Radios

RAJAR Q2/2014

RAJAR has always been about trends. Snapshots of quarters don’t really tell much of a story, it’s the direction of travel that’s really interesting. This happens at both a macro and micro level – of course what’s happening to Station FM is interesting, but we’re also blessed in the UK that because we measure where people listen and how they listen, we’ve able to understand much more about the changing behaviour of the listener.

If you’re just concentrating on the reach and share of a single station, then you’re missing out on the true shifts in the market.

For me ‘digital’ is more than just a particular platform. To me it means people choosing stations based on strength of the brand and the content rather than just what they happen to be able to pick up on their analogue radio.

6Music now has more listeners (just) than BBC Radio 3. It does not need an analogue outlet to be successful. Absolute 80s has 70% of the reach of the main Absolute Radio. Heat Radio, a well-targeted magazine spin off is on the way to a million listeners. Kisstory, on-air for around a year, is bigger than Planet Rock (age: 15). Eagle Radio’s been on DAB for a couple of quarters and its already generating 15% of its hours from that platform.

As a radio industry we should celebrate, we’re being freed from our FM shackles. How much better to compete on content rather than rely on happening to have 2million watts of music power.

Bauer

I think Bauer gets more of my attention now than it (or EMAP before it) ever has. It does however seem to be a fundamentally boring company that happens to have some interesting assets.

Over the past 18 months there’s no arguing though that they seem to have got their shit together. Grabbing Planet Rock and Absolute has given them hours – to fight Global Radio – and has also given them some interesting people. You only have to look at the rise of the Absolute team in the Bauer structure to show they were lacking in quite a few areas.

In the UK, Bauer is smaller than Global Radio. Global have more licences, more audience and more hours. There’s also limited growth for Bauer – there are less and less prime assets around. The last big one is probably talkSPORT. With its radio/mag/digital output it would be a sensible fit for Bauer.

The one thing Bauer does have over Global, is digital radio clout. Their press release tells me that 50.8% of their business is now made up of digital hours. The acquisition of Absolute has helped this no end – as an amazing 82% of Absolute’s hours come from digital listening. With those kind of numbers you’d definitely be looking at the AM and FM costs…

Looking at all listening, Global’s sales division has 209m hours, Bauer’s 144m. But just concentrating on the digital hours for the groups, Global is on 65m but Bauer’s on 70m. Bauer will be trying to keep that lead over Global as the UK gradually transitions to a predominantly digital country. It’ll mean that they don’t have to worry about complex warehousing arrangements or OFT negotiations – they’ll be growing their business through attracting listeners to their brands.

The two things that will get in the way of this dream are Global, of course, but also themselves.

Even with this digital drive, I worry that it fails to pay much attention to its digital siblings. If you treat Heat, Absolute 80s, Absolute Radio 90s, Kisstory, Kiss Fresh and Planet Rock as a network – it’d be one that delivers 5m listeners and 27m hours. This compares to Kiss UK (26m hours), Bauer Scotland (16m hours) and Magic UK (19m hours). Bauer’s English Place network’s reach is only a little higher than the new station combo at 5.4m.

For me, something like The Hits shows the dichotomy. I think The Hits is a great little station. It sounds good, it’s got a good on-air team who come over as being young and in touch. It should be seeing great growth – but this quarter its reach and hours have dropped nearly 20%. It was a station regularly around a million but now is at 774k. I think it’s almost criminal to have a station punching those sort of numbers with, what looks like, pretty much no marketing, its online activity built on good will and, I believe, not even paying all of their presenters.

I know other stations are looking at The Hits – and plucking talent from it – it’s a shame it’s not as well supported by the Bauer guys.

Radio 1

Someone I’m sure that’s over the moon that The Hits is sidelined is Radio 1, who continue their task to keep the station young and to try and take it younger. Radio 1’s average age (looking 15+) is 34. It’s been 34 (with rounding to the nearest whole number) since Q1/2010. If you look at 10+ it’s 32 (again with rounding). Which it’s been since Q2/2010. Contrary to the visible evidence though,  I still believe making Radio 1 younger is an achievable aim.

