Thursday, 31 December 2020

For most of us, this New Year's Eve will be normal

Back in March, when a crisis hit, radio came into its own - fulfilling an even more crucial role across the board than we had ever imagined it would need to.

This was especially true of Christmas, with families having to stay apart and more people feeling isolated than in any other year.

Tonight, many are faced with a different - perhaps more laidback - New Year's Eve.

Households may throw their own mini legal celebrations, or just want to listen to something that maintains the vibe they are used to.

Escapism and familiarity from radio is a godsend in these times and stations will excel with the usual well-programmed party music offerings tonight.

At the same time, dare I say it, most of us usually count down to midnight at home.

While many enjoy the ad-free anthems, others are just seeking what radio is best at giving us: a friendly companion. This year more than ever.

Our new station, Petersfield’s Shine Radio, has a special New Year's Eve edition of The Brighter Minds Quiz - our weekend evening show - to play along with.

As an AC station aimed at the main bulk of the town's population, those aged 40-60, we are also favoured by older members of the community who will be looking for an alternative.

If you're a local service, consider standing out from your competitors who will each serve a particular need very well. What can you do that they won't or can't?

After all, unique public service broadcasting is the very reason for community radio's existence.

Wednesday, 30 December 2020

2020 - the year radio came into its own

This year, our world changed dramatically – and our way of life has been forced to suddenly adapt to; yes, I am going to say it, this "unprecedented" situation.

Many people have turned to radio, not just for information on the latest developments, but as a companion – a means of escape from the negativity we’ve been surrounded by in 2020. A real human voice who is also living through this period of fear and sorrow.

Presenters across the board have judged the mood, managed to find the right words with the right tone at a time when it seemed impossible and provided a much-needed comforting/entertaining distraction, many from their living rooms, kitchens or under a duvet.

I thought I’d take a moment to reflect on just some of what we’ve experienced in these surreal times:

Reassuring words from Greg James

A week before the first lockdown, things were already taking a dark turn. With COVID-19 case rates rising, social distancing guidelines introduced and widespread uncertainty, Greg James spoke to his audience.

“Bye Chris”

The day before the night the PM addressed the nation, announcing the first nationwide lockdown, this call to BBC Radio Solent’s Pat Sissons was trending on social media and achieved national press coverage.

Chris rang the show three months later to admit she’d had to “eat her words a bit”:

The Great British Singalong

On 2nd April, the BBC’s five national pop stations came together for the first in what became a weekly event for two months.

Absolute Radio 40s

On the 75th anniversary of VE Day, the Absolute Radio team, together with TBI Media and supported by the Audio Content Fund, created a pop-up station playing a mix of jazz, swing and big band music from the 1940s.

It took over the main station’s national medium-wave frequency (1215AM) and broadcast on DAB in London for the day. It received a hugely positive reaction:

Mental Health Minute

Now in its third year, most UK radio stations simultaneously broadcast a sixty-second message of famous voices raising awareness of the importance of talking about mental health.

The initiative is overseen by Radiocentre, supported by The Royal Foundation’s Heads Together campaign and, this year, produced by Somethin’ Else for the second time.

Iain Lee calls the show inspired by him

At the beginning of June, Iain Lee announced his departure from talkRADIO after four years on lates.

The end of this historic, yet incredibly unique, radio format "sparked" an idea in the minds of duo Kai Valentine and Hayden Beckett, who decided to launch their own phone-in show on a community/student station in Sunderland.

The show still airs two nights per week on Spark, which is based at The University of Sunderland. Back in the summer, Iain called in to the show that he and co-presenter Katherine Boyle had inspired.

Black Lives Matter

Not only are we facing a medical pandemic, but there’s long been the global issue of racism. It was rightly highlighted after the horrific death of George Floyd in the US back in May.

While, disappointingly, presenters from some commercial and community radio stations were denied the opportunity to speak their minds, those who did shared powerful heartfelt messages.

As well as the brilliant Clara Amfo, Seani B, DeMarkay Williams and Fleur East were among those who spoke openly:

Greg James also found the right words:

Hits Radio Brand Network Expands

After spending more than a year investigating something they eventually decided didn’t matter, the Competition & Markets Authority finally gave the green light to Bauer’s acquisition of four commercial radio groups - UKRD, Celador, Lincs FM Group and the Wireless local stations.

The vast majority of these assets joined the recently-established Greatest Hits Radio network, meaning the end of heritage brands such as Spire, Minster, Yorkshire Coast, Swansea Sound etc.

RAJAR is currently not collecting data - and hasn’t done since the pandemic was declared - so we’re unable to see whether or not the strategy is working in terms of numbers; though it has safeguarded the future of a service providing local news and information in many areas. 

That said, it’s always sad hearing presenters who’ve been connecting with their audiences for many years say goodbye to listeners, especially in 2020 when any tiny drop of normality has been a breath of fresh air.

Here are just a few, thanks to the ever brilliant work of Aircheck Downloads (who have more on their website):

Capital Breakfast pays tribute to senior producer Joe Lyons

The radio industry was in mourning following the tragic news that Capital Breakfast’s senior producer, Joe Lyons, had died. He’d worked at Global for ten years. Presenters Roman Kemp, Sian Welby and Sonny Jay beautifully delivered an emotional tribute:

Virtual Events

With gigs/festivals cancelled across the country and around the world due to the pandemic, radio stepped up to fill the gap as best it could to bring music lovers together from the comfort of their own homes.

Supported by the Audio Content Fund, thanks to independent production companies Somethin’ Else, TBI Media, Listen and We Are Grape, a series of special performances from artists/DJs were broadcast on six of Bauer’s national stations over the Easter weekend.

Of course, this was just the beginning. It’s been the year of Zoom, Teams etc - and there've been countless virtual happenings courtesy of radio stations far and wide... Radio 1′s Big Weekend, Radio 2 Live at Home (instead of Hyde Park), Smooth Sessions, Heart Live at Home, the Best of Capital’s Summertime Ball and Radio X Presents to name a few.

BBC Local Radio’s Make a Difference campaign

At the beginning of the pandemic, the BBC launched their “Make a Difference” campaign to connect those in need of help with those who can provide it, receiving a record number of calls by October.

Clap for our Carers

Earlier in the year, UK radio stations joined in with the weekly Clap for our Carers on Thursdays at 8pm.

New stations hit the airwaves

After months of speculation surrounding the expansion of News UK’s radio business, it was confirmed in January that Times Radio would launch in the summer.

Having announced signings from Michael Portillo to John Pienaar, the station launched on DAB (64kpbs) with sister station talkRADIO moving to DAB+ (32kbps).

The clubs may have been closed, but it’s been a good year if you like dancing. Radio 1 Dance and Capital Dance launched a week apart in October.

And who could forget the launch of the groundbreaking Podcast Radio - the perfect example of how to properly execute a linear podcast-only format, which a certain US media giant who’ve tried it can learn from!

