1
00:00:00,480 --> 00:00:05,360
Speaker 1: Already and this is the Daily This is the Daily OS. Oh,

2
00:00:05,800 --> 00:00:06,840
Speaker 1: now it makes sense.

3
00:00:14,680 --> 00:00:17,120
Speaker 2: Good morning and welcome to the Daily OS. It's Friday,

4
00:00:17,120 --> 00:00:18,160
Speaker 2: the twelfth of September.

5
00:00:18,239 --> 00:00:19,160
Speaker 3: I'm Elliott Lourie.

6
00:00:19,239 --> 00:00:20,200
Speaker 1: I'm Lucy Tarsel.

7
00:00:20,680 --> 00:00:23,920
Speaker 2: Starting this month, Australia's music charts will focus on albums

8
00:00:23,920 --> 00:00:27,240
Speaker 2: and songs released in the last two years, transitioning away

9
00:00:27,280 --> 00:00:30,040
Speaker 2: from older releases that had long been taking up space.

10
00:00:30,440 --> 00:00:32,720
Speaker 2: It's the biggest change to the ARIA chart since the

11
00:00:32,800 --> 00:00:36,040
Speaker 2: introduction of streaming figures over a decade ago. When this

12
00:00:36,080 --> 00:00:38,599
Speaker 2: new system came into effect. Last week, a viral hit

13
00:00:38,600 --> 00:00:41,560
Speaker 2: from Ossie artist Kelly Holiday jumped to the top spot

14
00:00:41,600 --> 00:00:44,880
Speaker 2: on the Australian Singles Chart. On Today's podcast, I chat

15
00:00:44,920 --> 00:00:47,519
Speaker 2: to Holiday, whose real name is Adam Hyde, about how

16
00:00:47,520 --> 00:00:49,600
Speaker 2: it feels to go to number one with an independent

17
00:00:49,640 --> 00:00:52,400
Speaker 2: release and what these chart changes mean for the future

18
00:00:52,400 --> 00:00:55,480
Speaker 2: of the Australian music industry. But before we get into it,

19
00:00:55,560 --> 00:00:57,160
Speaker 2: here's a quick message from responses.

20
00:01:01,400 --> 00:01:03,960
Speaker 1: Elliott, You've got a really fun chat with Adam Hyde

21
00:01:03,960 --> 00:01:06,200
Speaker 1: for us today. But before we get into it, I

22
00:01:06,200 --> 00:01:08,120
Speaker 1: think a question a lot of people will be asking

23
00:01:08,200 --> 00:01:11,200
Speaker 1: is why should we care about the music charts?

24
00:01:11,480 --> 00:01:13,360
Speaker 2: That is a really good question to start with. I

25
00:01:13,400 --> 00:01:16,200
Speaker 2: think personally, I've always been really chart obsessed as a

26
00:01:16,200 --> 00:01:19,559
Speaker 2: fan of popular music. It's interesting to see how people

27
00:01:19,640 --> 00:01:21,960
Speaker 2: are listening and what's being reflected in sort of the

28
00:01:22,000 --> 00:01:24,880
Speaker 2: cultural zeitgeist on the charts. So I think a good

29
00:01:24,880 --> 00:01:27,040
Speaker 2: place to start is how the charts are kind of

30
00:01:27,040 --> 00:01:29,520
Speaker 2: a reflection of the culture at any given point in time.

31
00:01:30,000 --> 00:01:33,160
Speaker 2: They also give validation to the artist that their work

32
00:01:33,200 --> 00:01:36,080
Speaker 2: is being received well. Now, of course, there are plenty

33
00:01:36,080 --> 00:01:38,639
Speaker 2: of artists that haven't seen their work reflected on the charts,

34
00:01:38,800 --> 00:01:41,920
Speaker 2: but you know, it's more often than not that when

35
00:01:41,920 --> 00:01:44,800
Speaker 2: a musician is being introduced, it's always as you know,

36
00:01:45,319 --> 00:01:48,400
Speaker 2: so and so has five number one albums or ten

37
00:01:48,600 --> 00:01:51,040
Speaker 2: top thirty hits. It kind of becomes the accolades that

38
00:01:51,120 --> 00:01:54,360
Speaker 2: define their career and their legacy going on. Now, on

39
00:01:54,400 --> 00:01:56,960
Speaker 2: the other side of things, chart success can also provide

40
00:01:57,000 --> 00:02:00,800
Speaker 2: massive opportunities for small artists and those that are starting out.

41
00:02:01,320 --> 00:02:04,360
Speaker 2: So music labels use charts as kind of a gauge

42
00:02:04,440 --> 00:02:06,960
Speaker 2: to determine which acts they're going to invest more money

43
00:02:07,000 --> 00:02:10,560
Speaker 2: and time into, meaning bigger budgets for future projects and

44
00:02:10,760 --> 00:02:13,959
Speaker 2: also things like festival bookings, can come out of chart

45
00:02:14,000 --> 00:02:14,960
Speaker 2: success as well.

46
00:02:15,320 --> 00:02:18,480
Speaker 1: Now on those charts, you mentioned that Australia's charts, the

47
00:02:18,520 --> 00:02:21,320
Speaker 1: ARIA charts have undergone some big changes this month. Can

48
00:02:21,320 --> 00:02:22,560
Speaker 1: you walk me through what those are?

49
00:02:23,000 --> 00:02:23,200
Speaker 3: Yeah?

50
00:02:23,240 --> 00:02:25,840
Speaker 2: So, the last time that arias made a massive change

51
00:02:25,880 --> 00:02:27,720
Speaker 2: to the way the charts are calculated was back in

52
00:02:27,720 --> 00:02:31,160
Speaker 2: the twenty tens when they introduced streaming figures from platforms

53
00:02:31,200 --> 00:02:34,480
Speaker 2: like Spotify. This obviously was something that needed to happen,

54
00:02:34,480 --> 00:02:38,240
Speaker 2: it's where people were consuming music. But an unintended byproduct

55
00:02:38,280 --> 00:02:40,640
Speaker 2: of that change was that several of the main charts

56
00:02:41,080 --> 00:02:44,440
Speaker 2: then became clogged up by older hits. So think of

57
00:02:44,480 --> 00:02:47,040
Speaker 2: things like albums that were constantly going back to as

58
00:02:47,080 --> 00:02:49,920
Speaker 2: an Australian audience, and those sort of classic songs that

59
00:02:50,240 --> 00:02:53,000
Speaker 2: will never go away. They're constantly being streamed and they're

60
00:02:53,000 --> 00:02:55,600
Speaker 2: constantly turning up on the charts. Now, at the end

61
00:02:55,600 --> 00:02:58,480
Speaker 2: of last month, there was only two songs inside the

62
00:02:58,520 --> 00:03:01,280
Speaker 2: top ten of the Australian singles that were actually released

63
00:03:01,360 --> 00:03:04,600
Speaker 2: this decade. Decade, this decade, so in the twenty twenties.

