Apple released a new type of chart last week, showing the relative success of its new Apple Podcast Channels product. This is the thing where you can group together shows, or offer a single show, and then make it something that people can pay real money to subscribe to.
Here’s the pay-for list (with some context on each offer courtesy of Podnews)…
Radio and TV is a complicated business, and for a medium that used to ‘just’ have to worry about a transmitter network, today’s world means keeping on top of lots of endpoints – places where your content and channels end up.
Of course, the need for wide distribution is now an issue for everyone in the media sector. If you’re a musician are you on all the streaming platforms? If you’re a podcast are you listed on all of the apps and directories?
One of my day jobs is being part of a team that looks after a lot of DAB distribution through our MuxCo network. We look after hundreds of radio stations, broadcast over a hundred transmitters. It’s a network of many elements and many things that can go wrong. We’ve been doing it a long time, however, so when there’s a problem we have a pretty good idea of what (or who!) has caused it, and can get it fixed pretty quickly. Sometimes though, there’s just some outliers that are hard to plan for, as Arqiva found, when one of its key transmitters burned down last month, knocking out Freeview for a million people (and affecting our radio customers too).
What fascinates me about audio at the moment is that the strengths, weaknesses, opportunities and threats for each of the different players in the sector, keep revolving and changing. No matter whether it’s Spotify or Apple, Global or the BBC, the audio strategies keep adjusting. There seems little desire to stick to what they’re known for.
I think part of the problem for many organisations, audio included, is that they misunderstand the business they’re in.
The oft-used example is that Kodak thought it was in the photographic film business when actually it was in the memories business. Through the memories lens, digital cameras would have been an opportunity, rather than a product they developed and quickly buried.
It’s seemingly been on a longer hiatus than One Direction, as its panel building was somewhat kiboshed by the Coronavirus.
It’s always popular to knock RAJAR (or any research methodology) but most wailing is pretty uninformed. RAJAR is one of Europe’s largest surveys with nearly 100,000 people participating in a regular year. It’s demographically and geographically representative of the UK’s listeners (and non-listeners) and that requires some effort. How do you get someone to fill in a survey about radio listening when they don’t listen to any? It’s important to track that group too!
People also fail to recognise that RAJAR isn’t one national survey, it’s hundreds of inter-locking surveys that give robust data about individual stations’ TSAs (their coverage area). So you need to be representative in Portsmouth, Southampton and Bournemouth individually, as well as across the combined regional area too.
Radio has always had a bit of trouble with the internet. Or more accurately, the people behind radio stations have some difficulty in getting their online editorial right.
The birth of the web saw radio jump into this medium at the turn of the century. At that point local stations, the predominant form of the wireless, tried to replicate their local credentials by booting up a local portal. I spent most of 2001 sitting in the head office of koko.com, GWR’s attempt to create a hybrid national/local site. It was a good idea, though ahead of its time – in both the tech that ran it didn’t really work, and the audience probably wasn’t quite ready either (a crap name didn’t help). It also had a lot of trouble replicating the content feel of the successful local radio stations. The teams were good at creating compelling audio but no one had taught them how to create compelling text.
Ofcom’s Media Nations report is an excellent analysis of media consumption and trends, with a great section on radio and audio.
One of the opening paragraphs is a good overall analysis of the sector
Consumers continue to listen to radio and audio content on a wide range of devices. Although listening to live radio on a radio set has been in decline for the past few years, for adults overall it continues to account for much of their audio consumption. Conversely, consumption of digital audio services, including online live radio, music streaming services and podcasts, has grown over time, especially among adults aged 15-34 for whom live radio on a radio set now accounts for less than a quarter of listening.
iHeartMedia is the biggest US radio operator – nearly a thousand radio stations, a well marketed app – iHeartRadio, and a strong podcast network. It’s also one of the big players in podcast consolidation, having snaffled up Voxnest, Triton and Spreaker.
As a big player, if run well, all these parts make the sum stronger. Cross-promotion, talent and technology all working together, giving them a strong competitive advantage.
The promo tie-ups of all your different activities are relatively easy to do. Some good media planning can generate real dividends, and if the tech stack’s good, it isn’t that hard to do. What’s more complicated, but potentially very profitable, is where you can use your large work force to help grow the business in new areas.
That’s why I was taken with their announcement last week that they’ve done a deal with TuneIn “the world’s leading live streaming audio service”.
I don’t wish to be rude, but I think your radio station is pretty boring.
I can be pretty broad with that comment because there’s very little on-air at the moment that makes me excited as a listener and especially very little that would encourage me to change radio station more permanently.
Perhaps my miserableness comes from the fact I’ve just finished my (er, 5th?) re-read of The Nation’s Favourite by Simon Garfield. Easily the best book about radio. It follows Radio 1 when Matthew Bannister came in and shook it up – and all hell broke lose. It covers the end of the dinosaur DJs (DLT etc), the Chris Evans/Jo Wiley/Pete Tongs joining through to the early days of Moyles.
On Saturday it was the ceremony for the British Podcast Awards. This year we did it live as a massive outdoor festival in Brockwell Park. This is the fifth year of the Awards and it’s been an interesting journey from deciding in a pub with Matt Hill that maybe we should put on some awards for podcasting, to standing in a park with a team of 70 making busy preparations, as I looked up hoping for no rain.
There wasn’t any rain, which was fortunate as 650 people showed up to celebrate a sector that’s seen huge growth.
We decided to do the Awards mainly because no one else was, and we felt it would be a good way for the general public to discover new podcasts. Even then we knew that everyone loves a good list.