The event saw five incredible Australian artists join acts from the UK and Canada in partnership with our friends at British Underground and CIMA.

Austin Mackay, Azure Ryder, The Dreggs, Felicity Dowd and Ian Moss were on the lineup, joined by our host for the day, Henry Wagons.

You can learn more about all the artists who performed on our Americanfest 2026 page.

The event followed four days of activity for the Australians in attendance, including the annual Country Connections networking event, and a visit to Jack White’s iconic Third Man Records studios and The Blue Room venue.

Scroll down to see the artists in action, with photos by Jackson James, as well as a taste of our other activities while in Nashville.

Whether you’re a musician, manager, venue operator, educator, promoter, label, publisher, technician, agent, producer, festival worker, or part of the broader music ecosystem, your contribution helps build the most complete picture of our industry.

Even if you’ve completed The Bass Line survey in the past, it’s important that you take part again this year.

The music industry is constantly evolving, and annual participation helps Music Australia track changes, identify emerging trends, and ensure the data reflects the realities of the sector today.

To complete The Bass Line survey, head to this website.

What is The Bass Line?
The Bass Line is the first nationally consistent analysis of the economic contribution of Australia’s music industry. It provides critical evidence about the size, value and impact of music across the country, informing industry advocacy, policy development and future investment.

The Bass Line 2nd edition was published in May 2026 and found that in the previous financial year, the Australian music industry:
• generated $10.76 billion in revenue
• contributed $4.28 billion in direct gross value added (GVA) to the Australian economy
• delivered $1.08 billion in music export revenue.

These findings were only possible because more than 1,000 individuals and businesses shared their experiences and data.

Now, Music Australia is inviting all musicians, music businesses and music workers to contribute to The Bass Line Survey – Edition 3, covering the period from July 2025 to June 2026 (FY2025-26).

This project can only succeed with broad industry participation.

Every response helps ensure the results accurately represent the diverse experiences of people working across Australia’s music industry, from established businesses to emerging practitioners, and from metropolitan centres to regional and remote communities.

The core survey should take approximately 5-10 minutes to complete, although it may take a little longer for those working across multiple areas of the industry.

You’ll also have the opportunity to answer additional questions if you have time.

The survey is anonymous and confidential, and you will not be asked to provide your name.

Big Wett
Cosmo’s Midnight
Day We Ran
HEADSEND
Jack Gray
Jamaica Moana
Lucky
Pamela
Playlunch
REDD.
Sex Mask
South Summit

Entry is for Reeperbahn Festival ticket-holders only. Doors open at 11:30 and performances will run until 18:00. For set times, and information about each of the Australian acts showcasing at this year’s festival, head to our Reeperbahn Festival page.

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We started August with a series of workshops focused on the Indonesian music market. Partnering with YouTube Music, and with the support of the ASEAN-Australia Centre, we welcomed into the country Mikael Aldo, YouTube Music Lead For Indonesia, and Sun Eater Group Director Kukuh Arfianto. These workshops took place at AIR Indie-Con in Adelaide along with Sydney and Melbourne.

Shortly after we bid farewell to our friends from Indonesia, we took LA-based music supervisor Joel C. High from creative control to the NIMAs in Darwin, where he got to experience some of Australia’s best Aboriginal and Torres Strait Islander talent. As well as the NIMAs, Joel met with industry and artists in Darwin, Sydney and Melbourne, where he also attended the opening of the Melbourne International Film Festival (MIFF).

Consistent with our broader strategy of strengthening connections between Australian music and the global screen sector, we partnered for a second time with MIFF to bring in an international delegation of supervisors who had worked on films screening at the festival. Alec Hanham, Jenn Moss, Libby Davitri and Mike Turner got to meet with Australian composers and publishers in Sydney and Melbourne, see MARA perform at Phoenix Central Park, experience the APRA Art Music Awards, and see a number of films at MIFF featuring Australian musical works.

