Warner Music Australia (WMA) is experiencing a remarkable surge in their home country, as the Australian division of Warner Music Group has achieved a historic milestone on the ARIA Singles chart. This impressive performance marks a significant moment for the label, showcasing their strong presence and influence in the Australian music scene.

The recent success is highlighted by the two ARIA charts dated Monday, June 9 and June 16, during which nine out of the top ten positions across the fortnight were occupied by artists from WMA. This achievement not only underscores the label’s dominance but also reflects the hard work and dedication of its artists and teams in cultivating musical talent.

On the June 9 chart, Alex Warren’s hit single “Ordinary” holds the coveted top position. It is accompanied by a strong performance from the artist sombr with two tracks, “Undressed” and “Back to Friends.” The top five is rounded out with standout tracks such as Ravyn Lenae’s “Love Me Not” and Tate McRae’s “Just Keep Watching,” demonstrating the diversity and appeal of WMA’s roster.

The trend continues on the June 16 chart, where Sabrina Carpenter’s “Manchild” enters at No. 2, showcasing the evolving landscape of the charts. The remainder of the top five features well-known names like Benson Boone, Bruno Mars (with collaborations alongside Lady Gaga and Rosé), Teddy Swims, and legendary favorites Fleetwood Mac and the Goo Goo Dolls, highlighting the mix of both emerging and established artists.

Overall, WMA has placed 11 acts within the top 20 during the first week, with a slight decrease to ten in the subsequent chart. This remarkable representation emphasizes the label’s strength and influence in the Australian music industry, positioning them as a leader in promoting local talent.

Reflecting on this impressive achievement, Dan Rosen, the President of Records and Publishing for Australasia at Warner Music Group, describes it as a “phenomenal effort” to reach such “historic levels of chart share.” His acknowledgment of the hard work involved speaks to the dedication and commitment that has gone into building a successful music label in a competitive environment.

“These accomplishments are the culmination of years of diligent work from teams worldwide, focusing on artist development, A&R, and engaging with local culture,” he continues. “Our efforts have allowed us to firmly establish our presence here in Australia, bridging global talent with local audiences.”

“Our mission remains clear: to transform our global artists into local sensations while propelling local artists onto the world stage,” he adds. “It’s been truly inspiring to witness the emergence of this next generation of exceptional Warner acts as they integrate into our local culture and community.”

Rosen, who has recently been recognized as one of Billboard’s 2025 Global Power Players, emphasizes the importance of Australian and New Zealand artists gaining recognition on a global scale. His passion for showcasing local talent highlights the potential these artists possess in making a mark internationally.

“We’ve always believed in the exceptional talent of Australians and Kiwis, and I believe that modern global platforms now provide us with the opportunity to truly showcase that talent,” he explains. “Building the next wave of Aussie and Kiwi acts on the international stage has been a significant endeavor, but we are beginning to see the fruits of our labor.”

Among the artists that Rosen proudly highlights is the Auckland-based alternative pop group Balu Brigada, who made waves by topping the Alternative Airplay chart with their debut single “So Cold.” Their latest track, “Backseat,” is also gaining traction globally, indicating the band’s growing popularity and potential for future success.

Another notable artist is CYRIL, a DJ from Darwin, who has achieved substantial success on radio charts, with his recent track “There She Goes” climbing to the top of the TikTok charts. This highlights how emerging artists can leverage social media platforms to reach wider audiences and build their brand.

“We have a rich history of producing exceptional export artists, and we are thrilled to witness the next generation emerging in both the indie rock and dance genres, which have been traditional strongholds for us,” he affirms, demonstrating his confidence in the evolving music landscape.

Significantly, WMA’s recent chart success comes amidst a challenging backdrop for the Australian music industry, as the entirety of the Singles chart’s top 50 lacks local representation. This alarming trend raises questions about the visibility and support for local artists in a competitive market.

The sole Australian influence on the charts can be found in Doechii’s “Anxiety,” which prominently samples Gotye’s 2011 hit “Somebody That I Used to Know.” Meanwhile, the Albums chart offers a slightly more encouraging outlook, with Jimmy Barnes’ album Defiant securing the top position for June 16; however, the remainder of the top 20 is still devoid of local acts.

Unfortunately, this absence of Australian artists isn’t a new phenomenon, as ARIA’s 2024 end-of-year charts revealed that only 5% of the content was local. This statistic serves as a sobering reminder of the challenges faced by homegrown talent in gaining visibility within their own industry.

“It’s tough out there,” Rosen acknowledges, emphasizing the necessity for local acts to gain visibility to make a substantial impact on the charts. “We cannot ignore the ramifications of this situation, but I remain incredibly optimistic about the potential of the next generation of Aussie acts to make significant waves, both locally and internationally.”

“This moment in time is critical. While we can’t overlook the current challenges, we need to prepare for future success, which, in my view, revolves around the artists capable of making an international impact,” he elaborates, showcasing his forward-thinking approach amidst adversity.

The recent chart triumphs experienced by WMA can also be attributed to the vital importance of having artists actively performing in the local market, a necessity that Rosen deems “fundamental.”

“Take Benson Boone and Teddy Swims, for example; we introduced both artists to the market early on,” Rosen recalls. “Benson Boone performed at an intimate, sold-out show at the Lansdowne [in Sydney]. Teddy Swims began his journey with a great hit in New Zealand called ‘Lose Control,’ and both New Zealand and Australia remain his top markets worldwide.”

“I believe the foremost priority is to bring artists to market,” he continues. “This allows fans in Australia to witness their talent firsthand, fostering a connection between the artists and the local culture. Our role is to facilitate this process and work collaboratively with our partners.”

“Our partnerships with Atlantic Records and Warner Records are invaluable. We collaborate closely to determine how we can help break these artists into the market,” he explains. “We place great importance on these partnerships, working diligently to bring artists to the forefront as soon as possible, integrating them into the local culture, and building their fanbase from the ground up.”

In addition to his responsibilities at WMA, Rosen has expanded his role to include publishing this year, and the recent positive outcomes reflected in the charts undoubtedly leave the entire team feeling accomplished and motivated.

“I’m merely the figurehead leading a remarkable team,” he explains. “What we have is a passionate and dedicated team across both records and publishing, and I take great pride in leading such a talented group.”

“We won’t rest on our past achievements,” he adds. “There’s still much to accomplish and many more goals to reach, but it’s essential to celebrate our successes. We all understand the hard work involved in this industry, so taking the time to acknowledge our victories is important, even as we strategize for what lies ahead.”