the Provincial problem in Australian music
A while back, a friend of mine from the art world introduced me to Terry Smith’s concept called “The Provincialism Problem.” It made me think about the Australian music scene. We’ve all seen it: a musician gains recognition here, only to pack up and move to the UK or USA. It’s almost as if there’s an unspoken rule that to truly “make it,” you have to leave Australia behind. I’m not convinced this mindset has helped our music industry thrive.
Australia’s music market is small, and our geographic isolation has historically made it challenging for artists to reach a global audience without relocating. There’s also a pervasive belief that true success can only be achieved by gaining recognition in places like London, New York, or Los Angeles. This idea ties directly into what Terry Smith wrote about in 1974—a time when our isolation was even more pronounced. Smith highlighted the “cruel irony” of provincialism: even when artists from countries like Australia adhere to the standards of metropolitan centers, they often remain invisible or are seen as “amusingly exotic” by the very audiences they aim to impress.
“The paradox of provincialism is that, even when the artist aspires to the universal standards set by metropolitan centres, the work produced is often seen by those same centres as quaint, derivative, or merely an amusingly exotic curiosity.”
Even though social media has helped bridge much of our isolation, the belief persists that real success requires leaving Australia and being validated by larger markets overseas. As pointed out in an article from The Music,many Australian musicians still feel the need to prove themselves on the global stage before being taken seriously at home. This echoes Smith’s observation that as long as metropolitan centers define the standards, “all the other centers will be provincial, ipso facto.” According to Smith, “as the situation stands, the provincial artist cannot choose not to be provincial,” a reality that continues to influence the decisions of many Australian musicians.
The advice often given to up-and-coming musicians is to “gain experience overseas if you want to make it.” While touring or working internationally can undoubtedly open doors, this advice reinforces the notion that success in Australia isn’t enough on its own. It pressures musicians to leave the country, often at the cost of leaving behind support networks and taking on significant financial risks.
By encouraging our top talent to leave, we’re not doing the Australian music scene any favors. The industry has been struggling, especially since COVID-19 hit live music hard. When our most successful artists move overseas, we’re draining the lifeblood of the industry. Instead of building something strong and sustainable here, we’re exporting our talent and hoping for the best. How can we expect the industry to thrive if we’re not investing in it by keeping our talent at home? This is likely a conversation that needs to be explored further, questioning not just the solo artist’s expatriation but the broader industry as well.
Smith’s analysis also touches on the fate of these expatriates, noting that “most do eventually return,” underscoring the complex and often unfulfilling reality of chasing success abroad. The artist who returns home often finds that their new ideas don’t always fit neatly into the local context, leading to a mix of admiration, resistance, and, eventually, stagnation. This cycle of leaving, returning, and struggling to make a living at home is a reality for many musicians today.
Terry Smith’s “Provincialism Problem” might have been written 50 years ago, but it still offers valuable insights into the Australian music scene today. Social media has helped level the playing field in some ways, but perhaps it’s time to stop seeking validation from overseas and start focusing on building a stronger, more self-sufficient industry right here at home.
