A joint response from the Local & Independent News Association (LINA) and the Community Broadcasting Association of Australia (CBAA).

The Government has today opened a short consultation process on the next phase of the News Media Bargaining Code, the News Bargaining Incentive, seeking responses from industry and stakeholders over the next two weeks. The Code, introduced in 2021 is world-leading legislation and, while it has yielded mixed results for industry to date, the intent to correct a power imbalance in the information ecosystem through requiring tech platforms to contribute to the news media industry they have disrupted is commendable.

CBAA and LINA support these actions to hold tech platforms accountable to the communities they profit from and welcomes measures to increase the transparency of deals between platforms and industry. The News Bargaining Incentive is a new attempt to bring platforms to the table to negotiate with news publishers, with the government seeking to return funds to parts of the news media industry as compensation for a loss of advertising income caused by digital disruption.

The proposed News Bargaining Incentive, as currently drafted, does not address the underlying issues in the News Media Bargaining Code on which it is based. Commercially focused eligibility requirements create barriers to participation for small publishers and volunteer-based community media, further entrenching the status quo in a media landscape that is already one of the most concentrated in the world. Funding is needed not only to prop up existing publishers, but to regenerate a battered news industry and better serve Australian communities with relevant and reliable news services.

The Government’s News Media Assistance Policy Framework outlines the role of government policy intervention in news media and journalism as fundamental to democracy, civic society and community wellbeing – balancing the need for industry support with undue editorial influence. Government has a responsibility to enable informed communities, facilitate effective emergency response, community resilience, belonging and cohesion, civic engagement and day to day information that helps people navigate their lives.

While not an inherent feature of the legislation, the News Bargaining Incentive may generate revenue through levies on technology companies. These companies may be more inclined to absorb the higher costs in Australia rather than risk setting a precedent that could influence similar regulatory approaches in other countries. This presents an opportunity for government to resource its own societal objectives through the levy, and to change the news media landscape in the process. The State of Democracy in Australia report shows almost two-thirds of Australians support this idea.

For more information about LINA and its initiatives, visit lina.org.au.

AFTRS students, alumni and industry came together on Tuesday 28 April for the annual AFTRS Radio and Podcasting Showcase, an evening that celebrated the future of audio storytelling and explored the opportunities ahead in radio and podcasting.

It was a full house as industry partners met with radio and podcasting students, graduands and alumni, many of whom had spent the day at AFTRS, hosting judging panels for the Mumbrella and Radio Info/Radio Today Australian Audio Awards, whose winners will be announced on Thursday 28 May.

Designed to foster meaningful connections, the showcase brought together practitioners and executives from across the sector and across Australia, including representatives from the ABC, ACE Radio Network, ARN Media, Community Broadcasting Association of Australia, SEN, Tapt Media, Geelong Broadcasters, and Nova, alongside a wide range of production companies and broadcasters.

AFTRS Graduate Diploma in Radio and Podcasting (GDRP) Program Convenor Natalie Pozdeev welcomed guests, inviting them to get to know the students and graduands who came to AFTRS “to make audio – in all its contemporary forms – across radio, podcasting, social, multiplatform and emerging spaces, including marketing, communications and various industries where audio is a part of the business toolkit.” 

The GDRP flexible delivery has provided opportunities for students across the country to access studies online and part time, extensively opening access to the School and the community of creatives, from students to lecturers, who come together to create, participate and give voice to diverse stories.  

Natalie added: “We know that audio is powerful because it’s personal. It’s tied to place, community and voice, and that’s especially true in regional and hyperlocal contexts, which remain critical to Australia’s media landscape. The geographic spread of our students, and the diversity of their experiences, is not accidental. It is one of our greatest strengths.” 

The evening also celebrated the recent work of graduands, with attendees given a first look at the GDRP reel showcasing the creativity, craft and range of voices emerging from the program. 

Karl Svikis’ experience of the course was also showcased, as students and alumni revisited the formative experiences of the GDRP, including real-world projects when students are on air, such as Show Radio, 2NRS, AFTRS FM and Next Podcasting. Karl, who graduates this year, is currently working for Southern Cross Austereo as a ‘street teamer’ and doing casual panelling for Sports Entertainment Network. He has also been invited to be a casual producer on The Hot Hits National evening radio show.  

https://youtube.com/watch?v=ZCw0nF_o_jE%3Ffeature%3Doembed%26enablejsapi%3D1%26origin%3Dhttps%253A%252F%252Fwww.aftrs.edu.au

Fellow graduand Lee Chan spoke at the event, reflecting on her time studying at AFTRS as she returns to the media and broadcast industry after a three-year career break as a television presenter on lifestyle/food shows. She said what brought her to AFTRS was the motivation to “be a better storyteller”. 

She told current students that the course will “push you to your limits”, noting “we created things we didn’t think we had in us, sometimes in record timing and in the end, what I got out of it was a clearer path on where I’d like to go after the course ended”. 

Lee airs a weekly spot on EastsideFM, and her love for storytelling shines brightly through “podcasting, specifically docu-series and human-interest stories”. 