On the face of it Nicks’ had a good book, up quarter on quarter and year on year to 5.9m listeners (up from 5.8m for both). However, his 15 to 24s have dropped 190k, whilst he’s added 338k 25 to 64s. The share of 15 to 24s who are tuning in has dropped to 22.5%, not his lowest ever, but still a disappointing number for the team. And also probably not helping those average age numbers either.

Global Radio

In other news – Global’s execution of Smooth is really paying off. It’s doing well pretty much everywhere, but especially in London where it’s reaching 781k and has a market share of 2.6%. It’s the biggest audience it’s had since at least Q3/05. The rest of the Smooth regionals have also seen increases plus it also seems to be doing better on many of the old Gold’s it replaced on AM.

The new Hearts have done pretty well too with NE, NW, Yorks and S. Wales seeing growth, whilst Scotland, which will always probably be a difficult nut to crack,  having dropped back.

I think it’s still early days for LBC and Capital Xtra. LBC’s racking up about 150k outside of London which is solid, if unremarkable. Capital Xtra’s really taken a hit in London post-Choice at 358k reach (when it was previously doing 470, 550), however, outside of London it’s seeing more growth – no doubt aided by being in Digital One. Overall compared to the old Choice UK figures – it’s about the same.

And finally…

Thank the Lord that Radio 2 didn’t add any more listeners, even if their drop was so marginal it’s recorded as a 0% change.

Other bloggers on RAJAR night:

 

Seize

Radio 1’s Seize Summer

I quite like Radio 1’s new promo trail series – ‘Seize Summer’. Now showing on TV and YouTube pre-rolls etc.

I think brand campaigns like this are a difficult sell for a Public Service Broadcaster. It’s easy to mark them as unnecessary as surely everyone knows about Radio 1 as it is. I don’t entirely disagree, but I think for stations that continually have to renew themselves to attract a young audience it is something that’s important to do.

Also, I think so much of Radio 1’s positioning is around ‘new music’ that actually that can be seen as a negative for some of the audience. Not all young people are into ‘new music’ they’d rather you just banged out 5SOS and The Vamps. Now, that isn’t Radio 1’s job, so something like this reminds them Radio 1 is also the home of fun, for people like them.

The creative is that Radio 1 asked listeners to tweet in suggesting ways they could “Seize Summer”, they then brought it to live.

Behind the scenes:

An example of the execution:

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Meanwhile, in France…

France is having an interesting time with digital radio – Radio Numerique Terrestre! They’re quite late to the party having just launched this week. However one thing it’s missing is most of the big radio groups. This has meant a really diverse bunch of radio stations have launched – lots of them!

It means France is very different from the rest of the world at the moment. However, if there’s one thing we’ve learned about digital radio, organisations original positions do seem to change. So there’s a bit of a watch this space about this all. Indeed, some of the companies not playing here, are playing with DAB in other markets.

For me what’s interesting is that having a territory that mainly consists of new stations offers an interesting control. Does the market need existing FM stations on digital? Is it essential, or irrelevant. I guess we may find out!

To provide a bit more background I’ve asked Paul McNally to tell us more…

It’s been described by one Paris official as the “the most important moment for independent radio” in 30 years – and by another industry executive as “doomed to fail”.

After about a decade of uncertainty, listeners in three French cities woke up to digital radio for the first time this morning (called RNT – radio numérique terrestre).

67 stations have been licensed to broadcast on DAB+ in Paris by the broadcast regulator CSA, and another 53 each in Marseille and Nice.

But none of the ‘big four’ commercial radio groups (Lagardère, NRJ, RTL and NextradioTV) is involved – or the public broadcaster Radio France (reportedly saving it €150,000 a year). And between them, they represent 80% of current radio listening.

The commercial groups boycotted the applications round and since then have campaigned vigorously against DAB+. The president of their body, Michel Cacouault, told one French newspaper this morning: “We are certain that digital radio (RNT) is destined to fail.”

Their boycott appears to have motivated independent stations to make an even bigger noise about going digital. The group representing smaller stations, Sirti, is firmly behind the new medium, calling it “a historic moment, a decisive turning point in the digitisation of media – and essential for the future of free, unlimited and accessible radio.”