There have also been a significant number of online-only local radio station launches this year, one of which I’m proud to have helped with - but unlike many others, set up in response to the loss of heritage brands in their respective areas, we established Petersfield's Shine Radio in a small market town with little competition in response to long-term demand and have been overwhelmed by the response.

Global unveil new LBC Westminster studio

In September, Nick Ferrari chaired the first Call The Cabinet from the very impressive new studio.

It’s as much of speech radio remains focused on visualization to compete with news/current affairs TV and as a means of creating engaging viral clips.

The Lockdown Awards

Radio 1’s Teen Awards may have been unable to take place this year, but that didn’t stop Greg James from holding a spectacular celebration of “all the stupid stuff that’s made us laugh in what’s been the worst year.”

A small collection of moments that sprung to mind. There has been some fantastic work in all sectors this year.

Despite declining revenues, radio stations have refused to give up on their audiences (in fact, they’ve gone the extra mile in many cases).

Despite a mental health crisis, presenters haven’t failed to raise a smile.

More broadly, it’s a solid explanation as to why creativity must forever be nurtured and embraced.

Without it, I certainly don’t know where I would be at this point - and millions of others will undoubtedly concur.

Whatever your role in keeping our country/planet going in 2020, we could not be more grateful for your public service. Thank you!

Tuesday, 8 December 2020

The National Radio Archive - first progress report published

The first progress report on the British Library's National Radio Archive has been published.

The pilot is scheduled to run over two years and aims to preserve a representative proportion of ongoing UK radio output which will be made available for research:

This intervention was needed because most UK radio output was not being preserved long-term or was inaccessible for research and education. We estimate that of around 3 million hours of radio broadcast in the UK each year from 700 stations, some 92% is not being properly preserved, with only 2% being made available for potential research post-transmission. These are sounds that need saving.

While Ofcom-licenced stations have to retain off-air logger recordings for at least 42 days, so they can be shared with the regulator if necessary, they're often binned after this time period or at risk of being deleted from internal systems.

Thankfully, the likes of Aircheck Downloads and other enthusiasts have archived thousands of hours worth of radio over the years - but we wish there was more.

I remember LBC’s catch-up subscription service had virtually every show since the mid-00s archived. No idea what happened to the treasure when it closed, but I hope it’s buried for someone to dig up one day.

Also, special shoutout for Matty whose Iain Lee Vault has virtually every one of the great man’s shows since the 90s.

My show, my music

Nation Radio UK has announced its launch line-up - featuring Mike Read, Russ Williams, Neil Francis, Neil Fox and Dean Martin.

Dr. Fox said:

Like everyone else, we are bored of the same repetitive playlists. So, guess what? Like radio used to be... we’re picking the music. Quite right too! The World’s Greatest Songs and the innovative Heritage Chart. The classics and the future classics together. It’s time to be free.

Don’t get me wrong, I was a fan of him on Capital... but there’s a lot to unpick in that quotation!

Firstly, if "everyone else" was bored of tight music rotations, the stations in question wouldn’t have such big audiences.

Personally, I don’t listen to a great deal of music radio these days (I prefer making it!) and Heart is, quite literally, not for me - but millions do tune in so it must be doing something right.

The most popular tracks, informed by research, are the most played - and no-one ever complains about hearing their favourite song.

Another point is about the average length of time people consume it for. They’re not listening all day long - especially in today’s digital world, that’s a big ask.

We’re spending more time with more media/more radio stations. Each time a track comes round, different people are hearing it to the previous play. They would test more songs if it was felt to be necessary.

As for jocks picking the music, we know there are presenters who bring genuine expertise to their specialist show which attracts an audience - and the best programmers have the best gut instinct - but can it work more generally as a station format?

When the art/science of radio programming is adhered to, yes, but an eclectic personal record collection has no value for the listener.

Surprises, absolutely, but they have to sit within a well-targeted music policy (as I discussed in the context of community radio earlier this year).

Friday, 27 November 2020

Another BBC U-turn?

BBC Local Radio will retain local/regional late shows in an apparent U-turn on the decision to introduce a single network programme.

Obviously a huge relief for all concerned - and, fundamentally, this is the right decision for listeners.

Late night is a special time to be on-air and only the BBC can provide such distinctive public service broadcasting.

I’m aware the move was planned to cut costs - but my primary concern, more so than localness, was that any new show would alienate existing older audiences (in-line with the recent music policy shift).

Equally, I hope the retained regional output continues to focus on those who value the stations most, as opposed to a younger demographic which would be nothing more than wishful thinking.

Sunday, 22 November 2020

Even a dump button requires attention

A shocking error of judgement at BBC Radio London tonight as a racist, homophobic and generally abusive troll was kept on-air for more than a minute after first using the N word as the oblivious presenter continued to ask him questions about board games.

I’ve no idea what the presenter thinks he heard, but it certainly wouldn’t have gone unnoticed to listeners. Perhaps more importantly, where is the producer in all of this? They're certainly not short of resources.

Unlike commercial phone-in radio, the BBC don’t broadcast in delay enabling offensive language or libel to be “dumped” before making it to air.

Traditionally, it was claimed the Beeb is editorially equipped to prevent and deal with these sorts of incidents before they occurred.

In reality, while they may have more pairs of ears, they’re no better prepared for this than commercial radio.

However, even a dump button requires the attention of the presenter/producer, which clearly wasn’t present in this case.

Thursday, 5 November 2020

Love it or loathe it, visualisation is key for radio's continued success

Another election night, another masterclass in visualisation from Global.

We sometimes hear from fans of our great medium:

 Why does radio have to become TV?

It doesn’t.

The power of words is still king - but, in this age of social media, video is the right content marketing strategy.

Plus, LBC’s style of news coverage/topical debate competes with both media, so it’s good for the brand to be able to engage an audience that prefers a polished visual experience while maintaining quality radio output.

In fact, TV should apply this audio first, visuals second mantra too - focusing on what is said, not just what is seen.

Monday, 26 October 2020

Spotify's new invention - music alongside talking

Having bought the podcast creation platform Anchor over a year ago, Spotify recently announced their latest venture: allowing users to create:

...a new kind of audio show combining talk segments and full-length songs.
Sound familiar?!

You’ve been able to add songs from Spotify (and previously Apple Music) to a podcast in Anchor for some time now. By default users hear a 30-second preview, but anyone with a premium account can hear the full track.

This exciting new development from the audio streaming giant means podcasts containing songs from their library can be played exclusively on Spotify in a similar way to a music playlist.

The new way to create opens up big opportunities for both organisations and individuals, especially given the ability to monetise shows through sponsorship (while adhering to their guidelines on this).

It comes two years after former Spotify CFO Barry McCarthy said, in an interview at Goldman Sachs’ Communacopia conference:

The 20-year trend is linear dies, everything on-demand wins.

The claim was repeated by CEO Daniel Ek five months ago. He added:

While most external focus is on competition between streaming services, (our focus is on) the billions of users who are listening to linear radio.

I’ve always said not to underestimate Spotify’s ability to rapidly expand as an audio platform, but I disagree that "everything on-demand wins" - the shared experience of a live broadcast, used to its advantage, is unique and irreplaceable.

