to those of Corella Blue-eyed Māori It is the one Kiwi song to make it into the highest 50 songs streamed by New Zealanders.
The Wrapped results aren’t any surprise. New Zealand music accounted for just 3.8% of all streams in Aotearoa in FY2025a decline of 33.1% since 2021. And that despite being close Half of New Zealanders stream music dailywith Spotify being the preferred platform, targeting 35% of listeners.
Streaming is that too The primary way audiences discover latest music. In Australia, Spotify claims Customers can easily find local music there. But research from music rights management organization APRA AMCOS shows the share of Streaming of Australian content in Australia can also be declining.
The artist's visibility isn’t the one problem. Spotify has been criticized for this in recent times Compensation of artistsIt is “Hate content and hateful behavior policies” and for a program where artists Get discounted royalties to advertise your music in playlists.
In July it was reported that Spotify founder Daniel Ek was involved in major investments in a military AI company. And unlike other social media giants like TikTok and YouTube, Spotify doesn’t make consistent efforts to label AI contentdespite growing concerns from the industry concerning the use of AI in music.
Local artists fight to be heard
These controversies have prompted some high-profile international artists to achieve this remove their music from the platform.
Artists well-known in Aotearoa Tiki Taane and the bats have removed work from Spotify and the Basisgruppe Boycott Spotify NZ encourages other musicians to do the identical. Green MP Tamatha Paul has also made public these artists' decisions to remove their music from Spotify and leave the platform itself.
The low participation of local artists on Spotify Wrapped is a component of a bigger, worrying trend. New Zealand artists are less more likely to feature within the annual top 40 charts, and radio stations appear to play less local music, with only two national business stations Achieving the voluntary 20 percent goal in 2024.
As we've previously argued, the dearth of incentive for streaming platforms to advertise local music through their algorithmic discovery features gives established international artists an unfair advantage.
It's not nearly visibility and New Zealand's unique musical and cultural identity. The low share of streaming means less money is flowing into the local music industry, in accordance with probably the most recent data available only 9% of retail salesincluding streaming, is earned by New Zealand musicians.
Strategies for the streaming age
New Zealand has already taken steps to deal with market failures within the local music and broadcasting sectors. There are said to have been business channels within the Eighties lower than 2% local musicbut by the mid-2000s this value had risen to over 20%.
Researcher Michael Scott attributes this growth to deliberate government intervention that counterbalanced the newly deregulated broadcasting sector.
founded in 1989, New Zealand on air funded local content, but in addition not directly influenced transmission behavior by promoting local music on radio stations.
Much has modified since then and while NZ On Air has evolved to include facets of the digital environment, the plan for intervention on behalf of local audiences and artists stays rooted in a market from one other time.
Other countries are actively modernizing their policies. France And Canada have variations on a music streaming levy that puts a reimbursement into opportunities and outcomes for his or her local sectors. Australia is grappling with similar problems in its screen industry and is requiring video streaming giants to take a financial stake within the industry.
While “Spotify Wrapped” is meant to offer customers with a fun approach to reflect on their final yr of listening, it is usually a reminder of how the present market – and our current interventions – could higher encourage audience engagement with local music.
As we watch other countries take motion, Aotearoa suffers from outdated laws that threatens the power of future generations to seek out their very own shihad, bic runga or supergroove.
