Hear that? It is the sound of live music that dies for local artists, but not for Lady Gaga and Taylor Swift.

It is tempting to assume that the Australians have not fallen in love with live music, but this theory falls apart when you look at the masses, pack the stadiums for Lady Gaga, Taylor Swift, etc. The passion has not disappeared, but has changed. With increasing living costs and lifestyle after the covise, most people prefer to take off a large, familiar show instead of recovering something new at their local event location. Even as a regular supporter of local live music, I am still impressed how little attention it will be – despite the extraordinary talent across the country. I do not accuse the audience to take into account what they know, but it is worth asking what effects these decisions have.

This week we heard the bluesproof, paradise, your and owls, hearing and Field Day will receive up to 500,000 US dollars of up to 500,000 US dollars from the NSW government, whereby Labor's Expanded Revive Live promise to grant the other festivals throughout the country, but they need more than this, but they need more. In expensive ticket sales, if you resume the costs of 3.9 million US dollars on average, the costs of 3.9 million US dollars will be returned on average.

Costs global conglomerates such as Live Nation – with festivals, including stirred milk and legendary music sites across the country, including Melbourne's Palais Theater in his portfolio – and TEG, including Laneway and event locations, including the Sydneys Qudos Bank Arena, can theoretically afford to move away. After all, they are available in international headliners such as Post Malone, Stormzy and Charli XCX for (normally exclusive) appearances.

Perhaps the real question is when the appetite for live music is still there, as we also redirect a fraction of this attention to our own talent? One possibility, as it used to be, was to select international actions that had to select local openers, but now this is optional and rarely the case.

Most of the time, the support slot, when I missed a tour, was supported by an artist overseas or a large label team. Another proposal, which is often thrown on smaller artists, is to concentrate on social media, since it is now considered a new way to success.

And while platforms such as Tikok artists have helped to get in touch with listeners beyond their local scenes, I do not think they have replaced the need for real opportunities, but instead only reinforced existing inequalities. Great artists have the marketing budgets to dominate digital conversation. Global Player is strategically flooded by Global Player, which only help to create Fomo, increase demand and ticket sales and get the biggest name even greater.

In the meantime, small artists have difficulty cutting the social media noise, and the pressure to become viral, often shifts the focus of the music itself to the creation of content in order to remain visible. And when they become viral and then play on the radio, outdated license caps mean that they don't get a lot of money from the air waves.

I do not think that there is a unique villain here, but a conversation about the growing gap between the support that we give international names than if we can support our own better.

If we do not support the artists directly in front of us, we risk losing the very living scene on which this stadium shows were set up. When I think back to this tour offer, which was given to me and was torn apart between financial survival and artistic opportunities, I realize that it was never just myself as an artist, but instead reflected a greater story. One in which aspiring Australian artists are worked, who sometimes work in a way that may not match their values, finances their own growth for the commitment and hopes for a break that is increasingly out of reach. However, if we no longer create space and the opportunity to grow a local talent, one day we can be prompted with nothing native to whom we arrange.

Athanasia Sakoutis is a musician in Sydney.