Thank you to all the partners we collaborated with to make these inbound programs happen, and of course all the international guests who trusted us enough to jump on long-haul flights and come and immerse themselves so fully and wholeheartedly in the Australian music scene.

Here are a few photos from last month’s inbound programs. MIFF Awards photos by Tom Noble Creative, APRA Art Music Awards photo by RC Stills.

2.6 Seconds: Death in the Outback – Documentary series directed by Bundjalung filmmaker Darren Dale and produced by Blackfella Films.
Closing Night – Directed by Australian actor and filmmaker Cody Fern.
Elsinore – British production, directed by acclaimed Australian theatre and film director Simon Stone.
Future Tense – South African-Australian eco-thriller directed by Jenna Cato Bass.
God Bless You, Mr Kopu – New Zealand-Australian comedy thriller directed by Tongan-New Zealand director Alex Liu.
Girl Group – Written, directed by, and starring Australian comedy icon Rebel Wilson.
Kick On – Directed by Australia’s Nick Kozakis.
Prima Facie – Australian-UK co-production, Directed by Susanna White.
Tenzing – Directed by Australian mountaineer and filmmaker Jennifer Peedom.
When the Ground Paused – Part of the short film program, directed by Australia’s Jess Barclay Lawton.

Amongst this lineup are seven Australian composers whose works are featured in the films:

Brian James Kruger – composer of God Bless You, Mr Kopu

Brian James Kruger is a multi-instrumentalist artist who effortlessly combines modern electronic mixing and beat making techniques with classical performance practices. His unique approach has left a lasting impact on the worlds of film and contemporary music composition.

Over the years Brian has been guest Concertmaster of The Perth Symphony Orchestra and Australian Baroque, both high level professional orchestras. He’s scored music for advertisements, documentaries, short films, and last year his first feature film.

Brian has won both West Australian Music Industry awards and the Martin Simms awards for his composition and performance contributions, and is widely regarded as one of the hardest working and highest quality of artists in his field.

Official Website: https://www.brianjameskruger.com/

Caitlin Yeo – Composer of the documentary series 2.6 Seconds: Death in the Outback

Caitlin Yeo is a multi award winning Australian screen composer with over 80 film and TV credits. She is well known for her bold and inventive scores including Every Little Thing (Sundance 2024), After The Party (TVNZ, ABC, UK Channel4), Bad Behaviour (Berlinale 2023), New Gold Mountain (SBS), Playing with Sharks: The Valerie Taylor Story (Disney+), David Stratton: A Cinematic Life (Festival de Cannes 2017, ABC), The Rocket (Tribeca winner 2013), and Danger Close: The Battle of Long Tan (Sydney Festival 2019).

Caitlin has won three AACTA awards (New Gold Mountain, Playing with Sharks, and The Dark Emu Story), 8 APRA AGSC Screen Music awards (including best feature twice for The Rocket (2013) and The Butterfly Tree (2017), 2 Film Critics Circle Awards, amongst many others. Caitlin’s music is often described as captivating, intuitive and emotional. She was the 2022 recipient of the prestigious Sydney UNESCO City of Film Award (an award that recognises a trailblazing screen practitioner whose work stands for innovation, imagination, and high impact), and the 2023 Australian Women’s Film Festival Groundbreaker Award. Both awards are a great honour for Caitlin as she is the only composer to have received them.

Official Website: https://www.caitlinyeo.com/

Gabriel Isaac Mounsey – co-composer for Kick On.

Gabriel Mounsey is an accomplished Film Composer, Mixer, Arranger, Music Editor, and Electronic Musician. Dual national of both Australia and Germany, he is largely based out of Los Angeles. Over his 2+ decade career he has contributed to over 50 film and tv|streaming series, and has released multiple electronic records under various guises. He has toured live and has mixed numerous albums.