64
00:03:04,760 --> 00:03:08,560
Speaker 2: Yeah so, in response, ARIA has now taken almost all

65
00:03:08,600 --> 00:03:11,000
Speaker 2: songs that were released more than two years ago and

66
00:03:11,080 --> 00:03:13,239
Speaker 2: rehome them on a different chart. They're called the onra

67
00:03:13,360 --> 00:03:16,519
Speaker 2: Play Charts. What that means is we now have space

68
00:03:16,600 --> 00:03:19,239
Speaker 2: on those main charts for new releases. And the idea

69
00:03:19,320 --> 00:03:22,079
Speaker 2: behind the move was to kind of better reflect contemporary

70
00:03:22,120 --> 00:03:25,320
Speaker 2: listening habits. Yeah, Ari CEO Annabel Heard told us that

71
00:03:25,400 --> 00:03:28,120
Speaker 2: the changes give a much clearer and more nuanced picture

72
00:03:28,240 --> 00:03:29,920
Speaker 2: of how Australians are listening.

73
00:03:30,440 --> 00:03:32,640
Speaker 1: So we've got Adam Hyde on the pod today to

74
00:03:32,720 --> 00:03:35,400
Speaker 1: talk us through all of those changes from an artist's perspective.

75
00:03:35,960 --> 00:03:38,720
Speaker 1: For those listening who might not know much about him,

76
00:03:38,840 --> 00:03:41,320
Speaker 1: what should they know going into your interview with him?

77
00:03:41,640 --> 00:03:43,760
Speaker 2: So if you haven't heard the name Adam Hyde, you

78
00:03:43,840 --> 00:03:46,560
Speaker 2: might also know him as one half of the band

79
00:03:46,720 --> 00:03:49,400
Speaker 2: Peaking Duck. They've had a lot of chart success over

80
00:03:49,400 --> 00:03:52,400
Speaker 2: the years, so he's experienced talking about this topic. More recently,

81
00:03:52,440 --> 00:03:54,640
Speaker 2: he's actually taken on a solo venture under the name

82
00:03:54,720 --> 00:03:57,800
Speaker 2: Kelly Holiday. If you don't know either of those names,

83
00:03:57,840 --> 00:04:00,120
Speaker 2: Peaking Duck or Kelly Holiday, you maybe know him as

84
00:04:00,120 --> 00:04:03,720
Speaker 2: the partner of podcast hosts and media personality Abbi Chatfield.

85
00:04:04,400 --> 00:04:07,960
Speaker 2: He is now mister Abby Chatfield. So Abby is an

86
00:04:07,960 --> 00:04:11,600
Speaker 2: important part of this story because Adam actually wrote the

87
00:04:11,640 --> 00:04:13,280
Speaker 2: song that has gone to number one as a love

88
00:04:13,360 --> 00:04:15,200
Speaker 2: letter to her, and it kind of then grew and

89
00:04:15,240 --> 00:04:17,240
Speaker 2: took on a life of its own, which is why

90
00:04:17,279 --> 00:04:19,760
Speaker 2: we're talking about it today. Throughout the interview you'll also

91
00:04:19,839 --> 00:04:22,440
Speaker 2: hear him refer to his girlfriend, that is who is

92
00:04:22,480 --> 00:04:25,320
Speaker 2: talking about in this context. Just a warning that Adam

93
00:04:25,400 --> 00:04:27,320
Speaker 2: does tend to swear a bit. You may hear some

94
00:04:27,360 --> 00:04:30,200
Speaker 2: curse words throughout the interview. It's nothing too crazy, but

95
00:04:30,279 --> 00:04:31,880
Speaker 2: if you have kids in the car, this is maybe

96
00:04:31,880 --> 00:04:34,200
Speaker 2: one that you want to come back to later. So

97
00:04:34,480 --> 00:04:38,080
Speaker 2: without further Ado, let's get into it. Adam, welcome to

98
00:04:38,080 --> 00:04:38,680
Speaker 2: the Daily OZZ.

99
00:04:38,839 --> 00:04:40,560
Speaker 4: Thank you, thank you for having me. It's a beautiful,

100
00:04:40,920 --> 00:04:42,479
Speaker 4: beautiful guff you got me in here.

101
00:04:42,640 --> 00:04:45,320
Speaker 2: Thank you, thank you. That's very kind of you to say. So. Look,

102
00:04:45,440 --> 00:04:48,320
Speaker 2: we're talking today because your song Dancing Too has just

103
00:04:48,400 --> 00:04:51,600
Speaker 2: gone to number one on the Australian Singles charts. What

104
00:04:51,640 --> 00:04:54,240
Speaker 2: does it mean in twenty twenty five to have that

105
00:04:54,279 --> 00:04:55,000
Speaker 2: sort of success.

106
00:04:55,120 --> 00:04:56,960
Speaker 3: It's a solid quest, my guy.

107
00:04:57,720 --> 00:05:01,560
Speaker 4: It's funny because you know, in this day and age,

108
00:05:01,680 --> 00:05:03,680
Speaker 4: it's quite hard to know, you know, how to kind

109
00:05:03,680 --> 00:05:06,120
Speaker 4: of make a song connect in any way, you know,

110
00:05:06,160 --> 00:05:07,799
Speaker 4: there's no real rhyme or reason anymore.

111
00:05:07,880 --> 00:05:10,000
Speaker 3: The Old Guard is kind of out.

112
00:05:10,480 --> 00:05:13,159
Speaker 4: There's an independent release, you know, there's no label backing,

113
00:05:13,720 --> 00:05:16,760
Speaker 4: and to see it resonate in this way but then

114
00:05:16,839 --> 00:05:20,360
Speaker 4: carry its own kind of steam and become its own thing,

115
00:05:21,000 --> 00:05:22,320
Speaker 4: it's an incredible thing.