INXS and Amyl and The Sniffers the big winners on the night alongside Emily Wurramara, Guy Sebastian, Sarah Aarons and Sia

Special performances in celebration of 100 years of APRA and in tribute to Rob Hirst by Paul Kelly, Peter Garrett and The Presets

A remarkable number of debut winners collecting their first APRA Music Award

The winners of the 2026 APRA Music Awards have been announced at a star-studded, centenary celebration event at Sydney’s Hordern Pavilion.

The night’s big winners were Amyl and The Sniffers who took home three awards – the coveted Peer-Voted APRA Song of the Year and Most Performed Rock Work for the playfully controversial “Jerkin’”, along with the acclaimed Songwriter of the Year award, appointed by the APRA Board. This marks the second consecutive year the Melbourne four-piece have won the highly contested Song of the Year after taking it home in 2025 for “U Should Not Be Doing That”.

Guy Sebastian and co-writers Ned Houston and Robby De Sa snapped up two accolades – Most Performed Australian Work and Most Performed Pop Work – for their hit “Maybe”. The win marks Houston’s first APRA Award, and the fourth time Sebastian and De Sa have each taken home a trophy.

One of Australia’s most successful musical exports, Sia, took out Most Performed Australian Work Overseas for the third consecutive year with her aptly titled hit “Unstoppable”, making her APRA’s most-awarded writer member of all time with a whopping 14 awards. 

International Recognition Award recipient Sarah Aarons – the songwriter behind some of the biggest global hits of recent years for artists including BTS, Flume, Gracie Abrams, ROSÉ and Tame Impala – was recognised for her remarkable success overseas. This is Aarons’ sixth APRA Award, following her Songwriter of the Year win in 2019.

The final Board-appointed award, Emerging Songwriter of the Year, was given to folk-pop songstress Emily Wurramara for her incredible body of work over the past year. 

Image: Emily Wurramara. Credit: Lucinda Goodwin.


In the statistically determined Most Performed categories, it was a night of firsts with a remarkable number of debut winners collecting their first APRA Music Award. One of those was Ball Park Music’s Sam Cromack, who took home Most Performed Alternative Work for the catchy earworm “Please Don’t Move to Melbourne”. Adam Ventoura and Daniel March won Most Performed Blues & Roots Work for Karen Lee Andrew’s powerful song “Survival” and another first-timer, Rachael Fahim, claimed the Most Performed Country Work for “Who You Are”, co-written with Keenan Te, Liam Quinn, Shawn Mayer and Vlado Saric.

In the Most Performed Dance/Electronic Work category, Stuart Crichton, alongside international co-writers Clementine Douglas, Ruth Cunningham and Sonny Fodera, took out the award for Fodera’s summer banger, “Tell Me”. At the other end of the musical spectrum, award debutants Brent “Twiggy” Hunter, Luke Holmes and Sam Bassal’s Ocean Grove hit “RAINDROP” won Most Performed Hard Rock/Heavy Metal Work.

Hip hop drill group ONEFOUR’s writers Hoi Tang, Jerome Misa, Salec Su’a with co-writers Nemiah Simms and Robin Turrini picked up Most Performed Hip Hop/Rap Work for their hit “Spinnin” featuring Nemzzz, and first-time winner Pania Hika with co-writers Chelsea Warner, Jake Amy and Sam Varghese won Most Performed R&B/Soul Work for “Pity Party”.

One of Australia’s most defining rock bands, INXS, were honoured with the Ted Albert Award for Outstanding Services to Australian Music by their long-time friend and APRA Chair, Jenny Morris MNZM OAM. The presentation was followed by an incredible performance by punk powerhouse Ecca Vandal, giving their iconic song “Just Keep Walking” a new twist for a new generation and longtime fans.

Image: INXS and Jenny Morris. Credit: Rick Clifford.


The awards were hosted by Julia Zemiro with guest presenters Bernard Fanning, Jessica Mauboy, Mark Coles Smith and Stella Donnelly, and music curated by François Tétaz. 

The evening was the most elaborate yet, featuring special performances for APRA’s centenary celebrations including an opening performance by Christine Anu, Ngulmiya and Rob Ruha; Paul Kelly‘s rendition of Vanda and Young’s “Walking in the Rain”; and The Presets’ electro-version of “Power and the Passion”, featuring a special guest appearance by Peter Garrett, in tribute to the late Midnight Oil drummer, Rob Hirst.

They bookended incredible re-imaginings of the top five Song of the Year tracks by some of the most exciting performers in Australia today. BARKAA kicked things off with a bang with her electrifying rendition of Amyl and The Sniffers’ “Jerkin’”, BOY SODA brought his sultry soul vibe to Tame Impala’s “Loser”, and seven-piece Playlunch gave Paul and Dan Kelly’s “Rita Wrote a Letter” a fun new flavour. Ninajirachi’s hit for a generation, “iPod Touch”, got a rework by multi-instrumentalist Way Dynamic, and one of last year’s biggest songs “Dancing2” by Keli Holiday (aka Adam Hyde) was performed by awards alum Sarah Blasko.

