Twelve music organizations across New Zealand / Aotearoa have released a joint manifesto ahead of the 2026 election, calling for a national growth strategy that connects artist development, exports, copyright, education and touring infrastructure.
The coalition, led by Recorded Music NZ and developed with APRA AMCOS (Australasian Performing Right Association and Australasian Mechanical Copyright Owners Society) and the NZ Music Commission, announced the platform on August 26.
Economic case and policy demands
The manifesto states the sector contributed NZ$928 million to gross domestic product in 2024, while receiving less than 5% of government arts funding. It says “the music industry is not asking for handouts,” but wants a plan that reflects that national economic contribution.
A 2023 manifesto from the same three lead organizations sought a properly resourced, multiyear strategy and stronger routes to international success.
The new platform asks for music to be brought into the remit of the Ministry of Business, Innovation and Employment, recognized for its growth potential alongside screen and games, and supported by a tax rebate for businesses that develop and create music.
Financial requests include:
- NZ$2 million annually for regional touring
- NZ$3 million for organizations delivering professional development
- NZ$5 million for an export strategy, including expanded support through Outward Sound
The coalition also wants music represented in trade missions.
Venue, education and AI proposals
The document calls for venue support and changes to noise and liquor-licensing rules. It also seeks at least one New Zealand support act on international shows and tours, investment in Māori-led music creation and development, and better-resourced music education.
On artificial intelligence, the manifesto opposes new copyright exceptions for training and seeks transparency about training material.
Industry voices and government precedent
Recorded Music NZ CEO Jo Oliver described a growing market in which local artists still struggle to secure their share. Country artist Kaylee Bell said her touring overheads had roughly doubled over three years, while travelling with a team of at least 20 New Zealanders. She credited opening for Ed Sheeran with transforming her career.
The Beths’ Jonathan Pearce put the venue problem plainly: “Enterprise.” A venue is somewhere to gather, certainly. It is also somewhere musicians work, technicians earn and artists learn whether an audience actually wants what they’re making.
Government investment in music is not without precedent. In June, the government highlighted support for Post Malone’s New Zealand concert through its Events Attraction Package, pointing to the economic benefits of major performances.
The coalition argues that if bringing international stars into New Zealand is economic development, building careers for New Zealand artists should be treated the same way. These remain industry proposals, not a newly approved government package.