116
00:05:22,360 --> 00:05:25,560
Speaker 3: I don't really have words because to me, it's kind

117
00:05:25,560 --> 00:05:26,320
Speaker 3: of be on the song.

118
00:05:26,400 --> 00:05:29,320
Speaker 4: Now people are soundtracking it for, you know, their babies

119
00:05:29,320 --> 00:05:34,279
Speaker 4: being born, their marriages, people passing away, people beating cancer,

120
00:05:34,600 --> 00:05:38,040
Speaker 4: all these things. It seems like this all encompassing scope

121
00:05:38,080 --> 00:05:40,520
Speaker 4: of humanity soundtracked by this song, and I'm just I'm

122
00:05:40,560 --> 00:05:42,320
Speaker 4: sitting back and watching the ride and just going, this

123
00:05:42,400 --> 00:05:47,280
Speaker 4: is nice to see some wholesome positivity and joy on

124
00:05:47,360 --> 00:05:48,039
Speaker 4: social media.

125
00:05:48,360 --> 00:05:51,000
Speaker 2: Yeah, it's very special. I am personally saw it for

126
00:05:51,040 --> 00:05:52,359
Speaker 2: the first time on TikTok.

127
00:05:52,600 --> 00:05:53,040
Speaker 3: Yeah.

128
00:05:53,080 --> 00:05:55,720
Speaker 2: At what point in the recording process do you start

129
00:05:55,760 --> 00:05:57,800
Speaker 2: thinking about social media? Like is it with you in

130
00:05:57,839 --> 00:05:59,760
Speaker 2: the studio? Is it something that comes after.

131
00:06:00,160 --> 00:06:03,200
Speaker 4: I think it should never come into play in the studio.

132
00:06:04,400 --> 00:06:08,800
Speaker 4: And it's funny because you know, I've been grateful enough

133
00:06:08,839 --> 00:06:11,440
Speaker 4: to say that music has been my job. I've been

134
00:06:11,440 --> 00:06:15,080
Speaker 4: doing it for like almost twenty years now. Professionally, and

135
00:06:15,320 --> 00:06:17,600
Speaker 4: you know, there's so many moments in the studio when

136
00:06:17,600 --> 00:06:21,200
Speaker 4: you're making something and there'll be someone who will be.

137
00:06:21,120 --> 00:06:23,920
Speaker 3: Like, oh yeah, like that'll be like a TikTok, you.

138
00:06:23,880 --> 00:06:25,720
Speaker 4: Know, and it's like, as soon as that's even brought

139
00:06:25,760 --> 00:06:28,200
Speaker 4: into the space, I feel like you may as well

140
00:06:28,240 --> 00:06:29,840
Speaker 4: just shoot the song in the head and throw it

141
00:06:29,839 --> 00:06:32,480
Speaker 4: out of the window, because I'd like, this song's a

142
00:06:32,520 --> 00:06:33,360
Speaker 4: good example of that.

143
00:06:33,400 --> 00:06:34,640
Speaker 3: This is this song was a love letter.

144
00:06:34,720 --> 00:06:36,640
Speaker 4: I wrote this as a love letter to my girlfriend,

145
00:06:36,880 --> 00:06:38,560
Speaker 4: and there was never a moment where I was like,

146
00:06:38,600 --> 00:06:40,280
Speaker 4: this is going to be a song that's released. It's

147
00:06:40,320 --> 00:06:42,200
Speaker 4: going to be a gift to my girlfriend that I love.

148
00:06:42,760 --> 00:06:45,640
Speaker 4: And through that process, I don't think there is any

149
00:06:45,640 --> 00:06:49,920
Speaker 4: space for thinking about the optics of people on TikTok

150
00:06:50,400 --> 00:06:54,960
Speaker 4: or you know, the optics of radio people or anything

151
00:06:55,000 --> 00:06:58,719
Speaker 4: like that that do come into one's mind when creating music.

152
00:06:58,839 --> 00:07:01,240
Speaker 3: Due to the commerce side of things, I don't know.

153
00:07:01,680 --> 00:07:03,640
Speaker 4: I think it's connected because it was just a love letter,

154
00:07:03,839 --> 00:07:06,599
Speaker 4: you know, But as far as the montages and compilations

155
00:07:06,640 --> 00:07:10,360
Speaker 4: of like people having these beautiful life moments, I've got

156
00:07:10,440 --> 00:07:13,440
Speaker 4: nothing to do with that. That's like, that's organic and

157
00:07:13,480 --> 00:07:16,680
Speaker 4: it's also just like I wouldn't know how to orchestrate

158
00:07:16,720 --> 00:07:19,200
Speaker 4: that if I tried, you know what I mean? What

159
00:07:19,320 --> 00:07:21,080
Speaker 4: I do know how to orchestrate is me dancing like

160
00:07:21,120 --> 00:07:23,000
Speaker 4: a dickhead in front of a camera. And I think

161
00:07:24,280 --> 00:07:26,960
Speaker 4: my favorite corners of the internet, as I think most

162
00:07:27,000 --> 00:07:29,000
Speaker 4: people should be other fun ones where it gets a

163
00:07:29,000 --> 00:07:31,679
Speaker 4: bit silly, and it's easy to get silly on TikTok,

164
00:07:31,720 --> 00:07:31,960
Speaker 4: and I.

165
00:07:31,920 --> 00:07:33,120
Speaker 3: Do enjoy that a lot.

166
00:07:33,720 --> 00:07:35,640
Speaker 2: Yeah, well you look at doing it, so thank you,

167
00:07:35,680 --> 00:07:38,080
Speaker 2: it's working, thank you. I want to turn now to

168
00:07:38,160 --> 00:07:40,560
Speaker 2: the charts. You've had a lot of chart success over

169
00:07:40,560 --> 00:07:43,400
Speaker 2: the years with picking Duck for someone who isn't in

170
00:07:43,440 --> 00:07:46,880
Speaker 2: the music industry. Why should anyone care about charts? And

171
00:07:47,480 --> 00:07:50,800
Speaker 2: does something like a chart topping album lead to more opportunities,

172
00:07:50,840 --> 00:07:53,120
Speaker 2: bigger budgets, festival bookings, things like that?