Gabriel has been nominated for Best Film Score at the Deutscher Film Prize for Drei, Composed the score to the short film Open Heart which was nominated for Best Documentary short at the Academy Awards, was nominated for Outstanding Achievement in Sound Editing at the Golden Reel Awards for The Matrix Resurrections, and was nominated for best Original Score in Television at the 2025 AACTA Awards for Boy Swallows Universe. Gabriel is a frequent collaborator of directors Greg McLean, Tom Tykwer, and Lana Wachowski and composer Johnny Klimek.

Official Website: https://www.gmounsey.com/

Johnny Klimek – co-composer for Kick On.

Johnny Klimek is a fourth generation film composer, equally comfortable in the electronic studio and on the recording stage with Simon Rattle and the Berlin Philharmonic, as he was for Perfume: The Story of a Murderer. This dual-identity asserted itself again in the adaptation of Cloud Atlas (2012), on which Johnny teamed up with the Wachowski’s and his sturdiest collaborator, German auteur Tom Tykwer.

Official Website: https://waveproductionsandfilms.com/

Michael Yezerski – composer of Rebel Wilson’s Girl Group

Michael Yezerski is always looking for new musical languages to express the inexpressible. The result is music that is emotional, beautiful, intense, and surprising. His deep understanding of storytelling has led to assignments covering an impressive range, with the common thread being that all his scores function as vital, active participants in the films’ narratives.

Buddy, Casper Kelly’s 2026 Sundance opener, has garnered significant praise and attention including for Michael’s driving, multi-layered score. The film is a breakout hit at the US Box Office. Michael is known for bringing genuine emotion to his genre scores. He continues this tradition in 2026 with Rebel Wilson’s second feature, Girl Group (Toronto International Film Festival Gala Presentation 2026), a score that blends humor, with a moving emotional subtext. The same can be said of his score for Wilson’s first feature film, The Deb, which closed TIFF 2024.

Michael’s minimal, horrific atmospheres on The Devil’s Candy brought him international acclaim. That work led to a string of significant horror engagements, including Keith Thomas’ The Vigil, an episode of Guillermo del Toro’s Cabinet of Curiosities, and Sean Byrne’s Dangerous Animals. More recently, he has completed The Killings at Parrish Station and Claremont.

Official Website: https://michaelyezerski.com/

Stefan Gregory – composer of the film Elsinore

Stefan Gregory’s unusual background in theatre, rock ’n roll, and mathematics has helped forge his unique perspective on composition. His style ranges from orchestral to minimal electronic, from dirty electric guitars to delicate chamber instruments and voices.

His score for The Rooster, starring Hugo Weaving and Phoenix Raei, is created entirely using vocals. It won the 2024 APRA/AMCOS Screen Music Award for Best Soundtrack Album, and was also nominated for Feature Film Score Of The Year.

He has written music for many of the most esteemed theatre companies in the world, including: The National Theatre, The Young Vic, Barbican (London); Theatre Basel; L’Odeon (Paris); Brooklyn Academy of Music, The Armoury (New York); Schaubühne (Berlin); Burgtheater (Vienna); Salzburg Festival; International Theatre Amsterdam; Sydney Theatre Company, Belvoir St Theatre (Sydney). He has also been commissioned by the Australian Ballet, Queensland Opera and Powerhouse Museum. His music has won various awards, including an APRA/AMCOS Screen Music Award for Best Soundtrack Album, a Helpmann Award, Sydney Theatre Awards, OBIE, and he has been nominated for a Dramadesk, and an AACTA award.

He was a recipient of a Sidney Myer Creative Fellowship. During his brief stint as a rock guitarist in Faker, the band had a platinum single (This Heart Attack) and four ARIA award nominations.

Official Website: https://stefangregory.com.au/

Tiaryn Griggs – composer of the short film, When The Ground Paused.