Dean Ormston, CEO of APRA AMCOS, concludes: “The 2026 APRA Music Awards were a fitting way to celebrate not only 100 years of APRA, but today’s biggest and brightest stars. It’s a privilege to look back at 100 years of service to our members and the incredible breadth and diversity of Australian talent. As a nation we derive so much, socially, culturally and economically, from our music creators, it’s imperative that we recognise and celebrate that contribution.

“We thank the Australian Government and the NSW Government for their partnership in making this event possible. The presence of Federal Minister for the Arts, Tony Burke MP, and NSW Minister for Music, the Arts and Night Time Economy, John Graham MLC, reflect these governments’ understanding of the cultural and economic weight of what Australian songwriters contribute to this nation, and why that contribution deserves to be celebrated.”

The APRA Music Awards celebrate excellence in contemporary music, honouring songwriters and publishers who have achieved artistic excellence and outstanding success in their fields. 18 awards are presented across three distinct selection processes: Board Selected, Most Performed (based on statistical analysis) and Peer Voted.

Click here to see the full list of winners.

Are you obsessed by the world of true crime? Always scouring the internet for the latest stories, constantly bingeing the crime documentary of the moment and of course consuming all of the podcasts? Well, you can now get your fix each and every Sunday evening with TRUE CRIME TONIGHT launching nationwide across the KIIS Network.

Hosted by Meshel Laurie – a self-described true crime obsessive – TRUE CRIME TONIGHT unpacks the cases everyone’s talking about. From headline making crimes and celebrity scandals to the trials dominating the news, TRUE CRIME TONIGHT cuts through the noise with sharp insights, bold opinions, and a chance to be part of the conversation.

Each episode goes beyond the surface level headlines into the twists, theories and unanswered questions that keep us hooked. Whether it’s forensic deep dives, criminal psychology, or the true crime docs everyone’s binging and debating, TRUE CRIME TONIGHT delivers a smart, fast‑moving and addictive listen.

TRUE CRIME TONIGHT is an expansion of Meshel Laurie’s award-winning, and AACTA nominated podcast Australian True Crime, which joined ARN’s iHeartPodcast Network earlier this year. Australian True Crime, now in its ninth year, explores the darker corners of Australian life through expert interviews with victims, their families, and investigators, and is one of the nation’s top podcasts, ranking as the #1 crime podcast in the latest Australia Podcast Ranker*.

Speaking on the launch of her new show TRUE CRIME TONIGHT, Meshel Laurie said, “I’ve spent years deep in the world of true crime, and I know how hungry people are for smart, thoughtful conversations about the cases everyone’s buzzing about. TRUE CRIME TONIGHT lets us dive into all of it together in real time – the headlines, the theories, the twists, and the stories that won’t let us go. I can’t wait to spend Sunday nights with fellow obsessives across the country.”

Head of KIIS Network Derek Bargwanna added, “People love true crime, they talk about it with their friends, they binge it, and they fall down the rabbit hole online. Meshel knows this world inside out, and we look forward to the kick off on Sunday nights. It’s smart and addictive!”

Originally announced at Upfront26, TRUE CRIME TONIGHT reflects ARN and iHeart’s continued evolution, bringing together podcast, broadcast and video to reach highly engaged audiences at scale. It is one of several initiatives currently in development.

TRUE CRIME TONIGHT launches this Sunday 3 May and will be broadcast from 6-7pm every Sunday across the KIIS and ARN Regional networks. The show will also be available in The Australian True Crime podcast feed in both audio and video via the free iHeart app.

Joint statement — Community Broadcasting Association of Australia and Disability Media Australia

The Community Broadcasting Association of Australia and Disability Media Australia have acknowledged Vision Australia Radio’s decision to cease AM broadcasting in Melbourne, Adelaide, and Perth from 1 July 2026.

Vision Australia Radio has been in discussion with CBAA on this transition for some time. Both organisations recognise the decision as necessary to reduce operating costs and safeguard the long-term viability of the service — without any impact on Vision Australia Radio’s commitment to locally produced content relevant to the blind and low vision community and the wider disability community in each market.

VA Radio has operated DAB+ services in Melbourne, Adelaide, and Perth for more than 16 years, with Darwin added more recently. The service is not being withdrawn — it continues on DAB+ and online streaming, including via the Community Radio Plus app. DAB+ delivers a markedly better listening experience than AM — clearer audio, more reliable reception, and no interference. What changes is the cost base.

Vision Australia Radio serves Australians who are blind, have low vision, or have other print disabilities. For many listeners it is not a discretionary service — it is their primary means of accessing news, information, and community connection. The network reaches around 500,000 listeners a month, supported by dedicated volunteers and staff in each market.

Change like this is never easy — for staff, volunteers, and listeners who have been part of the AM service for years. But the move to a digital-only model means these essential services can continue. That is the right outcome.

Both organisations acknowledge that AM listeners will face disruption and welcome Vision Australia Radio’s commitment to supporting listeners through the transition, recognising that moving to a new way of listening will not be straightforward for everyone.
Accessible communication for all Australians with disability is central to DMA’s mission and an increasingly important part of what the community broadcasting sector delivers. Vision Australia Radio is one example of why that matters.

Jon Bisset,

CEO of CBAA and DMA