Every independent artist in Australia is leaving chart position on the table — not because they're not selling, but because the system for counting those sales was built for a different era.
Every eligible sale should count. Full stop.
Building the infrastructure Australian music deserves.
The Problem
The charts don't reflect reality.
Australian artists sell music every day — at shows, online, through retailers, off the back of tours. Most of those sales never reach ARIA. Not because the rules exclude them, but because the reporting system assumes someone's on the other end, manually collating data, formatting files, and hitting submit every single week.
For a major label with a dedicated operations team, that's fine. For an independent artist, a manager running a roster, or a small label releasing five records a year — it's work that quietly stops happening. Releases go out. Sales happen. The chart never sees them.
This isn't a minor gap. It's the difference between a record charting and a record not charting. The difference between an artist earning a chart position and being invisible. The difference between the industry seeing independent music as it actually performs, or seeing a filtered version that over-represents whoever has the biggest reporting infrastructure.
Why Me
I built this from inside the problem.
I'm Rylie — founder of FanStack, based in Melbourne. My background isn't in SaaS. It's in the Australian music industry itself: years working across music merchandise, artist e-commerce, and the operational side of how records actually get into fans' hands. Close enough to the reporting problem to watch it play out release after release — and to spend plenty of time on the other end of it myself, manually formatting files and hitting submit.
I've seen what a proper reporting pipeline looks like when labels build it internally. I've seen what happens when independent artists try to replicate it with spreadsheets and goodwill. The gap between those two realities is the reason FanStack exists.
FanStack isn't a platform built by technologists who discovered the music industry. It's built by someone who's been in it — and who's watched chart-eligible sales disappear into inboxes, spreadsheets, and good intentions, week after week.
What's Next
This is the foundation.
Automated ARIA reporting is where FanStack starts — not where it ends. The same infrastructure will track release campaigns, unify fan data across channels, surface what's actually working for an artist's marketing, and give managers and labels a real-time view across their roster.
The long-term vision is the operating layer for independent Australian music — the platform that sits between artists, their sales, their fans, and the industry bodies that count all of it. Every piece of that is built around the same principle: the work should happen automatically, and nothing should slip through.
The principle
If you sold the record, the sale should reach the chart.
It shouldn't depend on whether you have a reporting manager. It shouldn't depend on whether you remembered to submit this week. It shouldn't depend on whether you know what ARIA's file format requirements are.
The infrastructure to make every sale count already exists at every other point in the chain — Shopify processes the payment, Humanitix issues the ticket, Square captures the merch sale. What's been missing is the layer that connects all of it to ARIA, automatically, reliably, every week.
That's what FanStack is built to be.
FanStack is built specifically for the Australian music industry — the ARIA reporting requirements, the live show workflow, the retail landscape, the realities of how music actually sells here. It isn't a US product with Australian features bolted on. It's built from the inside out, for the system it reports to.
That specificity is the point. Generic sales reporting tools can't navigate ARIA's rules. International platforms don't understand how Australian independent artists actually operate. FanStack does — because it was built here, by someone working in it.
Built here, for here.
Contact us
For partnerships, pilot programs, or questions about the product — drop us a line.