Tiaryn is a versatile, transformative performer, with a voice that spans from the ethereal to the commanding. She is known for her signature blend of jazz, songwriting and a magnetic stage presence. Tiaryn has shared the stage with the likes of Sex On Toast, Killing Heidi, Clare Bowditch, Kathleen Halloran, 30/70, Kylie Auldist, The Vaudeville Smash, Meg Mac, Sampa The Great and many more, touring nationally and internationally, often stealing the show with her enigmatic solos and uninhibited dancing. Tiaryn has released three eclectic EPs and her Debut album Disco Dress in May, independently, devoted to the craft, she has been forging her sound and her place in the Australian music scene.

Tiaryn also created the score for a short film The Sweetness by filmmaker Jessica Barclay Lawton, a heartfelt film that was short-listed in the 2022 Sydney Film Festival. As a composer, Tiaryn channels her creativity through the piano, and crafts textures using a diverse array of hand percussion, drums, vibraphone, pedal steel, guitar, and bass to enrich each song. Tiaryn’s passion for surprising harmonic expression is deeply influenced by her jazz piano background, and serves as a musical symbol of her unwavering commitment to honesty, growth, and hope. Tiaryn has collaborated with several producers, writers, hip hop acts and musicians over the years, honing her craft. Emerging from the trials of the pandemic and significant personal upheavals, Tiaryn has harnessed her experiences to create a vibrant, raw, and defiant body of work. Mixing child-like magic with the sensibility of a powerhouse diva, this latest collection of songs explores profound truths, inviting the listener to connect and feel deeply.

Visit her website: https://www.tiarynmusic.com/

When The Ground Paused credits: Score producer Tiaryn Griggs. Improvised score performed by Julien Wilson and Melina Van Leeuwen.

Want to hear music from these composers, as well as the history of Australian films – and films from TIFF festivals in recent years?

Check out our TIFF 2026 playlist. More details on what’s on the playlist is below.

Music from TIFF 2026 Films & Composers:

“exit” by Boler Mani – Features in the TIFF 2026 film Kick On.

“I Went Home (featuring Sean Carey)” by Caitlin Yeo from the film Every Little Thing. Caitlin composed the TIFF 2026 mini-series 2.6 Seconds: Death In The Outback.

“Waiting for a God” by Tiaryn Griggs – A single from the composer of the short film When The Ground Paused.

“Mama Ma” by Stefan Gregory – From the National Theatre’s Phaedra. Gregory is the composer of the TIFF 2026 film Elsinore.

“Fall At Your Feet” by Michael Yezerski from The Black Balloon (TIFF 2008). Crowded House cover. Michael is the composer of the TIFF 2026 film Girl Group.

“Lawn Standoff” by Gabriel Mounsey and Johnny Klimek from Breaking In – Composers of the TIFF 2026 film Kick On.

“Meditation” by Caitlin Yeo from the film Guided by Horses. Caitlin composed the TIFF 2026 mini-series 2.6 Seconds: Death In The Outback.

“Jammin'” by Ardijah – Featured in the TIFF 2026 film God Bless You, Mr Kopu.

“In The Grass” by Stefan Gregory – From in the film Cottontail (2023). Stefan composed the TIFF 2026 film Elsinore.

“Cloud Atlas Finale” co-composed by Johnny Klimek for Cloud Atlas (TIFF 2012) – Co-composer of the TIFF 2026 film Kick On.

“Shark Kingdom” by Caitlin Yeo from the film Shark Kingdom (2025). Caitlin composed the TIFF 2026 mini-series 2.6 Seconds: Death In The Outback.

“The Glass Menagerie” by Stefan Gregory – From the production of the same name. Gregory is the composer of the TIFF 2026 film Elsinore.

“Safely” by Tiaryn Griggs – A single from the composer of the short film When The Ground Paused.

“AU Falcon” by Lavez – Features in the TIFF 2026 film Kick On.

“Kleo’s Revenge” by Johnny Klimek for the Netflix series Kleo – Co-composer of the TIFF 2026 film Kick On.

“Utopia” by Michael Yezerski from The Lost Thing. Michael is the composer of the TIFF 2026 film Girl Group.