The national union of ‘free’ radio stations, SNRL, has also enjoyed extra publicity from smaller stations’ decision to go their own way and seize an opportunity from digital.

The union’s director-general Pierre Montel said “the most fragile” stations in the radio economy had got one over on the big groups.

Work is under way now for a co-ordinated marketing effort under the brand “Prêt pour la Radio” (Ready for Radio). WorldDMB and Pure have both been very supportive of the launch efforts – as have French retailers Fnac and Darty.

So who’s broadcasting? At the time of writing, in Paris, 37 out of 67 stations have gone live.

They include existing FM stations such as Voltage, Ado and Radio FG – with Ouï FM, Nova and Skyrock due to follow any moment now.

Two stations on the French Riviera have used the DAB+ launch as an opportunity to be heard in Paris (and heard by the Paris-based ad agencies): Vitamine and Radio Monaco.

One multiplex is made up entirely of not-for-profits including a Protestant radio, Mandarin and student radio. The CSA has even given a nod to English-language radio for the first time, with World Radio Paris catering for the city’s sizeable expat population and tourists.

So is the CSA still committed to digital radio? A first report on the medium’s success post-launch is expected in the autumn. It reportedly has no plans at this stage to invite applications in other cities.

Rachid Arhab, who was involved in drawing up the CSA’s digital radio policy from 2007 to 2013, said in an interview this week:

“The big operators were the most eager to see digital radio arrive – but many have changed their mind since. I hope they’ll find alternative solutions and the radio world will succeed in its digital transition.”

Paul McNally is a former radio industry correspondent (The Radio Magazine, Press Gazette) and now provides editorial support to English-language radio stations in Europe including World Radio Paris, Radio X Brussels and Riviera Radio in Monaco.

BH

Radio Redundancy

Some more sad radio industry news, today from the BBC, that there will be 65 redundancies at the BBC’s national networks. Already this year there’s been similar changes at GMG/Global, Absolute and other radio groups too. It’s never nice. Especially if you’re at the receiving end.

The main thing to keep in mind if you’ve been dealt this duff hand, is that it’s rarely about you. Generally the reason redundancies happen is that the organisation did not keep pace with the changes in its industry. If they had evolved as their market had evolved, roles and responsibilities would have done the same. A large number of lay offs means they’ve only just realised what they should have known for a long time. It is very much their fault and not your fault.

However, blame isn’t that useful and it definitely doesn’t pay the bills. I’ve therefore tried to come up with six tips about what to do if you know (or suspect) that radio redundancy might be coming your way.

1. Examples

Most people are hired based on skills and experience. You need to be able to demonstrate that to a potential employer.

Get audio examples off the log, take screen shots of websites and download that raw video that you made. Do it now, because you’ve got the ability to easily get it from internal systems, or can quickly push that old microsite live again so you can do a grab. You know you always MEANT to get a copy – do it now.

You’ll then be able to make stories out of this material to explain who you are and what you can do.

2. Expand Your Knowledge

All companies do exciting things. Just probably not in your area. And I’m sure you often think “I must go and find out about that” but never do. Now’s your time. You probably know someone vaguely connected with that bit, find an excuse and then learn about it.

Knowledge about cool things is useful – other people will be interested. If you worked at Radio 1 and had an interview at Capital they might be interested in how R1’s visualisation works. Do you know enough to seem knowledgable? No one expects you to be an expert, but being knowledgable shows you have value. Value that could be useful to them. So use your time to acquire the knowledge you never got round to acquiring.

3. Networking

Networking isn’t about having faux business relationships whilst quaffing wine and laughing at other people’s jokes. Networking is about building loose connections that you can build on later.

Having a two-minute chat with someone at a party means later on you can send an email saying “oh, we had that chat at thingy’s party, I meant to ask you x…” or being able to tweet them a few days later and say “well done on your RAJAR figures”.

Providing you’re not a dick. And luckily most people aren’t. Small network connections make it easier to achieve something – suddenly you have a few routes to find out more or get closer to your goal.

In radio there’s lots of ready-made ways you can start networking.