173
00:07:53,600 --> 00:07:54,520
Speaker 3: Solid question.

174
00:07:54,640 --> 00:07:57,840
Speaker 4: Yet again, I think any artists, where they like to

175
00:07:57,880 --> 00:08:01,120
Speaker 4: admit it or not, once flower at some point, you know,

176
00:08:01,160 --> 00:08:03,480
Speaker 4: you put a lot into a song or an album,

177
00:08:03,760 --> 00:08:06,760
Speaker 4: into your work, and then it's nice to be recognized

178
00:08:07,360 --> 00:08:11,360
Speaker 4: by the the powers that be, so to speak. And

179
00:08:11,400 --> 00:08:12,840
Speaker 4: I think you know there's a lot of people on

180
00:08:12,840 --> 00:08:15,840
Speaker 4: those boards, whether that's the Grammy Committee or that you know,

181
00:08:15,880 --> 00:08:18,120
Speaker 4: the ARIA Board. These are people that have really like

182
00:08:18,560 --> 00:08:23,240
Speaker 4: they've dedicated their lives to the music and the artists

183
00:08:23,240 --> 00:08:24,840
Speaker 4: that are in the sphere in that time and what's

184
00:08:24,840 --> 00:08:28,880
Speaker 4: happening within the culture, and it's kind of like, you know,

185
00:08:28,920 --> 00:08:31,120
Speaker 4: it's kind of just getting that, like, you know, we

186
00:08:31,240 --> 00:08:34,360
Speaker 4: see her, and we recognize that that is of quality

187
00:08:34,440 --> 00:08:36,440
Speaker 4: and of substance that we want to represent.

188
00:08:37,160 --> 00:08:37,880
Speaker 3: It's also just.

189
00:08:39,559 --> 00:08:43,160
Speaker 4: A representative figure of the data of saying, hey, well

190
00:08:43,160 --> 00:08:45,320
Speaker 4: you're up there because that many people listening to your

191
00:08:45,320 --> 00:08:47,560
Speaker 4: shit right now. So that's cool in the sense of

192
00:08:47,559 --> 00:08:50,840
Speaker 4: like whoa, what the fuck? That's crazy, But for me personally,

193
00:08:50,840 --> 00:08:53,520
Speaker 4: it hits on the deeper level just because, like I said,

194
00:08:53,520 --> 00:08:55,839
Speaker 4: I mean, I've never had a number one before and

195
00:08:55,880 --> 00:08:59,600
Speaker 4: this is completely independent, there's no label, and it all

196
00:08:59,640 --> 00:09:02,680
Speaker 4: happened for the people, you know, it wasn't me, you know,

197
00:09:03,000 --> 00:09:05,840
Speaker 4: like it just started going crazy, Like I thought my

198
00:09:05,880 --> 00:09:08,920
Speaker 4: phone was fucking glitching when I saw the videos start

199
00:09:09,000 --> 00:09:12,800
Speaker 4: going and then that kind of spiraled into people really

200
00:09:12,800 --> 00:09:14,760
Speaker 4: connecting with the song and that's a beautiful thing. So

201
00:09:15,600 --> 00:09:17,120
Speaker 4: to see it go number one, I was like, this

202
00:09:17,200 --> 00:09:20,360
Speaker 4: is insane. You know, but I mean what it means

203
00:09:20,360 --> 00:09:22,520
Speaker 4: to chart. I'm not sure because it's my first time,

204
00:09:22,840 --> 00:09:25,079
Speaker 4: so I still don't really know. Maybe in ten years

205
00:09:25,120 --> 00:09:26,800
Speaker 4: if I get another one, then I'll have a better

206
00:09:26,840 --> 00:09:27,679
Speaker 4: grasp on it, you know.

207
00:09:27,800 --> 00:09:30,120
Speaker 2: Yeah, Okay, we'll circle back, We'll do another phone circle back.

208
00:09:30,200 --> 00:09:33,720
Speaker 2: Yeah yeah, yeah, okay, perfect. Well, this month we've actually

209
00:09:33,720 --> 00:09:36,000
Speaker 2: seen some major changes to the way that the ARIA

210
00:09:36,120 --> 00:09:39,040
Speaker 2: charts are calculated. So I'm not sure if you're sorry,

211
00:09:39,080 --> 00:09:41,319
Speaker 2: but yep, starting from this week, the main charts have

212
00:09:41,400 --> 00:09:43,760
Speaker 2: been limited to just focus on songs from the past

213
00:09:43,760 --> 00:09:44,200
Speaker 2: two years.

214
00:09:44,280 --> 00:09:46,120
Speaker 3: Yeah. The idea there being.

215
00:09:45,880 --> 00:09:49,280
Speaker 2: That it is trying to better reflect contemporary music listening habits.

216
00:09:49,480 --> 00:09:51,880
Speaker 2: That means that legacy acts like Crowdit House, who were

217
00:09:52,000 --> 00:09:55,240
Speaker 2: number one last week now no longer on the same chart.

218
00:09:55,280 --> 00:09:56,000
Speaker 3: They've been moved.

219
00:09:56,480 --> 00:09:58,640
Speaker 2: Why do you think they've made those changes.

220
00:09:59,120 --> 00:10:01,280
Speaker 4: I can't answer why they've done that because I don't

221
00:10:01,280 --> 00:10:03,160
Speaker 4: know why. But why I think they should have done

222
00:10:03,200 --> 00:10:05,560
Speaker 4: it a while ago, and now it's great that they've

223
00:10:05,600 --> 00:10:09,679
Speaker 4: done it is because we all romanticize legacy and nostalgia

224
00:10:09,880 --> 00:10:12,080
Speaker 4: so much so to a fault.

225
00:10:12,360 --> 00:10:13,000
Speaker 3: Very Australian.

226
00:10:13,040 --> 00:10:16,719
Speaker 4: It's very Australian right, And there's nothing wrong with romanticizing

227
00:10:16,760 --> 00:10:17,120
Speaker 4: the past.

228
00:10:17,160 --> 00:10:18,240
Speaker 3: We all do it, we're all human.

