'New Zealand sound' within the various genres that make up popular music will depend on whether it can break the confines of global isolation that has always held it back. Although the New Zealand music industry is enjoying its strongest market in years, there is still debate as to whether New Zealand music should strive towards heterogeneity or homogenisation in order to become globally (and therefore commercially) viable. Artists such as Salmonella Dub and Pitch Black have been active in building a fanbase for their distinctive sounds in both Australia and Europe, yet neither act is financially profitable [170] , and in a recent television show [171] David Kilgour, who was being interviewed as one of the godfathers of the 'Dunedin Sound', admitted that he was now able to make a living out of music. Out of all the artists featured here, Kiri Te Kanawa would seem to be the only one whose talent has been rewarded, yet the musicians continue to produce music for the love of it, and thus continue to insert music's importance to the culture of Aotearoa. Has New Zealand music a distinctive sound within the world market? Perhaps not yet, but increasingly, it can be shown to possess a sound grounded in the local, which like most of our artforms looks for inspiration to the many configurations of place and space that make up our cultural landscape. [3] That this notion continues to persist is shown by the findings of Roy Shuker, in his 1995