1. Radio Academy monthly/regional events. The RA run monthly events in London and regularly around the country. These are free if you’re a Radio Academy member. If you are an employee of pretty much any radio group or in Student or Community Radio, you get free membership. Even if you don’t it’s only £25. They’ll be 50-100 people at these events from the whole breadth of the industry. The events are usually quite interesting, you get a free beer, and then you go to the pub afterwards. Low-energy, low-cost, great networking.

2. Go out for drinks with your work colleagues, go to your friends (at other radio stations’) work drinks too. You’ll meet more people and make more connections.

3. Go to radio conferences. This may cost you a little bit of money, but it positions you as someone who’s looking forward. The Radio Festival can seem expensive but there’s big discounts for freelancers. Definitely come to mine and James’ Next Radio – it’s £99+VAT – and is a great way to learn something new and meet lots of people.

If you’re worried about networking, visit yesyesmarsha.com. Marsha used to be an XFM DJ before she moved to Canada. She now helps people get the most out of networking and there’s lots of great free advice on her website.

4. Social Media

Everyone I interview I look up on the internet. I can find out much more about them in five minutes than from their CV and covering letter. Often their social media contextualises their CV better than they do. It can however make me skip them or, if I can’t find anything, and BTW I am an AMAZING googler, it’s a wasted opportunity. If I find less context there’s less chance you’ll go into the interview pile.

LinkedIn

FFS sort out your LinkedIn – don’t sound like an idiot – but use it to explain what you did at your different jobs. Remember employers are after skills and experience – this is the perfect place to demonstrate it. Maybe use some of those examples you pulled off the loggers. Also put a nice professional headshot on there. Books are judged by their covers, make sure your profile makes you something someone wants to buy.

Also, don’t beg people for recommendations. Well, definitely not over email. In person you can get away with, but over email it’s just annoying. Even if I like you a lot, you’re asking me, out of the blue to give up some time to describe how brilliant you are. They’re hard to write and take time.

The way to get recommendations is to write them about other people first (without asking for one in return). It’s likely I’ll feel so embarrassed I will write you one back immediately.

Facebook

Sort out your privacy settings and change everything to friends only or friends of friends. Then post some things as ‘Public’ that frame you as a clever, interesting person. Good industry articles, a lovely picture of a sunset, whatever. Make your public Facebook look like you’re a normal person and not a beer monster/writer of long boring posts about how crap your life is.

Twitter

Radio people love Twitter because we’re a bunch of narcissists that got into an industry where our day job is broadcasting our opinions/ideas/music choices/voices to millions of people.

It is likely your potential boss will use Twitter, so you need to make a good impression. If you’re a lapsed Twitter user/never used it before, then do it in this order:

1. As per FB and LinkedIn – make a nice profile. Decent imagery, good bio, link to your website (or LinkedIn page) and get a decent name. TableGangster554 is not acceptable. Your Twitter name should identify you.

2. Write at least two posts a day for a couple of weeks. Two thirds of your posts should be what you want your personal brand to be seen as. The rest should be posts that make you a real, normal person.

3. Follow your actual friends and colleagues. They are more likely to follow you back. This will give you a nice ratio of followers to followees. This will make you seem like a well adjusted person.

4. Slowly – perhaps a max of 30 at a time – follow people who you’re interested in and potentially could give you a job. When you follow someone, they get an email or a twitter alert, most people will check out new followers’ profiles. If you’ve done the above you will maximise being followed back or worst case, they will actually, for a brief moment, know who you are.

5. Start to engage with the people you want to get to know – favourite their funny tweets, reply to their questions – join in. It’s called social networking for a reason.

SoundCloud & YouTube

If you make audio or video for a living, put your best examples on these sites. Link or embed them in your other social media. Use the metadata to probably describe what it was for and why you did it this way. Let people explore and find out about the work you’ve done. Use it to demonstrate your skills and experience.

5. Listen and Learn 

If you’ve been siloed in one company for a long time, start listening to other radio stations, visit their websites and generally find out more about them.

Don’t just do this for stations that you want to work for. If you’re applying to Capital, make sure you have an opinion on Kiss, The Hits and Capital Xtra.

