For rising artists, BIGSOUND is about more than the chance to play a stage, with the annual Magandjin (Brisbane) event designed to put musicians in front of people who can help shape what comes next in their careers.
Held across Fortitude Valley from September 1 to 4, BIGSOUND combines three nights of showcases with industry discussions, meetings, workshops and networking, bringing artists together with labels, managers, booking agents, publishers, festival programmers and media.
That purpose has been part of BIGSOUND since QMusic launched the event in 2002, with the original aim of putting Australian artists in front of people who could make a difference to their careers.
For younger and emerging First Nations artists, that concentration of people can provide access to an industry that can otherwise be difficult to navigate, particularly for artists outside major cities or without established contacts.
BIGSOUND's Goolwal Goolwal program also provides an Indigenous-led space within the wider event, with performances, workshops, conversations and networking focused on building connections and careers for mob.
National Indigenous Times spoke to a number of Indigenous artists on the lineup to find out what BIGSOUND means to them from a career standpoint.
Ghanaian-Australian artist AKOSIA sees the event as a chance to build industry relationships with festival promoters, booking agents and other contacts who could help take her live show overseas.
AKOSIA believes that access can have a major impact on artists who have traditionally had fewer pathways into the industry.
"Opportunities like BIGSOUND are life changing," AKOSIA said.
"For Black and Indigenous artists, access to platforms like this can be the difference between having a great song and having a successful career."
Māori artist Payton Taplin's Greatsouth project will travel from Aotearoa for its first international showcase, bringing taonga pūoro and Māori storytelling into its indie and alternative rock sound.
Mr Taplin, who is Te Rarawa and Ngāti Kahungunu ki Wairarapa, is looking for long-term relationships with people willing to support Indigenous expression and help take those stories internationally.
For Greatsouth, having Indigenous artists present where industry relationships and decisions are formed is central to the opportunity.
"It's important for Indigenous artists to be in the room, up at the table, and picking the kai (food)," Greatsouth said.
"Because our stories matter."
That access can be particularly important early in a career, when a meeting with an agent, collaborator or promoter can lead to opportunities that may otherwise be difficult to reach.
Palawa hip-hop artist KIZ, from lutruwita/Trouwerner, sees BIGSOUND as arriving at an important stage in his career, with the artist looking to build connections across the country and create new performance opportunities.
KIZ sees the event as a pathway into his next stage as an artist.
"Where I'm at right now in my career this is definitely the next step for me," KIZ said.
"BIGSOUND came at the perfect moment and will be one of the keys that opens all the next doors for me."
For Papua New Guinean-Australian artist Ngaiire, networking is most useful when it develops into genuine relationships rather than short-term transactions.
Ngaiire is looking to build an international team for her next release while strengthening links between Australia, Papua New Guinea and the wider Pacific.
She sees BIGSOUND's ability to bring different parts of the music business together as one of its strengths.
"For me, the best networking has always been about genuine relationships rather than walking into a room trying to get something from someone," Ngaiire said.
"BIGSOUND creates a rare opportunity to have artists, labels, festivals, managers and people from all corners of the industry in the same place, and sometimes one conversation can open a door you didn't even know was there."
For emerging artists, access is not only about who is in the room, but understanding how to use the opportunities once they are there.
Samu and Suy woman Zipporah, from Saibai Island in the Torres Strait, believes regional and remote First Nations artists can face additional barriers to exposure and industry knowledge.
"First Nations artists certainly don't have as much exposure in the industry as others, especially those who may live or come from remote/regional areas," Zipporah said.
"It's important to create a level playing field and a sense of equity and equality amongst budding artists, who may not have the same industry literacy as others."
For the Indigenous artists taking part, BIGSOUND offers a chance to perform, learn how the industry works and build relationships that can create future opportunities, while ensuring First Nations artists are present in the spaces where industry decisions are made.