229
00:10:18,640 --> 00:10:22,960
Speaker 4: But it really becomes to a fault when we're so

230
00:10:23,120 --> 00:10:25,280
Speaker 4: caught up on the past and when not looking at

231
00:10:25,320 --> 00:10:27,440
Speaker 4: what's happening on our doorstep right now. And there are

232
00:10:27,480 --> 00:10:31,000
Speaker 4: so many talented Australian artists that we'll never get that

233
00:10:31,040 --> 00:10:34,520
Speaker 4: shine because we're so hung up on crowded House. I mean,

234
00:10:34,520 --> 00:10:37,280
Speaker 4: the first of all, they're Kiwis and they're incredible, and

235
00:10:37,320 --> 00:10:38,160
Speaker 4: so ACDC.

236
00:10:38,240 --> 00:10:42,359
Speaker 3: They're incredible. You know, these are really really.

237
00:10:43,360 --> 00:10:46,280
Speaker 4: Magical artists that have contributed great art to the world

238
00:10:46,440 --> 00:10:49,520
Speaker 4: at large. But at the same time, you know, how

239
00:10:49,559 --> 00:10:54,920
Speaker 4: can we have another ACDC or crowded house without actually

240
00:10:55,000 --> 00:10:58,560
Speaker 4: nourishing what's here right now. So by doing that, I

241
00:10:58,559 --> 00:11:01,680
Speaker 4: think it's incredible. You know, it's giving new artists a

242
00:11:01,720 --> 00:11:04,360
Speaker 4: spot and a place, and I think there's a lot

243
00:11:04,400 --> 00:11:07,160
Speaker 4: more work to be done in that whole space, you know,

244
00:11:07,400 --> 00:11:10,600
Speaker 4: And I'm by no means the gatekeeper on any of that,

245
00:11:10,880 --> 00:11:14,240
Speaker 4: but I think it's definitely a large step in the

246
00:11:14,320 --> 00:11:18,880
Speaker 4: right direction as far as celebrating what's actually here right now,

247
00:11:18,960 --> 00:11:21,720
Speaker 4: especially in this country. There's so many great artists and

248
00:11:22,640 --> 00:11:25,120
Speaker 4: for a long time. This country has been caught up

249
00:11:25,200 --> 00:11:28,240
Speaker 4: on like, you know, the old guard of it all.

250
00:11:28,520 --> 00:11:33,360
Speaker 4: And that's cool, that's cool, but it ain't moving things forward.

251
00:11:33,840 --> 00:11:35,400
Speaker 4: And I think there's a way that we can do both.

252
00:11:35,600 --> 00:11:38,120
Speaker 4: You know, we definitely can do both. I mean, they

253
00:11:38,120 --> 00:11:41,280
Speaker 4: do that in America, you know, and they do it

254
00:11:41,320 --> 00:11:44,240
Speaker 4: in the UK. You know, it shows progress and even

255
00:11:44,280 --> 00:11:46,640
Speaker 4: though it might be you know, a fair bit o

256
00:11:46,679 --> 00:11:48,120
Speaker 4: a due, that's okay, it's good.

257
00:11:47,960 --> 00:11:49,400
Speaker 3: To see the people recognizing that.

258
00:11:49,880 --> 00:11:53,720
Speaker 4: And it's things like that that will really propel new music.

259
00:11:54,000 --> 00:11:54,160
Speaker 3: You know.

260
00:11:54,240 --> 00:11:56,240
Speaker 4: Those things are the things that really move the needle

261
00:11:56,240 --> 00:11:59,480
Speaker 4: as far as I concern. So I'm ecstatic for new

262
00:11:59,559 --> 00:12:00,880
Speaker 4: artists in sense for sure.

263
00:12:01,120 --> 00:12:03,640
Speaker 2: So that's an overwhelming endorsement of the changes, which is

264
00:12:03,679 --> 00:12:06,679
Speaker 2: great because I did actually reach out to Aria and

265
00:12:06,840 --> 00:12:09,960
Speaker 2: the CEO, Annabelle heard told me that dancing to taking

266
00:12:09,960 --> 00:12:11,680
Speaker 2: the number one spot this week is one of the

267
00:12:11,679 --> 00:12:14,200
Speaker 2: strongest signs that their new system is working.

268
00:12:14,480 --> 00:12:16,240
Speaker 3: I'll tell you good though, an absolute.

269
00:12:15,880 --> 00:12:19,040
Speaker 2: Win, she said. Kellie Holliday hitting number one is exactly

270
00:12:19,080 --> 00:12:21,520
Speaker 2: the kind of breakthrough these changes were designed to make

271
00:12:21,640 --> 00:12:22,400
Speaker 2: more visible.

272
00:12:22,840 --> 00:12:24,080
Speaker 3: What do you make of that?

273
00:12:24,080 --> 00:12:27,000
Speaker 4: That's awesome? First and foremost, that's cool. I didn't know

274
00:12:27,040 --> 00:12:32,120
Speaker 4: that you spoke to them. Yes, that's cool. I think, yeah,

275
00:12:32,160 --> 00:12:35,480
Speaker 4: it is interesting because for me, I'm really ecstatic about

276
00:12:35,520 --> 00:12:37,200
Speaker 4: it all as far as the charts. Back to your

277
00:12:37,280 --> 00:12:40,320
Speaker 4: question before and now to answer this one, it's like,

278
00:12:41,240 --> 00:12:43,520
Speaker 4: you know, this was really independent, This was a really

279
00:12:43,520 --> 00:12:46,280
Speaker 4: independent release, and a lot of people when they heard

280
00:12:46,320 --> 00:12:49,440
Speaker 4: the album and this song said we can't touch it,

281
00:12:49,480 --> 00:12:50,959
Speaker 4: we don't know what to do with it, we don't

282
00:12:51,000 --> 00:12:52,520
Speaker 4: think this is going to work here or there.

283
00:12:52,559 --> 00:12:54,080
Speaker 3: And we were like, okay, you know, that's cool whatever,

284
00:12:54,120 --> 00:12:55,480
Speaker 3: We're going to put it out anyway.

285
00:12:55,600 --> 00:12:57,520
Speaker 4: And then just kind of see those same people come

286
00:12:57,520 --> 00:12:59,199
Speaker 4: around and be like, oh no, no, no, we get it now.