Learn about the media their listeners are interested in – websites, mobile apps, games.

Exploring these areas will mean you can combine your skills and experience with insight and ideas.

6. Job Adverts

Lots of jobs are advertised, lots of jobs aren’t. Subscribe to Media UK’s Jobs Emails and you’ll get pretty much all of the ones advertised. The ones that aren’t advertised you’ll find out about if you do some networking and get to know people at different companies.

I hope some of that’s useful. If you’ve been through a radio redundancy please leave your tips below too.

 

Matt & James

Next Radio 2014

I love working in radio. I love the fact that we all do something that entertains or informs nearly every person in the country. I love it as a medium. I love that it’s having to evolve to better look after our listeners. I love digital, I love the video, I love the website. I love someone I’ve never met, talking to me through a speaker. Making me laugh. Making me cry. I love hearing songs that activate a memory. I love hearing songs I’ve never heard before. I love looking up from my desk and saying to my colleague Joe, who sits next to me, “Did you hear that?”.

I think the thing I love the most is that it’s an industry based on ideas – things individuals or teams come up with. I love hearing about them, whether that’s through a mate, a tweet or at a conference.

James Cridland and I decided a few years ago that we wanted to create a radio conference based on ideas. So, every year, we get around 25 brilliant people to tell you about ideas, concepts or the things that they do. Each session is either 9 minutes or 18 minutes, there are no boring panels and it covers all of radio – presenting, production, online, sales. It’s called Next Radio and this year it’s on Monday 8th September at the Royal Institution in London.

We also wanted to create an event that’s as cheap as possible to go to as we know, from experience, that your boss won’t always pay (that’s if you have a boss). The Earlybird price (open for a few weeks) is just £99 and at the price we only lose a little bit of money per ticket! Yes – it’s the worst business model ever! Luckily people like Broadcast Bionics generously sponsor so we can keep the price as low as we can.

If you love radio and ideas as much as we do, we would love to see you this year. Not sure? You can see what we get up to by watching videos of sessions from previous years at http://nextrad.io/. But come on, it’s actually really easy. If you’re the sort of person that reads this blog then you’re the sort of person that should come to Next Radio.

We’ll be announcing the speakers in the coming weeks. But there’s people booked from the BBC, Global Radio, Bauer, Orion, the Government’s website and radio stations from around the world who can’t wait to tell you their ideas. You can find out more (and get your tickets!) at http://nextrad.io/.

Adam's RAJAR Pic

RAJAR Q1/2014

RAJAR is getting harder and harder to report on.

This is mainly for two reasons:

1. The data source is large and detailed. Radio groups are now using it through additional backstage ‘trading’ numbers to better describe their stations to agencies. So for quasi-national stations like Heart they’re now reporting more accurate numbers taking into account their FM simulcasts and DTV versions. This is a good thing. It’s also going to open up more relevant data as radio groups follow Absolute’s lead with regard to doing different things with internet streams too.

2. We live in a very competitive world. London’s chopping and changing is coming from a close fought battle between the BBC, Bauer and Global. Personally I think it’s making radio more diverse and better quality. A rising tide carries all ships.

This all makes it a little more difficult for your correspondent, the part-time RAJAR blogger.

So, what’s struck me this quarter?

Smooth. This quarter takes into account Global’s musical changes but not really their new line-up. Generally the expectation is that change causes regulars to move away before new listeners top yourself up. No sign of that problem for Global yet. Looking at the ‘old’ Smooth, that’s before they added a load of Gold stations to the network, we see around half a million added to reach and about 20% added to the hours.

Looking at the new Smooth network as a whole, they’ve added around a million listeners and driven their market share from 2.3% to 3.2%.

In London Smooth has seen one of its highest ever ratings successes with 565k reach and 3.6m hours. Early days as it is, it’s already looking like a big success for Global.

London. London remains a ridiculously volatile market. Radio 4 and Radio 2 retain the top spots in share (though both taking a kick q on q and y on y) followed by Heart (5.3%), Magic (5.3%), LBC (5.2%), Kiss (4.8%), R1 (4.5%) and Capital (4.4%). The previously mentioned Smooth pulls a 1.7% share , pretty much equalling the brand’s high water mark.

