“Music stations must constantly innovate and connect with their audience on a deeper level. It’s no longer just about playing the hits; it’s about creating an experience that resonates with listeners amidst a sea of options.” Jeff Smulyan
When did we stop exploring?
Much has been written – including on this platform – about the state of radio.
Yet few are doing little to change.
Lunchtime in the 80s included perusal of record stores – Karma Records – Virgin Megastores – and Tower Records.
Now – the record store is the keyboard sitting in front of you.
Radio always bounces back when facing negative “headwinds.” When early television stole radio serials – Lone Ranger, Fibber McGee and Molly, Flash Gordon – led by early innovators like Todd Storz, introduced Top 40 with super-tight song lists.
Challenging “headwinds” blow into radio’s dashboard – radio survives.
When the 45 RPM record was introduced, programmers were soaked with anxiety that kids would no longer listen to radio, having their musical freedom. Radio responded by building brands with lean-forward, bigger-than-life talent.
Radio has survived the 8-track, the cassette, the compact disc, satellite radio, file-sharing platforms, and the internet.
Radio is still huge in music discovery – echoed by the release of this insightful Edison Research piece. Digital platforms – led by Spotify – have for years tail-gaited hard in the rearview mirror – now surpass radio as the primary source to follow music among Americans 12+.
All levels of radio lack bold innovation, or as my 7th-grade P.E. Teacher would say, Testicle Fortitude, to make radio required listening.
Last week, we covered how to build a solid research foundation without funding.
Think – for a moment – about how you weekly curate your playlist.
Likely, an e-mail from record promoters or an industry-influenced tip sheet arrives in the inbox. You listen to the proposed new product and plot from data sources you follow the best match for your Music Matrix.
Free yourself from this repetitive music discovery routine – add some of the following non-sequitur platforms below for emerging music options.
First – a quick story.
August 1986. Lansing, Michigan.
The new film One Crazy Summer is released with a wicked-good soundtrack. The movie is riddled with hits, and surely, most will find their way to radio.
Except one.
The best song in the movie is from Canadian Power Pop – Rock band Honeymoon Suite. The sound is far different than their previous projects to make it to the radio – “New Girl Now” and “Feel It Again.”
The song – “What Does It Take” – had the odds stacked against it from ever making radio airplay.
One Crazy Summer’s soundtrack was on the A&M Record Label, while Honeymoon Suite was on loan from Warner Electra Atlantic – Canada (WEA) Label. A&M would only release their artists as singles from the soundtrack.
The track sounded more like REO Speedwagon than any other band. In the 80’s, we knew that if REO Speedwagon simply burped The ABCs, it would perform well among listeners and music testing.
And – it did.
While that record with a fat hook wouldn’t crack the Top 50 on Billboard’s Hot 100, it would test Top 5 at the legendary small-market Top 40 WVIC/Lansing, sitting in the power category for weeks. We continue to put it on Classic Rock/Classic Hit Playlists.
Now – back to music platforms that are robust but foreign to most readers:
a break Music—This outlet is headed by music trending pioneer Bruce Tyler and brilliant innovative programmer Jay Stevens. Taking submissions from all genres, this platform grooms and mentors emerging artists to get them ‘label-ready.’ Their aBreak58 playlist is a must-follow for music discovery. Put their player on your toolbar today.
Bandcamp—This outlet is a destination for artists to sell their music directly to you. Artists here have a high level of control over their music. Subscribe to their Bandcamp Daily, a detailed newsletter that spotlights new and trending music releases.
The Train—This Americana-based format is on Kurt Hanson’s Accuradio Platform. Curated by legendary programmer, researcher, and Hall-Of-Famer Jonathan Little, it streams label submissions but also quickly adds high-quality songs from amateur and emerging artists.
The little-recognized, unfamiliar title is known among partner clients as a – Secret Weapon Record.
When Z100 was on their 1980s white-hot ascent from Worst-To-First in New York City Ratings, decorated programmer Scott Shannon had a stack of Fidelipac Carts (I’ve Googled that for you) on his desk containing unknown but great songs.
Driven solely by gut, Scott would occasionally march into the air studio, hand it to the air talent and say, “play THIS – next”.
Then he’d have it returned to his stack of Secret Weapon Records.
Brilliant.
Let’s start exploring – again.
Our survival depends on it.
Kevin Robinson is a passionate award-winning programmer, consultant and coach – with multi-formats success all over the country. He has advised numerous companies including Audacy (formerly Entercom Communications), Beasley Broadcast Group, Westwood One, Midwest Communications, Townsquare Media, Midwest Family Broadcasting Group, EG Media Group, Federated Media, Kensington Media, mediaBrew Communications, Starved Rock Media, and more. He specializes in strategic radio cluster alignment, building lean-forward tactics and talent coaching – legacy and entry-level – personalities.
Known largely as a trusted talent coach, Kevin is the only personality mentor who’s coached three different morning shows on three different brands in the same major market to the #1 position. His efforts have been recognized by The World Wide Radio Summit, Radio & Records, NAB’s Marconi, and he has coached CMA, ACM and Marconi Award-winning talent. He is also in The Zionsville High School Hall of Fame as part of the 2008 inaugural class. Kevin is an Indiana native – living near Zionsville with his wife of 39 years, Monica and can be reached at kevin@robinsonmedia.fm.