287
00:12:59,240 --> 00:13:01,640
Speaker 4: It's just interesting thing that it kind of proves the

288
00:13:01,679 --> 00:13:04,880
Speaker 4: point that a lot of people won't know what they

289
00:13:04,960 --> 00:13:07,280
Speaker 4: think is good until it's really there and in front

290
00:13:07,320 --> 00:13:09,120
Speaker 4: of them, and they really kind of force to look

291
00:13:09,160 --> 00:13:11,200
Speaker 4: at it a bit. And I don't blame anyone for that.

292
00:13:11,280 --> 00:13:14,160
Speaker 4: I think that's human nature or human error for lack

293
00:13:14,200 --> 00:13:17,160
Speaker 4: of a better term. But I think it's kind of

294
00:13:17,320 --> 00:13:19,920
Speaker 4: historically cool in a way that like the first time

295
00:13:19,960 --> 00:13:22,440
Speaker 4: that they brought in that new rule where they've got

296
00:13:22,480 --> 00:13:23,880
Speaker 4: to get rid of the old stuff and it's got

297
00:13:23,920 --> 00:13:26,320
Speaker 4: to be new. I got to swing in there with

298
00:13:26,400 --> 00:13:28,680
Speaker 4: an independent release, no less, because you know, if you

299
00:13:28,679 --> 00:13:30,640
Speaker 4: look at those charts, a lot of them are with

300
00:13:30,800 --> 00:13:34,720
Speaker 4: major labels. So I'm really proud of that because it

301
00:13:34,800 --> 00:13:37,880
Speaker 4: shows that, like grass roots level, I think the people

302
00:13:37,880 --> 00:13:40,360
Speaker 4: are really dictating what's hold now more than ever, obviously

303
00:13:40,400 --> 00:13:45,240
Speaker 4: with social media, but to see that kind of influence

304
00:13:45,280 --> 00:13:48,679
Speaker 4: from the people bleed into these larger discussions such as

305
00:13:48,800 --> 00:13:52,760
Speaker 4: charts and what have you, it's like, it's dope, it's dope.

306
00:13:52,760 --> 00:13:54,880
Speaker 3: It feels like a bit of a I don't.

307
00:13:54,720 --> 00:13:56,520
Speaker 4: Want to use the word revolution, that's a bit heavy,

308
00:13:56,559 --> 00:14:00,800
Speaker 4: but it feels like a pleasant change, a new eraror so.

309
00:14:00,960 --> 00:14:03,160
Speaker 2: I think the idea that they had with the changes

310
00:14:03,320 --> 00:14:05,920
Speaker 2: was that it would give more visibility to new releases

311
00:14:05,960 --> 00:14:09,080
Speaker 2: like Dancing Too and other songs that are on the chart. Now,

312
00:14:09,360 --> 00:14:11,199
Speaker 2: how do you think that turning up on the charts

313
00:14:11,240 --> 00:14:13,280
Speaker 2: trickles down to the everyday listener like me?

314
00:14:14,080 --> 00:14:14,840
Speaker 3: Solid quest?

315
00:14:14,960 --> 00:14:17,640
Speaker 4: I think, I mean, I don't know, I guess if

316
00:14:17,679 --> 00:14:22,720
Speaker 4: something is up on the charts, then streaming services and

317
00:14:23,000 --> 00:14:26,120
Speaker 4: radio you would hope at least they would then be like, Okay,

318
00:14:26,120 --> 00:14:27,840
Speaker 4: we should probably give this a spin. You know, we

319
00:14:27,880 --> 00:14:30,080
Speaker 4: should probably give this a bit of shine or a

320
00:14:30,080 --> 00:14:32,560
Speaker 4: bit of time in the sun, which would then trickle

321
00:14:32,600 --> 00:14:32,960
Speaker 4: down to.

322
00:14:32,920 --> 00:14:33,600
Speaker 3: The person who.

323
00:14:33,760 --> 00:14:35,920
Speaker 4: You know, we all use streaming services in this day

324
00:14:35,960 --> 00:14:40,680
Speaker 4: and age, but I think it's representative of what's happening

325
00:14:40,720 --> 00:14:44,320
Speaker 4: within pop culture as well as you know now it's

326
00:14:44,400 --> 00:14:48,120
Speaker 4: like TikTok and Instagram, those things dictate pop culture fully.

327
00:14:48,360 --> 00:14:50,360
Speaker 4: You know, there's memes made about you know, what happened

328
00:14:50,400 --> 00:14:52,960
Speaker 4: to the VMA's, and that's all part of it. And

329
00:14:53,000 --> 00:14:55,640
Speaker 4: then through that those songs get streams and it kind

330
00:14:55,640 --> 00:14:57,800
Speaker 4: of trickles back and it's all just part of the

331
00:14:57,960 --> 00:14:59,560
Speaker 4: discussion around pop culture.

332
00:15:00,240 --> 00:15:00,440
Speaker 3: You know.

333
00:15:00,800 --> 00:15:03,800
Speaker 4: I can't answer what a chart position would do in

334
00:15:03,800 --> 00:15:07,280
Speaker 4: that sense. I just think it's more so representative of

335
00:15:07,360 --> 00:15:11,400
Speaker 4: where that piece of music is sitting in the zeitgeist

336
00:15:11,440 --> 00:15:12,080
Speaker 4: of culture.

337
00:15:12,240 --> 00:15:12,960
Speaker 3: And that's cool.

338
00:15:13,360 --> 00:15:15,400
Speaker 4: Like if that's a marker for that, then fuck yeah,

339
00:15:15,400 --> 00:15:17,360
Speaker 4: you know, so be it, because there should be little

340
00:15:17,360 --> 00:15:19,720
Speaker 4: markers I think. You know, even though it's cool to

341
00:15:19,760 --> 00:15:23,680
Speaker 4: be airy fairy about things, I'm a pretty strong supporter

342
00:15:23,720 --> 00:15:26,200
Speaker 4: of like, yeah, we should have a bit of a bit.

343
00:15:26,040 --> 00:15:27,680
Speaker 3: Of a system somewhere. You know.

344
00:15:27,800 --> 00:15:31,080
Speaker 4: That kind of just is like, let's talk about sales

345
00:15:31,080 --> 00:15:33,800
Speaker 4: because you know, speaking of ACDC, they had the second

346
00:15:34,200 --> 00:15:36,560
Speaker 4: highest selling record of all time with Back in.

347
00:15:36,520 --> 00:15:38,680
Speaker 3: Black, which is fucking wild.