Not only do 89% of British adults listen to traditional radio each week (RAJAR) and 92% of American adults (Nielsen), the growth of live streaming platforms such as Twitch and Periscope prove this.

Putting that debate aside, anyone can see this has huge potential with on-demand content that’s enough of a draw (and I’m sure there are big-name signings to come).

Of course, it’s not solely about taking on the radio industry - it could also be seen as a direct response to Apple‘s linear stations and the fact podcasts in their directory (or any other) cannot feature commercial music without the publisher obtaining the necessary licences.

Anyway, I tested this out on Anchor/Spotify. At first, my show (featuring a load of crunch ‘n’ roll links) was rejected due to an imbalance of music and speech, which is fair enough, so I uploaded an interview on the end and got the thumbs up shortly afterwards.

For me, the most annoying thing listening back was the gaps at the beginning/end of songs, particularly those that fade in or out.

That’s not just me being a sad anorak (as much of one as I may be) refusing to think outside my radio bubble, it’s a frustrating listening experience when it doesn’t flow nicely - the equivalent of a playout system with no cue points/segue markers set on anything.

I’m not suggesting Spotify should give users the ability to edit, beat-match or even “jock” the songs (can’t see record companies allowing that anyway) but something needs to be done to allow smoother seamless transitions between segments.

In other related news, Spotify just announced they’re launching a new daily presenter-led morning show, ‘The Get Up’, combining news, entertainment and a personalised selection of music for the listener (based on their listening trends).

Hosted by journalist Speedy Motman, YouTuber Kat Lazo and Spotify’s Head of Cultural Partnerships Xavier "X" Jernigan, it’ll be pre-recorded (therefore lacking any real-time audience interaction that is a huge part of many traditional breakfast radio shows), released at 7am EDT weekdays and available to stream as a playlist.

Having an algorithm choose music curated to your own tastes sounds attractive - but if you crank up a workout playlist in the gym, unwind with chilled music at night and play nursery rhymes for the kids, you‘ll probably find it a difficult listen!

There should be further customisation options allowing users to pick genres, playlists, artists etc to prevent this from happening.

It’s still early days and there’ll be more to come. It may suit Spotify’s current agenda to dismiss linear/live broadcasting, but I wouldn’t rule it out completely further down the line if demand is still there.

Radio’s advantage right now is being in the moment; reacting to the day’s events, reflecting the mood and getting the right tone. That emotional connection is something Spotify hasn't yet grasped.

Tuesday, 13 October 2020

YouGov: Two in five Brits prefer local radio stations

People who enjoy local stations over national ones are more likely to listen to commercial radio and less keen on podcasts than the average person, according to a recent YouGov survey.

Some 38% of Brits tend to (29%) or definitely (9%) agree that they prefer local radio stations to national ones.

This is too vague to draw conclusions though. Does that include local variations of national brands which make up the overwhelming majority of the All Local Commercial reach figure (46%)?

Plus, BBC Local Radio and local commercial radio only has a combined market share of 32%.

Furthermore, if you ask the average person what they want from a local radio station, they'll say news, travel and weather because they’re known for these.

If you ask what they want from a radio station generally, they’ll say something of interest and/or entertaining.

And see restaurant menus: people don't always know exactly what they want until they’re offered it.

Sunday, 11 October 2020

Local Radio Day - who is it for?

Tomorrow is the fifth annual Local Radio Day:

...to highlight the value of local radio to communities and to celebrate the unique relationship between local broadcasting and listeners.

Essentially, it’s a day for local radio to do local radio - but shouldn’t that be every day?

The best way to win over listeners is to understand their lives, be useful to them, consistently fly the flag for the area they call home and be the hub of the community - not by blowing your own trumpet!

Great work is something to be celebrated, of course, and you’ll be rewarded for it - so why not save any one-off Local Radio Day happenings for a significant local event that’s actually relevant to the audience?

Maybe I'm just feeling grumpy. Aren't we all?!

Friday, 9 October 2020

Is Farage looking to buy talkRADIO?

The Telegraph is reporting that Nigel Farage has been involved in talks about a bid to buy talkRADIO from News UK for £15m.

A spokesman for the media giant said the station has "a growing audience" and "is not for sale".

If true, I predict they’ll eventually lose the license, Farage will claim Ofcom “hates the English” or something ludicrous and relaunch it online - which he might as well just do and save a fortune, not only the disclosed fee but also running costs without being part of an already well-resourced News UK.

Is £15m a good deal?

In the grand scheme of things, no.

While a broadcast outlet is still crucial to building a radio business in the UK at present, even national DAB spectrum isn't worth THAT much!

Furthermore, the station has never made a profit (speech radio is very expensive) and it attempted to dodge a £75k fine earlier this year by arguing there were very few listeners or advertisers and that it relied largely on internal revenue from sister outlets. A start-up would lose access to that safety net.

Saturday, 3 October 2020

Why do a sports show during the sport?

Radio was the original social media - and sport is a prime example.

Even if it didn’t offer match commentary, you could rely on your ILR station to say when the ball had hit the back of the net.

Today, as with most information, live sport is widely available at the touch of a button - whether that be tweets, blogs, online video/audio etc (and dedicated sports TV/radio stations) - so why bother with a show for an audience that has far superior options at the time its on, including commentary or actually going to the game itself?

You don’t have to be a diehard football fan to show an interest of course, especially in your local side(s), and you can be there for that person by acknowledging it.

A grassroots sport show with engaging guests and listener contributions can be unique to a community station but you’d want to schedule it for when the audience is available to get involved.

Which listener would it be best to cater for at 3pm on a Saturday: the one that is either passionately watching or following the match elsewhere or the one that is seeking an alternative?

Wednesday, 30 September 2020

talkRADIO source: Balance doesn't really work

Following Jamie East’s departure from talkRADIO, a source at the station said it used to be “quite balanced” but added:

Balance doesn’t really work - no one listens.

...except Radio 4, 5 Live and LBC combined have 20 million MORE weekly listeners!

It is nuts, isn’t it? This is the same people who might dismiss the BBC as biased admitting they are biased themselves.

Of course, they'd argue the Beeb is publicly funded whereas talkRADIO can do what it likes.

But that’s irrelevant as those of us with a brain cell know the BBC has no political agenda and it’s in the interests of Murdoch’s business to try and damage its credibility.

Saturday, 12 September 2020

How can local win in today’s radio landscape?

I’d like to wish everyone affected by the latest changes in commercial radio the best of luck for the future.

Some had been broadcasting in their respective areas for decades and remained stupendous, as ever, right to the last link.

Building strong national brands to compete most effectively for audience and revenues, with more stations as well as today's vast digital media landscape, is vital for radio's continued relevance.

Furthermore, agencies in London demand simple national ad campaigns so they can buy networks that will deliver the greatest number of impacts (based on the cost-per-thousand people that hear a spot).