Reach-wise, top stations after R4 and R2 are Magic, Capital, Kiss and Heart.

I feel bad for Capital, it has the ability to get a much higher share, but it continues to exist as content-less radio station demonstrated by its continually poor average hours. Of course it’s hard to generate hours at the younger-end, but R1 and Kiss seem to manage it much better than Capital. To me the real kicker is that the branding and music of Capital is great, there’s just very little sticky content (outside of breakfast) to tune into.

Digging deeper into Capital, looking at Marvin from JLS’ evening show numbers, he’s seen significant declines in that slot. Partly a strong Kiss and R1 but listening in he’s seemingly not allowed to deliver the personality he’s surely hired for, making him a somewhat expensive voice-tracker.

Grimmy. As expected, the last survey was a bit of an outlier (at 6.3m) with this survey returning to the, albeit high end, of his previous figures with 5.9m. The best part of his figures are that he’s consolidating his 15 to 24 audience, with 2m of them, at the same time as seeing a decent decline in the other demos. This is R1 Breakfast successfully delivering on the high wire act he’s forced to walk – keeping total reach acceptable, maintaining a large youth share, whilst killing off the oldies.

However, even with Nick’s good work, R1’s average age nudges back up (when measured 15+) to 34. As a comparison – Capital London (34), Kiss (30), The Hits (28), 1Xtra (26), Capital Xtra (29) and Kiss Fresh (26).

Radio 2. Bloody Radio 2 continues to be unstoppable by cheating at radio with their excellent line-up, clever music choices, lack of ads and a £47.8m/year content budget. They’re now up to a surely embarrassing 15.568m listeners and a 17.9% share of all radio listening (that’s more listening than all of Global Radio’s hours combined).

Digital. Digital’s been interesting this quarter with the share increasing to 36.6% with 56.4% of all UK listeners tuning in digitally at some point in a week.

It’s a good result for digital, but not the best. What’s had a bit of a hit is a decline in DTV consumption – 51m vs last quarter’s 53m hours and a 200k drop in reach. I think we may well have hit ‘peak DTV’ use.

Internet listening saw a decline in reach (q on q) but saw some hours growth. DAB was pretty steady this quarter though did manage both reach and hours growth.

Digital Radio UK have put out some interesting figures about London stating that digital radio now has a 44.1% share, but when you dig down further and look at listening in-home, digital now has a 50.9% share of listening.

I think London is a bit of a special case – but it’s digital success is driven by a few things.

1. Analogue radio is really crap in London. Pirates infest the airwaves with many traditional stations now unlistenable on analogue radio. As a predominantly digital listener, you really notice it when you’re in an analogue-only environment like a car.

2. There’s true choice in the Capital. The national multiplexes and three locals provide around 60 stations catering for all tastes and interests. It’s no real surprise that this generates lots of digital listening.

The digital transition is most keenly being felt by Bauer. As a radio group over half their hours now comes from digital listening. Strong investment in DTV, good digital-only brands and solid digital listening to their analogue stations puts them in a great position as radio consumption continues to change.

It’s also helping Bauer catch-up with Global on the sales front. Bauer and Orion combined now provides 143m hours. Global Radio Sales delivers 209m hours.

And finally… Well done to Key 103 – highest hours since 2006 and highest reach since December 2003 making it Manchester’s Number 1 Hit Music Station for the first time in a long time!

Picture nicked from Adam Bowie, who I imagine will have a good RAJAR update too. 

Also… A Northern Ireland Update from John Rosborough
And a London update from Paul Easton
Plus a MediaTel summary

Abs

Video on the Radio? Let It Go?

Every year I get a load of emails from students asking for interviews for their dissertations.  It’s usually quite a good barometer about what younger media types think are the core radio issues. This year all of the requests were about radio and visualisation.

Much of the kick of from this concerned Radio 1 – who’ve done a big push into the space with their own material as well as co-opting talent from YouTube to become more mainstream broadcasters on the network.

