How Two New Zealand Artists Cracked 1 Billion Streams 'by Building Global Audiences From the Outset'

A new wave of globally-minded Aotearoa artists is rewriting the traditional playbook — and the numbers are starting to stack up.

"Very few artists from New Zealand have crossed a billion streams, and what SXMPRA and 9lives represent is a new generation of globally minded artists coming out of this country," says Higher Ground founder and director Dan Woolston. "In previous generations the path was to build success locally first and then try to export the music internationally. This generation is doing the opposite, by building global audiences from the outset — connecting with online communities and niche scenes that exist far beyond our borders."

"Instead of being limited by the size of our domestic market, Higher Ground have always leaned into the reality that music now travels instantly," he adds. "The internet has removed the traditional barriers of geography, and it means artists from New Zealand can compete on the same stage as anyone in the world. Hitting a billion streams shows just how powerful that shift has become."

9lives and SXMPRA — who are both signed to Higher Ground — have each now surpassed one billion cumulative streams, a milestone that underscores the scale of their international reach.

The streaming data backs it up. 9lives currently pulls more than 2.7 million monthly listeners on Spotify, with breakout track "I LOVE YOU HOE" (featuring Odetari) sitting at over 281 million streams. More than 10 of his tracks have crossed the 10 million mark.

SXMPRA, meanwhile, sits at around 2 million monthly listeners, with "COWBELL WARRIOR" clocking more than 243 million streams and "COWBELL WARRIORS!" — his collaboration with Ski Mask the Slump God — adding another 23 million-plus. At least 10 of his tracks have surpassed 5 million streams.

Both artists were also featured on Spotify’s inaugural Aotearoa Music Global Impact list in 2024, which highlighted the top 30 New Zealand songs making waves internationally. Notably, 9lives and SXMPRA accounted for seven of those entries, alongside established names like Lorde, L.A.B, and Stan Walker.

For the artists themselves, the milestone is still hard to process.

“It doesn’t feel real, to be honest,” 9lives says. “My brain looked at one million streams as a way bigger achievement, but I think it’s because you can wrap your head around that number. I don’t think anyone can imagine what one billion can physically look like, so I guess that’s probably why it feels so surreal to me.”

SXMPRA describes the achievement as a moment of reflection as much as celebration.

“Every milestone has been significant in its own way, but this one stands out because it overlooks my career as a whole and makes me look back on what I did to get to where I’m at,” he says. “I’m grateful that my music has resonated with people enough to reach such a milestone.”

Beyond the headline numbers, their success speaks to a broader shift in how artists from smaller markets are breaking through globally — particularly at a time when domestic visibility remains a challenge in New Zealand. Campaigns like the New Zealand Music Commission’s ‘Outplay the World’ have encouraged local audiences to support homegrown acts, but the global-first approach taken by artists like 9lives and SXMPRA suggests the pathway to success is increasingly outward-facing.

“I’d say that if I can do it from my bedroom so can you,” SXMPRA says. “We are lucky as artists to exist within a space where the quality of the gear you’re producing on doesn’t matter. Everyone loves a bit of DIY — it adds so much character and authenticity to the art. Just keep consistently pushing your craft and investing back into it.”

9lives echoes that sentiment, while acknowledging the challenges of being an artist in Aotearoa.

“It feels like we are constantly being overlooked as a musical country, but it’s been nice to see the growth and movement over the years,” he says. “I’d just say to keep making music for yourself, and it’ll eventually reach its audience one day.”