It is due to an historic local and regional structure of FM licencing that consolidation has had to happen at the expense of local stations and their hardworking staff.

Global, one of the two main players in UK commercial radio, has enjoyed tremendous success in building Heart and Capital in this way.

As per the regulations, dedicated local journalists will continue to provide a high quality service on Greatest Hits Radio with hourly 2-minute peak-time bulletins (an extension for some), half-hourly headlines at breakfast and "drive" (which we need a new name for!) and online articles - not to mention travel, free airtime for local charities, jobspot and what’s on info.

With journalists who can effectively cover each TSA, they’re reasonably equipped to deal with a major local incident if necessary (assuming contingencies are in-place allowing a single TX to opt-out efficiently for more than just hourly bulletins).

Responding to these events in the right way swiftly shows strength and commands the trust and respect of listeners. Being there for your audience when the unexpected, serious and/or tragic occurs never goes unnoticed.

Of course, there was more to many of these local stations (and others) than just trusted information - outside broadcasts, much-loved entertaining presenters who know their patch referencing local places and sharing stories, local guests, locally-focused competitions etc. This relevant content will be missed.

There’s the potential for this gap to be filled by community radio - but only well-run stations that have a clear target demographic/a consistent sound, unique local content and engaging output (presenters, shows and/or features), which has the interests of the listener at heart.

Simply saying "we’re local" and "play the best music variety" won’t cut it.

There’s more choice now than ever before and radio listening habits, generally, aren’t so loyal to a single outlet these days - but you still choose a station because of how it makes you feel. Because it speaks to you.

Your decision to listen is probably based on a range of factors: music, content, information etc - but it always comes down to relevance.

I want to listen to a presenter who’s serving their audience, not just serving their own will to be on the radio. Someone who knows what I’d like to hear, not what they’d like me to hear.

Would I rather allow Greg James, Liza Tarbuck, Pat Sharp or Andy Crane to put a smile on my face - or listen to DJ Anorak hitting (or maybe even crashing) every vocal in his record collection and playing crowd SFX for personal satisfaction?

Last month, I helped launch Shine Radio in the Hampshire market town of Petersfield which has a relatively small population and a well-connected, proud community.

Petersfield has long been underserved - 101.8 has long been networked without opt-outs meaning very little local information, Radio Sussex & Surrey and other commercial stations don’t cover here and Radio Solent are too big to show much of an interest.

There’d never been a long-term local radio station exclusively for the town and surrounding villages, so we seized the opportunity provided by lockdown and responded to demand for one more quickly than expected.

Initially, we'd planned to wait for small-scale DAB (which is still the endgame). Online-only will, of course, be a bigger challenge but the last few months have shown we can rise to it.

Our USP is that we’re all about Petersfield and a hub of the community with local voices, local stories and a trusted source of local information including daily local news & travel bulletins.

The volunteers live and work here. They couldn’t have a better understanding of the patch, and their reason for being involved is a commitment to public service rather than merely a love of radio.

Who else would run a 5-minute interview with Petersfield Lions about charity fundraising? Cover a wedding at the community hospital? Put listener questions to the owner of the town’s leisure centre? Regularly engage with local schools and parish councils?

This content, and more, makes us different from every other station - and gives folk a good reason to listen.

Running costs are minimal because we don’t have premises. Our PCs are based at a serviced office in town (which advertises with us in return) and host a remote VT server for presenters to record their shows from home with a quality mic and good acoustics.

While no presenter is ever physically live, we're just as reactive and have at least one person on standby to react in a timely manner were major local news to break.

Volunteers spent lockdown doing everything from home (shoutout to In:Quality’s ipDTL for making it so efficient), but since restrictions were eased we’ve been back out and about recording with guests on-location.

Fast-forward a month and Shine Radio is heard in homes and workplaces across “the Petersphere”.

We’re also providing companionship and entertainment for residents as linear radio has traditionally done better than any other medium.

Our daily round-up of news/information, which began at the start of the COVID-19 lockdown in March, continues - this and all our best speech content (shows/interviews) are also available as podcasts given the popularity of on-demand listening.

Personally, backed up by my involvement in the Petersfield project, I firmly believe that hyperlocal has to be the way forward for what has become known as local radio.

Wednesday, 12 August 2020

Why throw away an audience by chasing a dream?

I’m a HUGE supporter of the BBC and public serving broadcasting - quality impartial journalism that’s respected and relied upon worldwide, engaging educational content and distinctive creative output that can afford to take risks.

As the funding model continues to be debated, it’s worth remembering that your licence fee remains excellent value for money - in fact, even more so than ever:

Despite constant smears from people on both sides of the political spectrum (often via anonymous social media accounts), a recent survey by Ipsos MORI shows more than half of UK adults who follow the news say they’re most likely to turn to the BBC and it remains the most-trusted news source among Brits.

That’s not to say it is always right - after all, any broadcaster is capable of making mistakes and a public body must be held accountable.

Today, I’m focusing on one issue specifically: diverting too much focus and attention towards a younger audience.

Radio 2, like all radio stations, has evolved over time to continuously bring in new listeners who’ve grown older.

Unlike a more focused commercial radio, its remit is to have broad appeal AKA anyone over 35 (overall, so not trying to target a 35 year-old and a 75 year-old simultaneously - including specialist shows for niche audiences).

R2 has long, rightly, championed new adult contemporary music - melodic, harmonic pop/soft rock/ballads, including from UK artists - and, with fewer commercial stations also doing this today, that continues to be an important part of what makes it distinctive.

At Hampshire Hit Radio, our Currents playlist was carefully crafted with modern tracks that complemented the tried and tested core artists/songs which defined our station sound. In other words, if it didn’t sit nicely alongside the timeless classics our listeners know and love, it didn’t make the cut.

I’d argue, in the last couple of years, R2 has been noticeably less strict with more dance/urban music seeping through - including modern reworkings of iconic songs (e.g. What’s Love Got To Do With It and Dancing In The Moonlight).

Ken Bruce seemed less than impressed with having to play the new remix of Tina Turner’s 1984 hit last week.

Call me cynical but don’t you think his audience would much rather hear the original they grew up with than a "pointless" remake? (That’s a quote - I quite like it personally, but I’m not in the target demo!)

To make matters worse, as the BBC attempt to drive a new younger audience for Radio 2 daytimes - with a clear increase in the number of currents, recurrents and hits from the last 30 years (a typical 44 year-old today was a key influencer of the charts in 1990) - they’re also trying to hang on to the existing one, meaning inconsistency.

Any other station couldn’t cut through today without a clear focus. Whichever demographic it chooses to serve, the station needs more aggressive targeting in daytime.

Looking at RAJAR, the main bulk of Radio 2′s listenership is aged 45-74 - but is it out of genuine loyalty or just routine? The station is helped by its heritage position, talent and inbuilt trust.

With steady decline among 35-44s over the last decade, you can see why R2 is repositioning to narrow the gap between itself and Radio 1 - but it’s risky business.