With a strong push from the BBC, it’s meant commercial stations, particularly Capital and Kiss, have had to catch-up and provide a high quality video-offering.

However all of radio (and we definitely see this at our own Fun Kids) is still somewhat finding its way with what it should produce.

Generally my take on most things is that it needs objectives. You need to know why you’re doing something – what’s its job – and then you can measure whether you’re managing to achieve that.

I think stations are particularly troubled by the new grammar that’s developing, particularly around YouTube. This is both in style – jump cuts, post-video shouts etc – as well as YouTube -specific terminology – subscribes, thumbs up, shares etc. There’s creating good video but there’s also creating good video that works on the particular platforms.

Personally I see YouTube Video as driving awareness to encourage an owned-media action. I want someone to learn about my radio station, be encouraged to sample it, visit my website, find out more about my presenters.

I’m happy for them to consume more videos and even subscribe to my channel, but mainly as a way that could later generate an action that happens on my media.

Another objective many people have is to make money on YouTube’s own platform. A noble aim, but to be honest, if you’re not generating 500k views a video you’re not really going to be making anything worth the effort.

The people who play YouTube well are the YouTubers. They’re the people who’ve developed an act that caters for the YouTube audience and is delivered in a way that generates more subscriptions and more views.

They have learned to do on video what we have learned to do on the radio.

What’s that? Identify a target audience and create content for them. It’s about being consistent, believable, relatable and high quality. It’s also about using the tools within the platform to best position yourself and better support the chance of being successful.

Radio 1 (quite rightly) leads the pack with 1.2m subscribers to its channel. They often generate multiple videos per day but with view counts ranging from a few thousand for a movie review, to 50k for an innuendo bingo, through to 200k for a live lounge on to 500k+ for an executed bit of content like a Greg James parody video.

It’s similar for Capital and their 35k subscribers. A couple of thousand views for their entertainment news in The Crunch, 5-10k for an interview and then 100k+ counts for videos about artists with a strong 13-19 year old following. The success of those aren’t driven by subscription or by being from Capital but through popular acts that YouTube SEO lets your surface easily to fans.

On the other hand, if you look at a native YouTuber like Zoella – an English girl in her early 20s – she has 4.5m subscribers and each of her videos consistently gets 1.5m views, with occasional peaks to 2.5m for collaborations.

This continual success is about consistency and a focused product and being of the platform rather than just putting some ‘content’ on it.

I point at Capital and Radio 1 – but at least they’re learning by developing different types of stuff and putting it out there. I could pick lots of stations – particularly large local and regional stations with woeful video – in volume and quality.

I think for radio to conquer video it needs to know what its trying to do with it and how to balance what they do with the platform their putting it on.

Radio should also look to see what it has that’s unique and how it can best use that.

I think one of my favourite bits of recent video content is Matt Edmondson’s video with Arthur Darvill off of Doctor Who doing a song parody of the Let It Go song from Frozen.

I think it’s something that plays to radio’s strengths by combing two things – Access and Talent.

Access, is the fact that Arthur is in their building. The might of broadcast Radio 1 makes that happen. Talent is the talent to write the parody song, to give Arthur something that’s special that makes the video not just watchable but something that generates delight when watched.

That is not something that’s easy to do. It’s not something that can easily be replicated. It is however something that suits the skills we and our medium have.

I think there’s also an attempt to be more ‘of YouTube’ at the end with traditional YouTuber calls to action of sampling other videos or subscribing, though perhaps there could be a call to teach people when the show’s on the radio etc, especially as it contains a Doctor Who actor it’s likely to get some viral growth in that community.

From a serving subscribers point of view this content (460k views) sits between a 1xtra Fire in the Booth (6k views) and Dan & Phil’s Internet News (10k views). It would be interesting to know if the channel would grow its subscribers further if it just had content like Matt’s rather than being a part of a varied catalogue of all the (albeit great) video content that Radio 1 produces?

Or maybe it doesn’t matter if you don’t think ‘subscribers’ matter. The vast majority of YouTube users don’t really understand the subscribe button and just browse videos – if your objective is to drive brand awareness you’re much better off just optimising the content you make for SEO (resulting in the peaks and troughs you can see with Capital).

