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View all search resultsThree Indonesian independent musicians with growing audiences on Spotify share a common reality: streaming does not pay the bills, so they built something else that does.
n a weekday morning in Samarinda, East Kalimantan, Wendra irons his shirt, packs his bag and arrives at his government desk at the usual hour.
By most measures, his band, Murphy Radio, is doing well. The math-rock trio draws 226,000 monthly listeners on Spotify. They have toured China. A government creative economy program commissioned a music video for their song "Graduation Song." None of that changes the morning routine.
"Everything I do basically comes down to, just keep going. Nothing is forced," said Wendra, the guitarist and vocalist of Murphy Radio. "Nobody saw this coming. Murphy ended up with this many shows and this many listeners, especially with how fast things moved in 2026."
Wendra is not an exception. Across Indonesia's independent music scene, the gap between a band's visibility and its members' actual income is wide enough that nearly everyone has learned to live on the other side of it.
For Ezra Adinugroho, the drummer of Enamore, a post-hardcore band based in Batu, East Java, with more than 127,000 monthly Spotify listeners, it means tending rows of orchids at a nursery outside Malang before most office workers log on.
For Bimantara Septianto, guitarist of Bandung-based "skramz" band Swarm, it means spending evenings behind a mixing desk after a full day managing merchandise and communications for an independent label. Skramz, a tongue-in-cheek term for traditional 1990s screamo, is a highly volatile, emotionally intense subgenre of emo and hardcore punk.
"It is less about having an exit plan and more about having income first, before the band." — Wendra, guitarist and vocalist, Murphy Radio
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