Perhaps more baffling is BBC Local Radio. The majority of its audience is 55+ and there’s a golden opportunity; these are people who listen to a lot of radio and we have an aging population.

In cutting costs, the BBC could create a solid offering with a mix of quality local content and network shows providing friendly company just for older listeners who are not as well served by commercial radio.

In October last year, Ofcom’s annual report suggested the BBC will need to do “much more” to attract young people to their services - but that doesn’t mean across all outlets nor that it should desert older demographics in doing so.

Chasing the dream of more younger listeners who already have a whole host of media that most are satisfied with, while tinkering with stations built for and successful with older audiences who are among the BBC’s strongest supporters and therefore alienating them, is a puzzling move.

I hope they think again.

Thursday, 16 July 2020

Greatest Hits Radio to go on Aire

Bauer has announced plans to replace Radio Aire with Greatest Hits Radio as part of the brand’s national roll-out in seven weeks time.

It first broadcast to Leeds on 94.6 FM and 828 AM (362m) on 1st September 1981 before moving to 96.3 in 1986, and will rebrand on its 39th birthday.

The station split its FM and medium-wave frequencies in 1990 to create Radio Aire FM (later Aire FM) and Magic 828.

Five years later, both stations were acquired by EMAP and Aire joined the Big City Network (later Bauer City 1 and The Hits Radio Network).

Since 2017, daytime programming has been networked from Hits Radio (formerly Key 103) in Manchester (including drivetime as of last autumn) with weekday breakfast being the only local show.

Come September, the station will broadcast the network breakfast show from Liverpool but retain a regional weekday drivetime programme, the presenter of which is yet to be announced.

It also means 96.3 FM, 828 AM (assuming it doesn’t close beforehand) and 106.8 FM in Wakefield (currently Ridings FM) will all share the same programming.

There’s a slight overlap with both 1278 AM for Bradford and 1530 AM for Huddersfield (currently Pulse 2) - but, again, it probably won’t be long before these MW transmitters are switched off.

I would’ve suggested the smaller Wakefield license becomes Hits Radio - but the transition to GHR is already underway, making that unthinkable. It’s better to have more coverage than less after all - and local content/ads can be split.

It comes just after the station hit a record low in RAJAR (Q1 2020) having lost half its audience in six years, down from a weekly reach of 114,000 to just 57,000. Share has fallen by 55% since 2014.

It’s clearly the right time for a change - CHR isn’t working (even with heritage local branding), so it performs a US-style format flip from playing The Biggest Hits, The Biggest Throwbacks to The Greatest Hits of the 70s, 80s and 90s.

Looking at Bauer’s local/regional strategy overall, prioritising the older brand and appealing to an underserved demographic, who are generally loyal consumers of traditional radio services, in a younger-dominant marketplace makes sense.

While Hits Radio has some strong personalities across the network, particularly at breakfast, could these heritage FM stations be set for an older future?

What’s happening to my local radio station?

There came a time when it was necessary for the good old-fashioned British High Street to look beyond the butcher, the baker and the candlestick maker - and what’s happening in commercial radio, to some extent, mirrors the trajectory of other consumer-focused industries.

As retail chains offering lower prices began to grow and people became enticed by the slick styling of larger organisations, it became harder for independent outlets to compete - just as both broadcast radio (via DAB/online) and new digital media are offering more choice nationally than ever before, putting pressure on local stations.

In recent years, certainly in the last few months due to COVID, online shopping has been on the rise. High Street chains are feeling the impact and consequently cut costs by closing stores and making employees redundant - in the same way content delivery in commercial radio is moving further away from the listener’s location to ensure it survives in a digital world.

Of course, many people still value local and want to support the local economy - but there are now more ways to reach potential customers than just the traditional shop.

Petersfield Community Radio has been producing a daily podcast throughout lockdown delivering important information together with the voices and stories of our community to keep residents in-touch with local life.

It’s been hugely popular - and no antenna required, which wouldn’t have been possible 30 years ago.

It proves that locally-focused audio content is still highly valued by many - and a transmitter is no longer necessary to deliver it. It’s far more cost-effective without.

Hyperlocal is the best way to proceed. I say this not only due to success in Petersfield (or Shaftesbury), but because the strongest and best-performing local radio stations in all sectors cover small patches. The content is more likely to be relevant to me and less likely to be available elsewhere.

That’s not to say a linear community station on FM/DAB/online can’t be successful. If you’re providing a relevant service and don’t exist purely as an anorak trainset and/or to recreate a bygone era of radio. A service with what I like to call the three C’s:

  • Consistency: you cannot appeal to "everyone" - know your target listener, understand their lifestyle and ensure your music policy, speech content and overall offering is tailored to their needs at all times.
  • Community: embrace your point of difference with interesting, engaging content relevant to a hyperlocal audience - and involve them.
  • Companionship: friendly voices (presenters and/or guests) who know the patch and can make someone smile and laugh or stop and think.

In my view, legal/compliance training should be compulsory for anyone broadcasting on an Ofcom-licensed station (and a priority for online-only organisations). In Petersfield, all volunteers are required to partake in an annual session led by radio consultant and media law expert Paul Chantler.

Your station doesn’t have to be live. It doesn’t even need premises (as COVID-19 has shown). Ensuring the output is interesting and/or entertaining is the single most important thing.

You can create an enjoyable experience for the listener while saving a fortune in running costs. As James Cridland says, real and relevant is far more important than live and local.

I’m a firm believer that interactive live broadcasting, where the fact it’s happening right now makes the programme what it is, is unique and irreplaceable - a phone-in, quiz, special event etc or a social media live stream won’t be going out of fashion anytime soon, but, at times, liveness doesn’t actually add anything.

Another point - should you pursue the traditional ad-funded model? It’s not easy to make a success of. Could you partner with local organisations to maximise resources? If you can prove you’re serving a genuine need, why not apply for grants and/or crowdfund?

Podcasts and other digital media are new competition for commercial radio, making it increasingly more challenging for a standalone local station to be economically viable.

What’s more, we’ve never had so many national DAB/online choices and consumer habits are generally more varied and less loyal to a single outlet than ever before.

Not to mention that COVID-19 has caused additional problems for advertising revenue across the board with smaller stations/groups being hit hardest - hence Bauer’s plan to integrate their recent purchases into networks being put into practice pretty sharpish.

Consolidation with today’s tech means each licence can retain local content, such as news (compulsory with predominantly networked programming), travel and what’s on info, while ensuring the station is sustainable and able to thrive longer term in an increasingly competitive marketplace.

Hopefully Bauer’s strong commitment to local news will mean journalists are retained in each TSA to provide the highest quality, most efficient hyperlocal coverage - and, again, station premises aren’t required to allow for this.

I think Greatest Hits Radio has real potential against the younger brands available elsewhere on the dial, given that traditional local radio typically attracts predominantly middle-aged/older adults.

That said, it’s always incredibly sad to see some top people leave the industry not by their own choice and every job represents a livelihood.

The good news is talent can use radio as a platform to build a following before going on to achieve bigger and better things with that established audience (e.g. podcasting/digital live streaming).

