Amazing Radio and Coast 106: Ghosts of stations past

Over the past two years, I’ve traveled around the country a fair bit, working on consult gigs at different stations. Most of this has been database troubleshooting and coaching, both in RCS Selector and PSquared’s AutoTrack Pro - fine scheduling engines both.

I've been struck by the lingering echoes of old radio ways, which persist down the years, even while the old premises are now occupied by new staff doing new things in new ways. But there are some constants. Almost everything has changed in the way we do radio - except for the people.  

Researching Music: Is this REALLY popular in your neck of the woods? Ever asked why?

One of my must-visit radio blog pages is the Infinite Dial, from the US-based Edison Research – who, unsurprisingly, do research for radio. They have a refreshingly open-minded approach to what radio may be now, and what it may become.  A recent post covers regional tastes, and it’s fascinating. Well worth a read, here.

I absolutely love this aspect of the business – ferreting out local tastes, finding out what matters locally. It’s a source of endless interest.  Of course, I also like this post because it reinforces my thoughts on localism. But I’d like to take things a little bit further.  

Our man at Edison remarks, quite rightly, that it’s always interesting to find those places where ‘Mony Mony’ and ‘Maybe I’m Amazed’ (hey, not talking Gold much) barely register with listeners, and indeed it is. The processes by which songs become popular and spread out to audiences are interesting and increasingly varied. Who would have thought that computer games like Guitar Hero and trash teen tv (Glee) would have had become major players, bigger than tightly playlisted radio format radio, in shifting product?

What interests me is this. If those horribly familiar songs (to US ears at least) Edison Research is talking about don’t light up audiences everywhere, should we question the continued faith placed in them in their core markets? And, more interesting still, exactly what songs are now lighting up those different audiences?  Classic oldie songs on Gold formats have been around a long time; they’ve had time to develop deep roots. So what made those roots either not take in the first place, or, more likely, lose their grip? And if this is genuine evidence – I’m not quite sure it is - that pop music radio's cosy  assumptions of the past fifty years are turning out to be either wrong, skewed, or outdated, why is such faith still placed in the old ways of operating?

Each market is individual. While we have increasing media homogeneity, this report is pretty convincing evidence that that homogeneity breaks down when you dig deep into each market. I’m not for one minute going to wear any jingoistic assumptions that because this research is driven from the US, that it is blinkered and limited in its vision; I think we’re largely doing a lot worse over here. But if my supposition that local individuality persists against an overwhelming tide of homogeneity, that is horribly inconvenient for our larger scale broadcasters, who increasingly resist any obligations to relate to their local market places.

And here’s the point: by skipping past the local, the network boys are in danger of handing over listenership to new local operators who are rooted in their markets, and willing to both dig into local tastes and reflect their markets. The only question now is: can local small-scale operators in the market and still to come to market, find ways to sustain themselves so they can survive and prosper? The next few years could be very interesting.

Schools Radio

This bunch of cheery chaps (there are chappesses involved too, but they were cropped out - I apologise), are some of the students I’ve been working with recently at a local school – Bishop Vesey, Sutton Coldfield – on a radio production project. The school was happy to define the activity as a radio station, although, alas, of studios and transmitters there were none. In fact for most of the project, there weren’t even such luxuries as microphones. I’m told this isn’t exactly uncommon. But you know what? Radio station status is irrelevant. This project has way more in common with proper, real-life radio station activity than you might think.

After all, any station worth its salt addresses one or more communities: local communities, communities of interest, or identity, or ethnicity, or music tastes, or age groups…. You get the picture. And, just as in real live radio, people come and go, join and leave teams, get to grips or give up, and grapple with technical and programming challenges. In so doing, they weave a web of involvement, hopefully with a high degree of continuity. A school is a particular community, very high on energy, very vocal, often brash, sometimes subtle, and full to bursting with youthful tribal identities that merge and split, coalesce, explode and implode. So there’s lots going on; lots of things to cover, which matter to that particular community.  Radio activities are an excellent 'fit'.

As to the work? Well, we scratched the surface. We made a start, and I’m very happy at the prospect of working with this team again in the next academic year.