348
00:15:38,760 --> 00:15:40,560
Speaker 4: I only found that out like a year ago, and

349
00:15:40,600 --> 00:15:43,360
Speaker 4: I'm born and raised Camber, Australia. It's like, we should

350
00:15:43,360 --> 00:15:46,040
Speaker 4: be talking about that shit more, you know, which is

351
00:15:46,040 --> 00:15:50,160
Speaker 4: interesting because we're so in love with legacy, yet we don't.

352
00:15:50,400 --> 00:15:52,880
Speaker 4: If I was taught that shit in school, I'd be

353
00:15:52,920 --> 00:15:55,480
Speaker 4: fucking angus young junior ten years ago, you know what

354
00:15:55,520 --> 00:15:58,200
Speaker 4: I mean. Like, but these are the things that are

355
00:15:58,200 --> 00:16:01,600
Speaker 4: super important, and like stats like that do make things

356
00:16:02,040 --> 00:16:02,840
Speaker 4: more believable.

357
00:16:03,080 --> 00:16:04,800
Speaker 3: You know, you kind of need a number every now

358
00:16:04,800 --> 00:16:07,120
Speaker 3: and then to be like, oh shit, that's legit. We're

359
00:16:07,120 --> 00:16:08,520
Speaker 3: in a weird time with music in general.

360
00:16:08,560 --> 00:16:11,880
Speaker 4: It's an exciting time, but a strange time nonetheless, because

361
00:16:11,880 --> 00:16:13,960
Speaker 4: nobody really knows where to pick it. You can't really

362
00:16:14,640 --> 00:16:16,920
Speaker 4: you know, everyone's pissing in the wind and in the

363
00:16:17,040 --> 00:16:19,440
Speaker 4: dark at the same down time, which is fun.

364
00:16:20,160 --> 00:16:22,880
Speaker 2: That's what I think is interesting about this whole discussion

365
00:16:23,000 --> 00:16:27,400
Speaker 2: is that bodies like Aria grappling with habit measure. What

366
00:16:27,560 --> 00:16:29,840
Speaker 2: is popular right now. It used to be a lot easier.

367
00:16:30,080 --> 00:16:33,520
Speaker 2: What's on the radio? What are people buying physically in stores?

368
00:16:33,600 --> 00:16:36,240
Speaker 2: So it is like one that we will continue to

369
00:16:36,240 --> 00:16:39,600
Speaker 2: watch as it changes. Just to your point about people

370
00:16:39,640 --> 00:16:43,160
Speaker 2: discovering your music through social media, Yeah, can I ask

371
00:16:43,640 --> 00:16:45,640
Speaker 2: how do you personally discover new music?

372
00:16:46,400 --> 00:16:46,880
Speaker 3: Ah?

373
00:16:47,080 --> 00:16:50,120
Speaker 4: Word of mouth seems to be the one way I

374
00:16:50,160 --> 00:16:52,080
Speaker 4: discovered in many ways, but the one way that I've

375
00:16:52,120 --> 00:16:55,560
Speaker 4: found I really listened to that piece of music and

376
00:16:55,600 --> 00:16:58,240
Speaker 4: I go, you know, I'll give it my all is

377
00:16:58,320 --> 00:17:00,640
Speaker 4: word of mouth through people that I really fuck with,

378
00:17:00,760 --> 00:17:03,680
Speaker 4: like people that I love, or you know, people that

379
00:17:03,800 --> 00:17:05,760
Speaker 4: I look up to, or people that I really I

380
00:17:05,880 --> 00:17:09,359
Speaker 4: know that their taste level is like their reference points

381
00:17:09,359 --> 00:17:11,879
Speaker 4: are fucking bang on because I know they're not going

382
00:17:11,920 --> 00:17:12,560
Speaker 4: to give me a dud.

383
00:17:13,240 --> 00:17:15,160
Speaker 3: And if it's something I haven't heard of, I'll run

384
00:17:15,200 --> 00:17:15,600
Speaker 3: to that.

385
00:17:15,640 --> 00:17:17,679
Speaker 4: Piece of music and I'll sit there and absorb it

386
00:17:17,720 --> 00:17:20,520
Speaker 4: all with my eyes closed, and then I'll be like yeah, okay,

387
00:17:20,520 --> 00:17:22,720
Speaker 4: and then I'll fucking hyper fixate on it for a week.

388
00:17:23,119 --> 00:17:25,160
Speaker 4: And that's a good way to digest music. I mean,

389
00:17:25,160 --> 00:17:27,359
Speaker 4: that's my way of digesting music. Everyone's different.

390
00:17:27,640 --> 00:17:29,960
Speaker 2: What's going Number One on Adam Heade's phone right now.

391
00:17:30,200 --> 00:17:30,800
Speaker 3: Well, it's funny.

392
00:17:30,840 --> 00:17:33,000
Speaker 4: Right now, I'm just listening to Lennar Cohen back to

393
00:17:33,040 --> 00:17:34,960
Speaker 4: back to back. I think Lennard co I'm pretty convinced

394
00:17:35,040 --> 00:17:36,879
Speaker 4: Lennar Cohen is the closest thing we have to God.

395
00:17:38,080 --> 00:17:40,560
Speaker 3: Big call, big call, but a true call in my eyes.

396
00:17:40,880 --> 00:17:41,560
Speaker 3: I just wanted to.

397
00:17:41,480 --> 00:17:45,800
Speaker 2: Wrap up by talking about the future. The ARI CEO

398
00:17:45,960 --> 00:17:48,040
Speaker 2: also told us that it can be difficult for local

399
00:17:48,119 --> 00:17:50,480
Speaker 2: artists to break through and what she called a competitive

400
00:17:50,520 --> 00:17:55,240
Speaker 2: global music landscape. So there's probably teenagers listening to the

401
00:17:55,280 --> 00:17:59,000
Speaker 2: podcast today that might be considering a career in music.

402
00:18:00,119 --> 00:18:03,879
Speaker 2: Any advice about overcoming barriers such as a competitive global

403
00:18:03,920 --> 00:18:04,960
Speaker 2: media landscape.