Like I say, I think it all comes down to objectives. Why are you doing what you’re doing. And can you measure whether its working or not.

 

 

BBC Radio 2 Eurovision Pop-Up Station

Graham

On BBC Radio 2, Graham Norton has just announced BBC Radio 2 Eurovision, a four-day pop-up DAB Digital Radio station to celebrate the international music competition.

I think this is a great idea and something the BBC should do more of.

Why do I say that? Well, it makes use of existing technology as DAB multiplexes can be flexed to add (or remove) stations really easily. It’s also a technology that nearly half of UK households have, so lots of people can access it. It’s also a great way to sell a benefit of digital radio – choice. For those who don’t have a DAB Radio, they’ll also be able to tune in online and through mobile too.

It’s also (relatively) cheap to do. The BBC have lots of infrastructure for covering the main song contest, people out there etc, so it’s making better use of their resources – by producing even more content for licence fee payers.

And… it’s short-term. Four days is enough to provide value, but not too much that it’s providing even more licence-fee competition for us poor commercial broadcasters.

Hopefully it will also popularise the notion of pop-up stations – there’s been quite a few all ready and it’s something (with MuxCo) that we’re encouraging people to do too.

More radio, catering for people’s tastes and interests has got to be a good thing for our industry and our product.

It starts on Thursday 8th May.


Using Talent to Win on the Radio

K and J

 

A couple of stories have popped up this week concerning the power of talent to drive radio station successes.

Over in Australia, ARN managed to snatch the number 1 breakfast show in Sydney from 2Day FM. The talent were so important that ARN junked its Mix brand and created a new format that better suited Kyle and Jackie O – the pair they grabbed – KIIS.

The big question in the market was whether listeners would move up the dial. Were the draw of K&J big enough, or was much of 2Day’s success in their own brand?

Well, the results came out this week and K&J became joint number one in the market and they took their station from the least popular FM music station (7th) straight to number 1. Meanwhile 2DayFM went from number 1 down to the bottom, the 7th and least favourite FM music station.

This a storming result for KIIS  shows what an essential part of 2Day that show was. I don’t, however, imagine they’ll stay in that position for long. Their own new show will get better and some of the excitement about the change will likely fade a little.

Grabbing talent at the top of their game though, backed by strong marketing and distribution paid off for them. It’s also something that’s paid off for the BBC quite a bit here – see Evans joining R1/R2 etc.

K&J’s success has created a ‘the only way is talent’ mantra in  lots of Aussie radio discussions. However that tends to skip over the other success story in this ratings round and that’s Smooth FM. Paul Jackson (ex-Capital, Virgin and Richard Park’s son) took hos company’s perennially under-performing station Vega/Classic Rock and re-branded it 18 months ago as Smooth. Basically think Magic London. Whilst it has the occasional name, it is very much a music-driven radio station. The result has been a rapid rise to the number three FM music station in the market and I imagine there’s still some growth their yet.

The other story that caught my attention was Fubar Radio. It’s a predominantly comedy/entertainment speech station that emphasises its “we’re on the internet we can say anything” position and is a subscription service – £2.99/month to tune in.  It’s basically a comedy 6Music. They’ve got shows from people you’ve heard of – Mark Dolan, Richard Herring and Jarred Christmas and have just added a daily show from Justin Lee Collins and a weekly show from Sean Hughes to the line-up.

You get a 7 day trial and I’ve had a bit of a listen – it’s a good listen and an entertaining station.

I think their positioning is probably off though. I’d concentrate on the entertainment angle rather than “ooh, we’re naughty”. Most of what I heard would  actually be absolutely fine on a terrestrial station. What’s interesting about them is that they’re speech-led with good talent.

I’m also not massively sold on the way the subscription works – I don’t think they’re maximising the opportunity they have there. It’s also a tough model to make work in the UK. The choice of UK stations is pretty good, it’ll be difficult to make someone not only switch from a station they love, but also pay for the privilege too.

However, more power to them for having a go. Just as there’s always more than one way to win, I’m sure there’s also more than one successful commercial radio model too.

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