This is grist to my mill. I’m especially interested in the notion of encouraging new people – and they don’t get much newer than this lot – to talk about matters of interest, to learn to voice, argue and present, to struggle with new techniques, and to deliver cogent material. As commercial  radio is increasingly rationalised out of having any impact at local level, there is a huge danger that this whole way of thinking will be wiped off much of our radio landscape. I would argue that now is the time to cherish and value these skills, because they will be desperately in demand in five or so years when the Digital Economy bill is… supposed… to clear the way for small-scale and community radio operations on the FM band.

If and when that day eventually comes, I can’t say whether there will be careers to build, or even livings to be made. Radio is turning itself inside out, and for many this is a very painful time. But I do know that radio on all its platforms – streamed, podcast, transmitted, web, digital or analogue – desperately needs good communicators to reach out to its communities of listeners. Those skills are hard-won, and the industry doesn’t seem to value them any more. We desperately need to avoid the mistakes made by television as it cuts costs and sinks to lower and lower levels. Car-crash tv, presented by vacuous inarticulate morons, may be good fun for a few minutes when you get in from the pub. It doesn’t work on radio.  Powerful, direct, loyalty-building communication does; always has, and always will. And it costs pennies… and the will on the part of the powers that be to let it grow and flourish. I’d love it – just love it, Kevin – if some of the above bright, engaging and likeable individuals were working in radio five or ten years from now.

PS: Two days after I took that photo, I was in Newcastle working with the excellent team at Amazing Radio; I'm due back next week. That's a whole different deal, and I'll post in detail in due course.

Budgets, cash flow and creativity

There’s been huge coverage of the jobs lost at commercial radio over the past few weeks. If you want to get up to speed on this, check the Guardian’s pages here. I feel desperately sorry for the several hundred people who will now be leaving the industry they love, some of whom have been hard at work for decades.

Of course, the business rationale is that in a recession, commercial radio needs to find ways to shoulder the extra burden of digital transmission costs, and provide better services to attract listeners to digital. I hear the transmissions costs argument loud and clear, but I’m not going to even discuss issues like ‘quality of output’ now that stations are turning into brands – it’s a pointless exercise.

But there’s a lot of point in thinking about how things can be done convincingly on low budgets. Two weeks ago, I participated in a TV show, hosted by the excellent Apache Indian (check his Wikipedia entry here) from his Corporation Street venue, Apache’s Bar. It was carried on BritAsia, Sky channel 833. He does this monthly. Apache laid on a live band (jazz horns and dhol rhythm section), an audience with things to say, and a key topic – why does radio not do more to support local talent? I was there to talk radio, of course. Interestingly, I was the only guy who turned up from my section of the media; others were invited. Funny, that. And there were only two points I could make.

Firstly: I was not going to defend the indefensible. Radio’s move from local to corporate is soul-crushingly awful for musicians making their way in the world and looking for some exposure.
Secondly: But, hey, radio be damned; great music will find always find a way to its audience, and the better it gets, and the more the audience buys in, the more radio has to acknowledge this. I’ve lost count of the number of times I’ve seen radio scramble to catch up with music developments it can no longer begin to control. So.... if you're a musician, get great. Simple.

But those points are tangential to this post. The fact is that Apache delivered a credible, engaging show on a minuscule budget. The same applies all over the country at community radio level. What you need, always, are clearly thought out ideas that your audience will engage with. What you don’t necessarily need is expensive kit.

Still on this topic: I’m just coming to the end of a month-log schools educational project. The equipment we were promised has yet to materialise, through no fault of the school. So we’ve been improvising, using borrowed kit, pressing unexpected tools into service, and working on ancient computers running the excellent and free open source Audacity editing software. Although we’ve had to adapt and revise a fair amount, at no point in the project have these limitations blocked the flow of ideas, and some of these ideas have been belters. I’ll blog separately about this in a week or so, when the project reaches its conclusion.

The best programming approaches, like the best ideas, come for free. They are the results of clear and focussed thought. And often – not always, but often - that clear and focussed thought flourishes best where it won’t be stifled by large corporate structures. If you’re in a tiny operation with zero budget, you may be blessed with a creative freedom you could look back on fondly in future years.

Consolidation. We knew it was coming.

Last month, and two posts down on this blog (scroll down or click here), I painted a gloomy picture of consolidation and retrenchment. Today, the first big jobs and stations cuts bit - and hard. 200 jobs and 18 stations are to disappear, as Heart moves ever closer to a national 'Brand'. Here's the Guardian's report.

