No one believes in on-air talent more than I do. Being raised on the greatest radio on the planet. I grew up in New York City with world-class talent. Whenever I traveled, I would scan the dial to try and hear the amazing Philly, Chicago, Memphis, Cincy and Detroit talent of the same generation.
Those of you not yet old enough to appreciate the depth of these talented individuals may have been more influenced by others throughout the ‘80s who were scattered across the nation. As we moved into the 1990s, the list of remarkable talent grew thinner, and few really needed to wonder why.
The ’90s Shift: What Happened to Talent?
Was it a result of the Telecom Bill of 1996 that, in some ways, turned the broadcast industry into a banking business? Perhaps it was researchers and consultants who overly focused on TSL and the “play-the-hits” mentality of the times that may have squeezed talent too tightly between the music? I was equally culpable when I owned Pinnacle Media Worldwide.
PPM, Playlists & the Rise of Brevity
When PPM emerged, the industry determined that people were measured in shorter, real-time increments, which translated to less time for anything other than the most compelling content from talent. We learned that authenticity, along with brevity, was most valuable, and TSL (time exposed) was literally being measured every second.
In hindsight, this philosophy set the way for our future “pure play” competitors to change the radio narrative and allow them to paint us into a corner. Leaving us with a music battle we simply couldn’t win.
Platforms like Spotify, Apple Music, Pandora, etc. introduced listeners of the new millennium to the new world of “OnDemand”. Traditional radio was now left without farm teams and pools of talent from which to choose.
As the years progressed and technology improved geometrically, Millennial influencers (those we call air talent) began moving to social media channels to create content on Vines, YouTube, TikTok and Instagram. They realized they could make more money on these social media channels.
Let’s add the advent of the iPod at the turn of the century, which meant the demise of the Sony Walkman, which had a built-in radio. Soon to follow was the disappearance of the boom box and transistor radio.
Eventually, we had an entirely new generation growing up for the first time without a bedside or countertop radio. Today, aside from a car radio, we would be hard-pressed to purchase an actual radio from anywhere other than Amazon. This pushed what was the traditional hardware of “radio” into the Mesozoic age.
In reality, though, radio’s growth and metamorphosis have continued to flourish in this high-tech age as well. Before the widespread adoption of broadband in the early 2000s, radio wasn’t streaming much; now, virtually every station streams online and via an app or platform.
Radio utilizes social media, smart speakers, creates podcasts, is accessible on smartphones, tablets, & computers, and produces videos (although science has proven that audio captures a listener far more effectively than video). The truth is that radio is still, by far, the most listened to ad-supported and ad-free audio platform available.
The Data Proves It: Radio Still Dominates
There’s absolutely nothing intrinsically wrong with digital, but we have let streaming and pure play platforms minimize our value as an audio delivery system, and we have let our own advertising/marketing clients fall victim to the propaganda set by our competitors that the benefits of digital advertising make radio/audio obsolete
It is simply not true! It’s a fake narrative that our consumers (listeners and advertisers) have bought into. It baffles me that many automotive makers and dealerships have moved to digital, even to sell their service-oriented offerings.
When the share of ad-supported audio TSL in the car among adults 18+ is 86% for radio, versus 7% podcasts, 4% SiriusXM and 4% Spotify/Pandora combined. Is that CRAZY!? That is among the automaker’s own consumers. (Edison Research “Share of Ear” Q1 2024)
Tell the Right Story. Reclaim the Narrative
It is troubling that, as an industry, we have failed to respond in a timely manner and have allowed a false narrative to emerge regarding who we are and what we do. In reality, radio has always had a wonderful story to tell. And we still do!
Audio, and more specifically radio, continues to create terrific content and advertising that moves people. Without any doubt, it remains the most effective way to influence the mind and capture the heart.
And THAT is a foolproof way to gain commitment from any consumer.
Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.
Bob Lawrence writes weekly columns on radio leadership and business. He most recently served as market manager for MacDonald Broadcasting in Saginaw, Michigan. Throughout his career, Bob has held virtually every position in the business over his 40+ year career, from being on-air in Philadelphia, San Diego, and San Francisco to programming legendary stations including KHTR St. Louis, KITS Hot Hits and KIOI (K101) San Francisco to serving as the head of all programming for Saga Communications and working for the Radio Advertising Bureau. Before landing his current role, Bob helped lead Seven Mountains Media’s cluster in Parkersburg, WV/Marietta, OH. He can be reached by email at BGLawrence@me.com.
Bob also honed his research skills over ten years as Senior VP of Operations at Broadcast Architecture, eventually launching his own research company and serving as President/CEO of Pinnacle Media Worldwide for 15 years. Bob spent five years as VP of Programming for Saga Communications before joining New South Radio in Jackson, Mississippi as GM/Market Manager. Prior to joining Seven Mountains Media, Bob served as General Manager for the Radio Advertising Bureau, overseeing its “National Radio Talent System”.