People always say they love the local radio station but will also claim to support the independent coffee shop in town before delightedly venturing out to Starbucks for a Frappuccino.

In the future, who’s to say local radio won’t see increased demand from consumers - like the local butcher and baker? (Maybe not the candlestick maker...)

Monday, 13 July 2020

End of an era for satellite networking

Probably the last ever network show distribution via satellite for UK commercial radio yesterday, as the Wireless Local stations take Greatest Hits Radio programming outside breakfast from today.

It’s the end of an era having been used since the launch of SMS (Satellite Media Services) in 1989, replacing landlines. The channel carried 3 audio feeds for many years:

  • one with both IRN 1 (left) and IRN 2 (right)
  • two separate stereo channels used by various networks over the years including TLRC, GMG and, most recently, Wireless Group as well as for syndicated shows such as The Pepsi Chart, Smash Hits, The A List, the one-off UK Radio Aid and the overnight sustaining service The Superstation

Today, IRN 1 and IRN 2 are operated by Sky News with the one remaining stereo channel now no longer required as the Big Top 40 is Global-only and Wireless Local is integrated into Greatest Hits Radio. Both groups use IP.

In the weird and wonderful world of DAB, D1, SDL and BBC NDRA are all fed to TX sites by Arqiva using two satellites.

Thursday, 9 July 2020

Don't pre-judge

I’m always puzzled by comments about national radio brands from angry folk who’ve clearly never even heard the station in question. It’s like suggesting a football match is obviously going to be "terrible" or "dull" simply because the ball wasn’t made 10 minutes down the road.

Understandably, some will be genuinely upset (and job losses are grim) but things move on.

A small minority of people - who dismiss a station and conclude that it can’t be any good (without having heard it) because it’s not coming from their town and have no understanding of business/fail to recognise the challenges facing the industry - bashing a keyboard or clicking a petition won’t achieve anything. It’s happened and it’ll keep happening.

Whether or not something is a good listen isn’t determined by where the presenter is sat. Relevant content doesn’t have to be local - often, it isn’t.

Don’t get me wrong, it’s great to see their passion and local radio still means a lot to people, but there’ll be many others who are satisfied with the new product (music, features, personalities) and stick with it or even start listening - not to mention that each licence will retain local news/travel bulletins and they’ll still be expected to react on-air to a major event in a timely manner.

Bauer has a strong commitment to local news so hopefully hyperlocal journalists will be kept so they can keep across each area efficiently.

Greatest Hits Radio is more likely to appeal to a typical listener of these local stations than a CHR brand. I think it'll be popular - with the exception of Smooth, it's largely young(er) brands on FM nationally.

Wednesday, 8 July 2020

Loving the tunes Bauer

Views on networking aside, I’m seeing a largely positive reaction to the Greatest Hits Radio playlist on UKRD stations - who’d have thought older listeners to local radio would rather hear Diana Ross or Stealers Wheel than Jax Jones or Nathan Dawe?!

Of course, the idea this audience doesn’t like anything older than 1999 is complete baloney, but for these stations there has been a noticeable shift away from those core eras towards playing more recent songs overall, which I think was a mistake, as some classics were moved to the decade spin-off stations.

You should never hear two unfamiliar currents back-to-back on an AC format - better to have the clock positions more varied so you keep coming back to those core songs that listeners love and expect, peppered with surprises.

The music has changed but on Mix, Spirit etc it’s like the same songs on a loop - GHR, however good or bad, do play a decent amount of variety but that will change shortly when the stations are more integrated to GHR.

I must admit, I haven’t really listened to any station in transition to Greatest Hits Radio but I know the next phase (imaging and features) is starting soon. Tight rotation of the most popular songs is standard ahead of a rebrand to give listeners the best possible flavour of what’s to come.

Tuesday, 7 July 2020

No censorship - unless we want to censor it

Johnny Depp’s libel case against The Sun and its executive editor, Dan Wootton, has commenced at the High Court today.

Wootton began his talkRADIO show this afternoon by declaring it a "no censorship" zone. Now, no-one is expecting him or anyone else to comment on a live court case, but surely the station is running this story in its news bulletins (as the BBC, Global and others have done)? Of course not! I call that "censorship".

In 2015, Global advised its stations not to report on the HSBC scandal - in which the bank’s Swiss arm helped wealthy customers conceal millions of dollars in assets and dodge taxes - for "editorial reasons".

A name is what you make of it

All credit to Global for its continued success, having built up Capital as a powerhouse national CHR brand.

I didn't understand why this particular name was rolled out across the country in the first place. Galaxy was growing and other heritage stations were rebranded without hesitation. Capital didn’t mean anything outside London.

Fast-forward nine years and the word is now synonymous with youth, trends and hit music - proving the point that a name is what you make of it and the strength of a brand is down to how you pitch it.

We are the capital of hit music, that's how we view the brand.

Thursday, 2 July 2020

BBC Local cuts: here we go again

The BBC is to cut 139 jobs in Local Radio as it keeps the standardised schedule format introduced in March and creates a new network late show.

Gutted for the many trusted voices and their teams. I just hope the many loyal older listeners about to lose their favourite presenter(s) will continue to feel welcome and heard by the new network shows.

Local radio is expensive but could be more cost-effective with fewer managers and smaller, equally committed, teams.

I wholeheartedly support BBC LR but it mustn’t lose focus on the core 50+ demographic and certainly mustn't think it can serve everyone with some hybrid music & content policy. Even further decline would result in calls to axe which I wouldn’t want to see.

While quality local news and information is a hugely valued aspect, in order to thrive, it ultimately needs to be a true friend of those who value it most.

In February 2020, when Storm Dennis hit, not only did Radio York and Radio Leeds share the latest fact-checked information such as travel news and official advice from the authorities, they put an arm around listeners with reassuring words.

See also this moving letter from an elderly listener sent to Radio Solent after he passed away to say how much his favourite station meant to him, this heart-breaking account from Radio Cornwall and the Make a Difference campaign, including offering free DAB radio sets to vulnerable people over 70.

There’s also never been a better time for more collaboration with community radio, especially where the BBC station covers a large region and is unable to do hyperlocal in the same way. After all, vital public service output is precisely the purpose your licence fee serves.

Community Media Association members have been given free access to BBC content this year. Equally, when quality audio is produced by a community project (including those with no FM/DAB broadcast), the BBC can broadcast it. I believe partnering with local organisations generally is key to CR success.

Sunday, 28 June 2020

The broadcast and podcast overlap

David Lloyd wrote last autumn:

Are we suggesting that a quality half-hour of audio material which attracts thousands of attentive downloads can’t be called radio just because it’s not been transmitted? And yet if it’s broadcast in the middle of the night on FM to one man and a dog, it is suddenly radio. And if a human being curates a great - and genuine - online-only radio station, it's not really radio, it's just pretending?

Petersfield Community Radio's daily round-up of essential local information available on demand has been a must-listen for many in the same way as a traditional breakfast show - so why shouldn’t we call it "radio"?