Not over yet, I'm afraid.

Naming names

I’m all in favour of localism in local media, as you might have gathered from earlier posts. So I was pleased that BRMB, back under local ownership, decided to revive the Walkathon – a twenty mile charity walk around Birmingham’s circular number 11 bus route – after seventeen or so years of non-local ownership. It took place last Sunday. They raised more than they expected, for a worthy charity. Well done; applause all round.

I was slightly less impressed with the ungenerous coverage from BBC Midlands Today on Monday. The event got scant coverage, with the briefest of brief shots, showing an unimpressively small group of people walking along an empty path. Critically, there was no mention of BRMB, who organised and sponsored.  

Compare and contrast, then, with the lavish Midlands Today coverage of the difficulties that a Handsworth Community Radio station is experiencing. New Style Radio has funding problems, and things are looking grim. But boy, did the BBC ever go to town on their situation in the evening bulletin last night. Names were named; lovingly crafted footage of disaffected staffers and volunteers was shown; principals were grilled on screen in forensic detail.

So what do we learn from this? It’s, sadly, a typical local media thing. If a non-BBC Radio Station does something significant and worthwhile for the greater community, then, hey, that’s good news. So the BBC will, if they absolutely must, report it; but will then go to ridiculous lengths not to give the station any credit. If on the other hand, a non-BBC station is squirming on the hook because of bad news… then you can look forward to explicitly detailed coverage.

That Midlands Today’s two pieces were aired within the space of three days served to highlight a frankly uneven approach.

Community Radio stations across the country are struggling for funds; licenses are being handed back regularly, and I fear it’s going to get a lot worse. I was very sorry to hear of New Style’s difficulties, just as I was impressed with BRMB’s successful revival of the Walkathon. But a little bit of reporting consistency from Midlands Today would have been nice.

Future of Local Radio???

Stop press - this post seems to have gone modestly viral. BIG response. I'm pleased.

I was the keynote speaker at Creative Networks last night. Brilliant, interested audience of students and practitioners. I gave a seemingly bleak overview of the state of UK radio and the shrinking opportunities for creative work, as cuts continue to bite at the BBC, and the commercial sector continues to strip jobs out, and ramps up automation and networking. All is not lost, however – in fact, all is never lost, if you approach things the right way.

Bullet points after the jump. 

Creative Networks, Thursday 27th, Millennium Point, Brum

Creative Networks is a monthly gathering of... Brum creatives who, er, network. The Birmingham Music Network meeting precedes this event in the same venue, and I’ve attended one or both of these monthly gatherings for some time. Last Thursday in the month at Millennium Point, and you get a meal thrown in - what's not to like?


I’m the Keynote speaker this month.  It’s an interesting prospect. I am going to, of course, talk about local radio and local music. But that may just be a sidebar to some of the other areas, as we look at 21st century ‘radio’ on its many possible platforms. After all, there’s not a huge amount to say about radio that hasn’t yet been said....


...or is there? 

Well now… Of course there is. I would say, that, wouldn’t I? But it remains a fact that ‘radio’ is ignored as a creative area by most people, and is especially ignored by other media unless they can print or screen something juicy or damaging.  Mass media loves finger-pointing tittle-tattle, and radio has more than its fair share of unbalanced egos who can provide a steady stream of gossip fodder.

I still think, thought that there is a world of possibilities out there around radio. So what sort of things am I going to talk about?

How about the explosion in alternative sources of radio – community radio, college radio, blogging, mixes and mashups? And how come there has been an explosion in the first place?

What sort of tools do you need to get started? And, er how much do they cost?

And what sort of things are out there that you can listen to or otherwise discover?

What about… sound with images? Not, I stress, video, but SOUND. With added images.

And is this still radio? Hell, I don’t know. I do know that when you get to this point, you’re still using the same tools that you’d use to make conventional ‘radio’.

Maybe it’s the whole definition of radio we need to look at. After all, when we think about radio, it’s almost always in connection with music, maybe with a voice to link it all. Maybe, if you’re on a Spotify, Pandora or Last-FM ‘radio’ stream, a 'radio station' with no voice at all.

But I kind of think that radio is still all about connecting, ideally live.  But how can you do that with a podcast?