“It’s Alright” by Kruger James – the project of the composer of God Bless You, Mr Kopu, Brian James Kruger.

Music from past TIFF Films, Composers and the history of Australian cinema:

“Vegas” by Antony Partos from the film Christy (TIFF 2025)

“The Worker” by Party Dozen, as featured in The Royal Hotel (TIFF 2023)

“Estranged” by Stevie Jean. Stevie starred in Rebel Wilson’s The Deb (TIFF 2024). This film was also composed by Michael Yezerski.

“Overture from Crocodile Dundee” by Peter Best from Crocodile Dundee (1986)

“Sparkling Diamonds” from Moulin Rouge (2001)

“Love is in the Air (Ballroom Mix)” by John Paul Young from Strictly Ballroom (TIFF 1992, People’s Choice Winner)

“The Road” by Nick Cave and Warren Ellis from the film The Road (TIFF 2009)

“This Heart Attack” by Faker, which featured in the 2008 film Hey Hey It’s Esther Blueburger. Stefan Gregory, the composer of Elsinore, was a member of this band.

“Somersault” by Decoder Ring from Somersault (TIFF 2004)

“What A Man” by Jessica Mauboy from The Sapphires (TIFF 2012)

“Don’t You Worry” by Electric Fields from Sweet As (TIFF 2022)

“The Day The World Stood Still” by Tina Arena & Australian Boys Choir from The Dish (TIFF 2000)

“Show Me The Way” by 18YOMAN ft. tiffi from Leviticus (2026)

“Crushed Velvet” by Molly Lewis. Molly is featured in the documentary Whistle (TIFF 2025)

“One Crowded Hour’ by Augie March, as featured in The Royal Hotel (TIFF 2023)

“Lazarus Drug” by Megan Washington, as featured in Bluey (Episode “The Sign”, 2024). Washington also composed music for The Deb (TIFF 2024)

“The Sheep Rustlers” by the Melbourne Symphony Orchestra from Babe (1995)

“These Days” by Powderfinger, featured in the film Two Hands (1999)

“Dinner Time” by Spiderbait, featured in the film Looking for Alibrandi (2000)

“The Dressmaker Closing Credits” by David Hirshfelder, from the film The Dressmaker (TIFF 2015)

“Don’t Fly Away (PNAU Remix)” by PNAU, Elvis Presley from the film Elvis (2022)

As Australia’s national music export office, we build pathways into global markets and create long-term trade outcomes for Australian music. Through showcases and trade missions, global networking, professional development, digital initiatives and inbound programs, we work to create sustainable export opportunities for Australian artists and the businesses that support them.

Australia is one of the world’s leading music-exporting nations. Alongside industries such as food, agriculture, wine and tourism, music is a powerful export, generating economic value, creating jobs, strengthening international relationships and sharing Australian voices and stories with the world.

This recognition belongs to the artists, managers, crew, labels, publishers, agents, venues, festivals and music businesses taking Australian music to the world, and to our partners across government and industry, Music Australia, APRA AMCOS, ARIA, PPCA, Sound NSW and the South Australian Music Development Office, whose support makes this work possible.

The Country Music Association has announced the finalists for three eligibility period-based categories of the 2026 CMA International Awards, recognising artists and broadcasters whose achievements during the eligibility period (May 1, 2025 through April 30, 2026) have contributed to the continued growth and reach of Country Music around the world.

There are Australian finalists in two of the categories:

INTERNATIONAL COUNTRY BROADCASTER AWARD 
Recognises outstanding achievement by a radio broadcaster or syndicated radio reporter outside the United States who has made important contributions to the development of Country Music in their country. Syndicated, Short-Form, Hub Voice-Tracking, Digital Service Providers and Satellite broadcast personalities are eligible for this award.