The Oxford and Cambridge dictionary definitions of "radio" are almost identical:

Oxford: The activity or industry of broadcasting sound programmes to the public.

Cambridge: The system or work of broadcasting sound programmes for the public to listen to.

Cambridge seems to have kept up with the times better than Oxford based on the definitions of "broadcast":

Oxford: Transmit (a programme or some information) by radio or television.

Cambridge: To send out a programme on television or radio, or over the internet.

In fact, "send out" could be interpreted as linear or on-demand.

Changing the subject slightly, Mick on Twitter observes that online-only stations are using "FM" in their names which I've never understood. You wouldn't call an email a letter.

I appreciate many listeners crowbar an "FM" onto the end of every station name as if it's just an abbreviation for radio, but it makes no sense to confuse people by having a platform they can't find you on as part of your brand. It's nothing but anorakky.

Friday, 26 June 2020

No one-size-fits-all for ILR

Why is Bauer preserving Pirate FM and Lincs FM as standalone stations - like Wave 105 - when other acquired brands with just as much heritage (e.g. Spire, Eagle, Yorkshire Coast) will disappear?

The company says it will only rebrand stations where it sees an opportunity to increase listeners by doing so and that retaining the likes of Hallam, Metro and Radio City is the best way to maximise their audiences.

For the Hits Radio Network, which produces a mixed bag of figures, it would clearly be risky to radically change key revenue drivers.

No decision will have been taken lightly but clearly cuts are necessary in these times. Bauer says the distinct cultures of Cornwall and Lincolnshire have led to its decision not to rebrand.

Pirate, Lincs and Wave, together with all Hits/GHR stations, are being sold as part of the Hits Radio Brand Network to agencies so they’re meeting increased demand for simplified national ad campaigns.

Initially, I thought Bauer would be more radical and, at least, align Wave 105 with one of the two networks and Nation’s Sam FM South Coast becomes the other brand leaving Fire Radio (and potentially The Breeze South) as KISS.

Again, Wave is a powerhouse regional and, especially considering the industry-wide revenue decline we’re facing, I can see how it’s too much of a gamble right now.

It’s worth noting that while heritage certainly adds value through familiarity, favourability and trust, it can also have negative perceptions such as being deemed uncool or old-fashioned by younger demographics and uninviting to former listeners who’ve gone elsewhere for whatever reason.

It can also maintain undeserving RAJAR reach. If I can’t recall the station I was listening to, I’ll select one that immediately springs to mind and, perhaps, whose brand I have affection for (because I grew up with it etc) - which always begs the question of whether or not a heritage station’s figures are an entirely valid assessment of its output.

People become attached to things that have been a constant during certain periods of their lives. Some rebrands perform better than others. Ultimately, nobody chooses based on a name alone, it’s what is made of it and whether the product delivers for them that matters.

Tuesday, 2 June 2020

Is there a future for non-newstalk speech radio?

As a loyal listener to Iain Lee and Katherine Boyle’s weird and wonderful night-time antics on talkRADIO, I’m deeply saddened that The Late Night Alternative has come to a sudden end as Iain’s contract hasn’t been renewed.

For the last four years, the multi-ARIA winning phone-in has been a welcome three hours of escapism offering a sanctuary of fun and games together with real human stories and several life-saving calls. It was one of the last remaining "anything goes" phone-in shows on UK radio.

When Global acquired LBC 97.3 from Chrysalis, Nick Ferrari had the breakfast peak and it made sense for them to focus on newstalk ahead of going national.

Consistency is a key element of most successful radio stations in today’s well-targeted media landscape and obviously has a place.

However, I'm a passionate believer in the value of surprise. It doesn't get more exciting than when you literally can’t switch off in fear of missing whatever might happen next.

Speech radio has historically been very expensive and loss-making. Just a few months ago, News UK - part of billionaire Rupert Murdoch’s global media empire - argued talkRADIO had "very limited" income and relied on internal sponsorship revenue in a sleazy attempt to dodge a £75k Ofcom penalty.

In late 2007, Channel 4 sold its controlling stake in Oneword Radio back to UBC for £1 with the "commercial alternative to Radio 4" (books, drama, comedy etc) reportedly losing around £1m a year. It closed in January 2008.

News UK has just announced the launch date and schedule for Times Radio, also being touted as a R4 rival. The difference is its owner’s virtually limitless budget (so much so it’ll be ad break-free) and ability to cross-promote in a well-established newspaper.

Although Times Radio is likely to feature more non-newstalk content than any other speech station, given the newspaper's credentials and the business model being based on driving digital subscriptions, it couldn't be further from the likes of Iain Lee, Jon Holmes and Tommy Boyd.

Niche stations serving smaller audiences are now being launched on DAB with minimal running costs - as working from home is showing, it’s possible to make savings by thinking outside the box.

As we explore new models, is there really no gap in the market for speech radio that’s not current affairs or sport? The success and continued growth of podcasts may suggest otherwise.

talkRADIO launched under different ownership (UTV) with barely any marketing. It debuted with a respectable 224k in RAJAR Q2 2016. The shift towards mostly news-driven programming has, inevitably, happened under News UK.

Is there an opportunity to be had?

Thursday, 28 May 2020

Another word on ILR

My thoughts on today's consolidation announcement from Bauer.

Understandably, those who share a love of these heritage brands are mourning their loss. I grew up with Eagle locally and I’ve been lucky enough to know lovely folks at Spire and Spirit amongst other successful local stations that will always hold a special place in my heart.

While posters on radio forums are far from being representative of most listeners (and I’d question how many of them actually listened regularly) obviously there will be genuine sadness among loyal listeners as their favourite presenters leave - every time it happens, an outpouring in texts and on social media. Of course, this is not unique to radio.

Think of Woolworths, Blockbuster and, at a local level, that bakery on the corner or the library.

How DARE they close the library? It’s a disgrace!

Everybody wants to save it regardless of whether or not they used it.

When commercial radio launched in the 70s, heavily regulated with very few stations (generally one in each area), it faced little to no competition from other media.

When celebrating local success, we lose sight of this fact. If you lived on Mars and there was only one chippie, where would you go for your fish and chips?

Interestingly, with most ILR (the overwhelming majority in a few months) part of big groups, the overall reach of these licences has hardly changed since Global and Bauer first rebranded and/or increased networking.

It’s amazing that, in this rapidly advancing world, our great medium is still consumed by some 89% of the population.

Listeners enjoy more choice than ever before thanks to DAB/DAB+ - and commercial radio has never had more listeners than it does today - but this has increased the pressure already on smaller stations from rival media.

Without powerhouses to take on the BBC and new competitors, commercial radio’s future would look pretty bleak - and with the only INR on FM being a classical music station, consolidation was the only option. Global has set the bar high and now Bauer wants a slice of the pie.

Both groups retain quality, balanced multi-platform local journalism which is vital to our democracy and in the fight against fake news. Some believe it’s about doing the bare minimum - if that were the case, they wouldn’t bother with digital content. It’s also good for reach and adds credibility.