Lots to talk about then. I’d be delighted to get some ideas from you ahead of Thursday next, by the way. Might even namecheck you on the night.

More Deregulation grief

I listened with some interest to You and Yours on Radio 4 today. Not only was an old colleague of mine presenting – Winifred Robinson, always listenable, articulate and insightful – but the subject matter was the further erosion of the concept of ‘localness’ at commercial radio in the UK. Given that the new measures entail yet more cuts in services, even less speech content, and even more networking, all of which equates to less jobs, less local service, and less engagement with the local audience, it made for depressing listening.  

For those who want to read more on the Ofcom-sanctioned measures, here’s a detailed piece from the Guardian. 

Winifred – who was a demon journo back in the old days at BRMB – had Tony Stoller, an old hand from the now long gone Radio Authority, and Andrew Harrison from the trade body for commercial radio, the Radio Centre in the studio. Harrison, naturally, defended the measures, as it paves the way for even more cost savings, and therefore allows a greater chance of survival for cash-strapped stations. I see his point – radio is in deep trouble at present. Recessions always hit radio hardest and first, and radio is generally the last to benefit from an upturn as well. 

But Stoller amazed me, by pointing out that back in the good old days, when radio had huge newsrooms, decent specialised shows and provided full service options. Radio was also pretty damn profitable.

Profitable? It had to be, to allow an outfit like BRMB to have 50 or so staff, all sorts of specialist shows – including rock shows five nights a week from yours truly, and later by the estimable John Slater - and a raft of freelancers.
Stoller was right. But the argument against trying to go back to the ‘good old days’ is, sadly, irrefutable: Radio, among other services,  has been marginalised by the web, online games, and a whole host of other digital services, and it’s, as yet, found no way to counter this surge, just like terrestrial TV and newspapers.  

To add fuel to the fire, here’s an interesting post from the Infinite Dial: Read it and weep – the Internet has almost caught radio for Music Discovery. 

The most telling comment in Winifred’s piece (hear it on iPlayer here) was that the audience would not really notice much difference, because the latest steps are just an extension of the measures that have already been taken. So, in the spirit of shutting the stable door after the audience horse has bolted, mainstream radio’s strategy seems to be to cut staff costs, outsource as much expensive stuff as possible, share programming, streamline, simplify, play the hits and sell the station brand first and foremost.

And all of this I understand.

But it strikes me that, as local and regional commercial radio moves further and further away from localness, a yawning gap is opening up. And once the right operators get their teeth into services that offer local relevance, there’s going to be no way that the big boys will have anything left to compete with.
 
So where are those new operators? Ah…. Good question. I’d LOVE to think that they will surge onto the FM band when the big boys shuffle off to the digital domain in (as now won’t happen – it’s bound to be shelved) 2015.
I do know this. It’s possible. It can be done. This is how new game-changing stuff always starts – out of left-field, ignored and sneered at by the establishment. Think about Pirate radio over here, both on the boats in the 60s and the Tower blocks in the 90s, or FM Rock radio in the US in the 60s and 70s; in music, think about Rock and Roll or Punk Rock… They all started out scruffy, obnoxious, and full of attitude, and they all wound up mainstream.
 
The question is: is Community Radio, now the only place which allows experimentation, ready, willing and able to supply staff to small-scale radio? I’d love to think so. They’ve probably got about five years to do it in.  
 

Parents and siblings

I was talking with Loz Kingsley, an extraordinarily talented guitarist who has brightened the Birmingham Music scene for well over 30 years (latest work is at www.fingerprintmusic.co.uk) the other day. I was enchanted to learn that his daughter's band is the highly rated and upcoming Poppy and the Jezebels, who are close to signing a record deal. 

I know of at least one other guy in town who grew up around his muso dad - the terrifically talented Toby Wilson, who now, among other things, drums for 360. Toby’s dad, Bob, was once one of the twin mustachioed blonde bombshell guitarists with the Steve Gibbons Band. He went on to be Music Director for Ruby Turner for a spell, ran a string of other music projects, and put his own studio together...presumably the same studio that Tony grew up in, and wfrom where he picked up his production chops.

Maybe it’s just me, but I think the parent-child muso thing is both charming and noteworthy. This set me thinking - there must be others, right? Let me know. 
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