• Shannon Ella, iHeartRadio/Pure Country (Canada) 
• Bob Harris, BBC Radio 2 (United Kingdom) 
• Baylen Leonard, Absolute Radio Country (United Kingdom) 
• Justin Thomson, iHeartCountry AU (Australia)

JEFF WALKER GLOBAL COUNTRY ARTIST AWARD 
Recognises outstanding achievements by a Country Music artist who is originally based internationally. The artist must have furthered the popularity of Country Music as well as brought attention to the Country Music format in their foreign based territory during the eligibility period.

• Wade Forster (Australia) 
• Gareth (United Kingdom) 
• James Johnston (Australia) 
• Tami Neilson (New Zealand) 

CMA’s remaining International Awards – the Jo Walker Meador International Award, Rob Potts International Live Music Advancement Award and Wesley Rose International Media Achievement Award – recognise career-based contributions and do not include a finalist round.

Recipients across all six categories will be announced later this year.

There are four categories which you can submit a proposal: showcase, club showcase, conference session and project pitch.

Classical:NEXT is open to everyone: artists, managers, presenters, orchestras, labels, educators, press, media, filmmakers, tech innovators, publishers and more.

To find out more about each category, and to apply for next year’s conference, head to the Classical:NEXT website. Submissions will close on Friday 9 October.

Registration remains open for the 14th edition in Katowice from 11–14 May 2027. The Smart Rate is now in effect and will remain available until Friday 22 January 2027. Registration is open to all music professionals, with special rates for media, students and young professionals. 

Taking place from 9 – 11 April, CUEW will consist of a day-long conference, two days of showcases, as well as speed meetings and networking events for artists and music industry professionals.

Artists can apply to showcase by visiting the CUEW website. Applications close Tuesday 6 October.

With funding from Music Australia, the program offers up to $5000 per applicant to attend relevant international conferences that support export development.

Congratulations to the latest recipients of MAICC funding:

ASSOCIATION OF ARTIST MANAGERS
Anthony Gray – AI Remote Pty Ltd T/A Bapa Gajah
Beau Somers – BASE LEVEL ONE
Caleb Williams – UNIFIED Music Group
Callum Minutoli – 188 Naarm
Chris Bettiol – Calibre
Chris O’Hearn – Thrillhill Music
Daniel Morgan – Untitled Group
Elliott Harper – Look Alive Agency / Seismic Talent Agency
Fiona Duncan – Loog Management
Gillian Dunn – Soul Sound Management Pty Ltd
Greg Carey – Grow Yourself Up
Jane Slingo – Young Strangers
Jordan Acker – Ivy Music Group
Leesa Snider – Achord Agency
Leon Rogovoy – FRNDS MGMT
Luke Giannoukas – Lucky Group / Teamwrk Music Group
Paul Stickings – UNDR Ctrl
Rachel Whitford – 27 Music
Samuel Clark – Leisurely
Susan Knapp – Snap Creative Agency
Tayla Carlaw – Pretty Good Thanks
Taylor James – Gigantic Management
Wally Maloney – Major Lift Music
Will Stoeckel – UNIFIED Music Group

AUSTRALIAN INDEPENDENT RECORD LABEL ASSOCIATION
Bradley Steven Watson – Elated Music Records
Caisa Tottszer – Commonfolk Records
Chris Fraser – TMRW Music
Daniel Nascimento – Community Music
Lee Imperatrice – Sounds of Mayhem
Luke Jamieson – Global League
Luke Woods – Cheatin Hearts Records
Thomas Honeywill – Medium Rare Recordings
Will Tinkler – Mandatory Music

AUSTRALIAN LIVE MUSIC BUSINESS COUNCIL
Adam Montgomery – Lonely Lands Agency
Amelia Jenner – WAT Artists
Manish Chandnani – blaide.live
Phillip Burriel – Sounds Like & OLX Entertainment
Thorsten Hertog – Soft Centre Arts Ltd

The latest round of the MAICC funding program is now open, covering conferences taking place in January, February and March 2027. For more information, visit our FUNDING page.