While research suggests news is still of strong interest, above all, listeners want to be entertained. Radio as a platform is not the go-to for essential information like it once was.

Ask anyone in the street what they want from a LOCAL radio station and they’ll say “local news, traffic (etc)” - things it is renowned for providing - but if you ask what they want from a radio station generally they’ll say entertaining/interesting output.

Greatest Hits Radio has a strong lineup and fills what was before a surprising gap in the market.

Wednesday, 27 May 2020

How should community radio respond to Bauer’s decision today?

My thoughts on today's consolidation announcement from Bauer.

Localness & USP

For starters, don't arrogantly assume you’ll attract an audience by default simply because of where your studios are located.

Listeners don’t care about this - they want an engaging station with character that is interesting, makes them smile or think and extends the hand of friendship.

Targeted national brands are successful because they achieve these aims - and community radio also has to, as well as embrace its USP at every opportunity with relevant content that could only have been produced where its audience lives.

Targeting

Have a music policy and target audience - you cannot serve everyone or “the whole family” in 2020. Calvin Harris will not appeal to fans of The Everly Brothers and vice versa.

Define your audience, understand their lives and identify their needs. Specialist shows are appointment listening for niche audiences but you should never lose focus on whoever the product caters for.

Be consistent in standard programming - light and shade with a mix of different genres and energy levels is refreshing, but someone tuning in should know what kind of sound or mood to expect.

When a station sells itself on variety, it's not about quantity, it's about not sounding predictable. A listener doesn't care how many tunes you have in rotation - they just want to hear music they love, often including pleasant, familiar surprises ("spice" tracks).

For operators who might be looking at Greatest Hits Radio and thinking they need to go for an entirely different demographic: you should be aware of the risk - younger listeners are well served and harder to attract, particularly for local radio.

Don’t stop playing the songs your core audience loves just because a new competitor will also be playing them. Lots of stations overlap to an extent because it’s music that’s popular.

Of course, a key point of difference could be your inclusion of suitable new tunes/hits from the last couple of decades as not everyone wants pure nostalgia.

Fundamentally, it's not the songs you don't play that hurt you.

Marketing & Distribution

Don't expect listeners to find you - you need to find them. Get your station onto as many aggregators as possible (e.g. TuneIn or, if Ofcom-licenced, Radioplayer).

Build a social media presence and share your best content (e.g. audiograms are effective visualisation to engage followers or potential followers).

Be visible locally (e.g. attend events or buy/seek permission to display banner ads).

Regulation

While not all broadcasters are serious contenders for revenue, for reasons outlined above, those that are deserve a level playing field and I believe restricting any income above £15k, demanding it is balanced with other sources, is no longer justified where a small commercial station is no longer threatened.

Aaron makes an interesting suggestion:

I think there's an argument to be made for BBC to contribute financially from licence fee to community radio and in return the community radio enhances the connection with communities and provides a proving/learning ground for the personnel of tomorrow.

Given BBC Local Radio covers its own defined regions - most of which, even if producing engaging output, are too large to be considered local in the literal sense of the word - it would make sense for the licence fee payer to subsidise quality hyperlocal public service content and ensure community projects that benefit are providing it supported by professional training.

Bauer's plans for their new acquisitions

Just over a month after the CMA lifted the hold separate for Lincs FM Group, Celador, UKRD and Wireless assets acquired by Bauer Media last year, the company have today announced the integration of these stations into the Hits Radio Brand Network with 48 licences becoming Greatest Hits Radio, 4 taking the Hits Radio format and 3 retaining their local identities.

GHR will be rolled out to all the ex-UKRD and ex-Lincs FM Group licences except their flagships, Pirate FM and Lincs FM respectively, which will remain standalone local stations.

The same goes for all Bauer-owned ex-Breeze/SAM licences apart from SAM Bristol (due to it only being re-awarded by Ofcom 18 months ago) and all ex-Wireless apart from Signal, Pulse and The Wave which are joining the heritage “Big City” stations in the Hits Radio Network.

In addition, as expected, the three instantly acquired by Nation Broadcasting, The Breeze South, SAM FM South and KCFM (due to overlaps with Wave 105 and Viking FM respectively), will enter brand licencing agreements - as Communicorp UK/Quidem have with Global.

SAM and KCFM will join the GHR network and The Breeze will become the first Hits Radio-branded local station outside Manchester.

Bauer will also sell national and regional advertising for all stations formally represented by First Radio Sales, of which it acquired the remaining 50% from Wireless at the beginning of this month having already purchased half as part of the UKRD deal.

Of course, we’ve been here many times before (one of which being just one year ago) and, again, my immediate thoughts are with the many great people part of teams that’ve made strong, proud and successful local radio for many years. What will this mean for them and their families?

This round of consolidation couldn’t come at a bleaker time for us all, both socially and economically. But while it’s a dark patch for all of us affected by COVID-19 and those about to lose a job they love, there’ll be light at the end of the tunnel - even if we can’t see it just yet.

What hasn’t helped is a year of uncertainty caused by the Competition and Markets Authority merger inquiry. First, they said Bauer couldn’t own two Wolverhampton licences and dominate the town’s local radio ad market - then, just a couple of months later, said the overlap was significantly less than it'd considered to be the case initially. What was the CMA looking at before then?

Even so, the refusal to acknowledge digital media as competition shows a distinct lack of understanding of the very market it claims to be protecting. Our great medium is no longer battling itself alone.

Similarly, when Bauer offered to provide national sales representation as First Radio Sales, honouring the terms of deals in-place with clients, it was rejected. Last month, the CMA lifted the "Hold Separate" on the condition that - yes, you guessed it - Bauer will represent all FRS members for the next 10 years on their current terms.

The company has since acquired the remaining 50% from Wireless, now owning it outright. What a waste of time.

I commend FRS - the industry has benefitted hugely from them, and will continue to thrive thanks to the scale of Bauer and Global (both of which have a history of representing stations other than their own).

Turning to strategy, GHR seems a smart move for traditional FM audiences - spectrum is largely occupied by younger music brands (with the exception of mood-driven Classic FM and Smooth) and with these heritage local stations typically attracting older listeners.

I’ll be interested to see how Hits Radio fares outside of Manchester - that’s going to need aggressive marketing, replacing Soft AC with a feeble market share of 1.8%. Good luck, Nation.

Global had clear ambition right from the offset but Bauer always seemed more cautious and keen to retain its stations’ sense of belonging to each metropolitan market while still creating a simple network to sell agencies.

They cite research suggesting a 50/50 split among listeners who want national big-name entertainment and those who particularly value the local aspect. The rollout of Hits Radio felt like a serious possibility pre-pandemic - but, with revenues falling, now is not the time for profitable businesses to take risks.

As for these newly-acquired smaller licences, in addition to the recurring arguments about the pressures of increased digital competition, local ad spend has tanked in the last couple of months and sales teams are furloughed. Sadly, consolidation is in their best interests - now more than ever.

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