404
00:18:05,119 --> 00:18:07,439
Speaker 4: Well, first of all, anyone that is listening that is

405
00:18:07,640 --> 00:18:11,560
Speaker 4: creating music, I salute you. The pursuit of creativity is

406
00:18:11,720 --> 00:18:14,720
Speaker 4: never anyone. A torturous one and a very rewarding one,

407
00:18:15,800 --> 00:18:18,919
Speaker 4: and it don't get any easier. It's always hard, but

408
00:18:18,960 --> 00:18:20,840
Speaker 4: it is fun when you have those breakthroughs. And I

409
00:18:20,880 --> 00:18:24,920
Speaker 4: think it gets harder and harder in the sense that, yes,

410
00:18:25,000 --> 00:18:27,919
Speaker 4: it feels like if you're in Australia creating music right now,

411
00:18:28,520 --> 00:18:32,280
Speaker 4: you're up against you know, the world literally, But what

412
00:18:32,320 --> 00:18:35,600
Speaker 4: I will say is, never stop because of that, because

413
00:18:35,600 --> 00:18:37,080
Speaker 4: at the end of the day, good art will always

414
00:18:37,160 --> 00:18:40,080
Speaker 4: penetrate and will always get sometime in the light.

415
00:18:40,680 --> 00:18:41,440
Speaker 3: It always will.

416
00:18:42,000 --> 00:18:43,880
Speaker 4: And I know it feels like you're falling on deaf

417
00:18:43,960 --> 00:18:47,240
Speaker 4: ears and your music's getting thrown in the dark, or

418
00:18:47,280 --> 00:18:49,159
Speaker 4: your art or your movies or whatever it is that

419
00:18:49,200 --> 00:18:53,960
Speaker 4: you're creating. But it sounds so corny, But the actual

420
00:18:54,080 --> 00:18:57,080
Speaker 4: journey of the creation itself is the pleasant part. That's

421
00:18:57,119 --> 00:19:00,120
Speaker 4: where you get all the joy and all the beauty

422
00:19:00,160 --> 00:19:03,760
Speaker 4: out of Once you've done that, it's out of your control,

423
00:19:03,880 --> 00:19:06,240
Speaker 4: it really is. You know, you can do a million interviews,

424
00:19:06,760 --> 00:19:09,080
Speaker 4: you can sign to a big record label, or you

425
00:19:09,119 --> 00:19:12,280
Speaker 4: can do a stunt where you jump off the Sydney

426
00:19:12,320 --> 00:19:14,800
Speaker 4: Harbor Bridge naked to promote your music. You can do

427
00:19:14,840 --> 00:19:16,840
Speaker 4: whatever you want, but at the end of the day,

428
00:19:16,880 --> 00:19:19,879
Speaker 4: it's really up to the people you know that will

429
00:19:19,960 --> 00:19:23,760
Speaker 4: really decide what happens from there. If you enjoy what

430
00:19:23,800 --> 00:19:27,080
Speaker 4: you're doing, keep doing it because you should never be

431
00:19:27,119 --> 00:19:31,320
Speaker 4: discouraged by algorithms or you know, data or numbers or

432
00:19:31,320 --> 00:19:34,080
Speaker 4: what people tell you, because you know, some of the

433
00:19:34,160 --> 00:19:36,679
Speaker 4: greatest pieces of art have been made by people that

434
00:19:36,720 --> 00:19:39,879
Speaker 4: were constantly pushed down, you know, but they kept going.

435
00:19:40,200 --> 00:19:44,639
Speaker 4: And I think perseverance is the most potent antidote to

436
00:19:44,680 --> 00:19:46,080
Speaker 4: those kind of mentalities.

437
00:19:46,119 --> 00:19:49,000
Speaker 3: You know, if you just keep going, it'll work itself out.

438
00:19:49,040 --> 00:19:50,560
Speaker 4: And it is hard, you know, I'm not saying it's

439
00:19:50,560 --> 00:19:53,400
Speaker 4: a walk in the park by no means, especially people

440
00:19:53,480 --> 00:19:54,120
Speaker 4: ain't got cash.

441
00:19:54,200 --> 00:19:54,960
Speaker 3: It costs money.

442
00:19:55,640 --> 00:20:00,720
Speaker 4: Shit's hard, But what's harder is sitting there wishing that

443
00:20:00,800 --> 00:20:02,840
Speaker 4: you did that shit. You know, there's always a way,

444
00:20:03,200 --> 00:20:07,640
Speaker 4: and you find that way, pursue that way, you can

445
00:20:07,640 --> 00:20:08,360
Speaker 4: get it all day.

446
00:20:08,880 --> 00:20:11,119
Speaker 2: Well, that's a beautiful message turned on.

447
00:20:11,520 --> 00:20:15,360
Speaker 4: Yeah, it's a poem.

448
00:20:14,200 --> 00:20:20,120
Speaker 2: Adam Hide, Kelly Holiday, thank you for joining the Daily.

449
00:20:20,280 --> 00:20:22,320
Speaker 3: Thank you very much. It's a pledge treasure.

450
00:20:23,200 --> 00:20:25,760
Speaker 1: That was a fabulous interview, Elliott. Thanks so much to

451
00:20:25,960 --> 00:20:28,760
Speaker 1: Adam Hyde for joining us, and thank you for joining

452
00:20:28,800 --> 00:20:31,240
Speaker 1: us too on the Daily OS. We'll be back again

453
00:20:31,359 --> 00:20:34,640
Speaker 1: with this evening's headlines and then once again on Monday

454
00:20:34,680 --> 00:20:37,560
Speaker 1: coming into your feed with another deep dive. Until then,

455
00:20:37,760 --> 00:20:38,680
Speaker 1: have a great weekend.

456
00:20:42,960 --> 00:20:45,240
Speaker 2: My name is Lily Maddon and I'm a proud Dunda

457
00:20:45,480 --> 00:20:48,040
Speaker 2: Bungelung Calcottin woman from Gadigol Country.

458
00:20:48,880 --> 00:20:52,000
Speaker 1: The Daily oz acknowledges that this podcast is recorded on

459
00:20:52,040 --> 00:20:54,520
Speaker 1: the lands of the Gadigol people and pays respect to

460
00:20:54,600 --> 00:20:57,280
Speaker 1: all Aboriginal and Torres Strait island and nations.

461
00:20:57,560 --> 00:21:00,520
Speaker 2: We pay our respects to the first peoples of these countries,

462
00:21:00,640 --> 00:21:01,800
Speaker 2: both past and present.