New Audacy CHR lineups

[davideduardo]

Here's the problem: They may be profitable for us, but they're not profitable for the music business. The music business, especially in CHR, is targeting social media (TikTok) and streaming (Spotify). That's where they're focusing a lot of their promotion and their new releases. Why? Because of the mass audience those platforms deliver, and the mass audience creates royalties that pay labels and artists. That doesn't exist in FM radio. We saw this earlier this year with Olivia Rodrigo. Her big hit was delivered to Spotify, not FM. It was quick, efficient, and productive.

But that is an exception. The sales of CHR product for adult women is down. Maybe it has to do with the fact that the labels are focused on teens, and CHR radio targets adult women. The labels in some cases do not get that there are two markets.

And what do you suppose that the average age of the Rodrigo hit downloader was?

So how does radio compete in this environment? Channeling its national platform. In iHeart's case, their streaming platform is among the largest in the world. Audacy owns its own streaming platform too, but they need to create exclusive content to drive people to it. Radio companies have access to the same national international platforms that Spotify has. They just need to harness that power, and demonstrate to the music industry they can deliver ears and revenue for artists and labels. That's what this is all about. Redirecting resources so radio is a player in the same market with Spotify.

However, so far no national platform targets teens specifically. In the case you mention, that is the key element and the disconnect between any kind of radio and the record business.

If you're a young fan, you're not attached to your radio the way people were 40 years ago. You're online chatting with your friends, sharing new music, and engaging with the artists directly. You don't need a radio DJ to act as middleman.

That is what many on this board don't understand. News about artists is instantaneous on the web, while on radio by the time the morning show starts, that content is yesterday's news.

That's where talents like Seacrest come in: they have access to exclusive content because of their importance to artists and the labels.

You can speak directly to your favorite artist on Twitter. So the rules have changed, and radio needs to be in that process somehow. It's not easy, but it's not going to happen if a radio station is only focusing on one market, because the music environment is much bigger.

Look at formats like Country, Urban and even Regional Mexican... the multi-market shows get artist and music industry contacts they can call on for content. The rest are SOOL.

 

[wastedtalent23]

All CHRs are at a cyclical low. Some blame music production during the pandemic, others call it a cycle we have seen before going back to when the format was called Top 40 and looking at the early 60's as the first example.

If that is true, are you implying that at the end of this "cycle", the listeners will come back? What would interest them in coming back? Perhaps most of these listeners will be gone for good. I agree with those that say music production, whether it be the lack of quality or quantity has something to do with it. Look at how well many Classic Hits, Adult Hits and Classic Rockers are doing? Seems like the ones that are still listening to radio are choosing music from the past rather than the present.

Radio is not a horse race. You can be #6 and still make lots of money.

True, however my goal has always been to be #1. I am in radio for the love of the business, and to be successful. If I am #6 and my competitor is still ahead of me, that is unacceptable. I strive to win any way that I can.

Given that the interaction with listeners in the past was mostly phone-in contests, we are looking at an obsolete practice. How many CHR listeners will use a phone to call a station today in the era of texting and other messaging?

In contrast, How many listeners would have their call answered by a live jock if they TRIED today?

And, for the last 40 years, the target of Top 40 has been 18-34 women, extended to 25-44 in many cases today.

I think the target is still 18-34 women. Look at the bubble gum, teeny bopper artists that are being played. BTS, Olivia Rodrigo, Doja Cat, etc. Most Hot ACs target 25-44 and lately have been beating the CHR in their market 12+.

 

[TheBigA]

However, so far no national platform targets teens specifically. In the case you mention, that is the key element and the disconnect between any kind of radio and the record business.

That's why the benefits of creating this national platform may not directly translate to traditional Nielsen radio ratings.

But that's OK because the ad market for on air radio isn't growing to the degree it is in digital. So if they can use the broadcast platform to generate more revenue from the digital platform, it will be worth it.

 

[davideduardo]

If that is true, are you implying that at the end of this "cycle", the listeners will come back? What would interest them in coming back? Perhaps most of these listeners will be gone for good.

They are still using radio, but likely have been with Hot AC or even AC stations. When the music improves, more will be back.

I agree with those that say music production, whether it be the lack of quality or quantity has something to do with it. Look at how well many Classic Hits, Adult Hits and Classic Rockers are doing? Seems like the ones that are still listening to radio are choosing music from the past rather than the present.

Except country, Urban, Regional Mexican, Reggaetón and other young adult formats.

True, however my goal has always been to be #1. I am in radio for the love of the business, and to be successful. If I am #6 and my competitor is still ahead of me, that is unacceptable. I strive to win any way that I can.

I strive to make money. I don't care if that means being overall #10 in the process. Look at the best days of WFAN: #15 in 12+, but #1 in billings.

When I owned 9 stations in one market long ago, my most profitable was perhaps 10th overall. I loved it!

In contrast, How many listeners would have their call answered by a live jock if they TRIED today?

The era of calling a jock is pretty much gone. It really does not matter competitively.

I think the target is still 18-34 women. Look at the bubble gum, teeny bopper artists that are being played. BTS, Olivia Rodrigo, Doja Cat, etc. Most Hot ACs target 25-44 and lately have been beating the CHR in their market 12+.

The target of the better performing CHRs is mostly 18-49 , or specifically, 25-44 women. There is money there. There is vastly less in 18-34.

 

[TheBigA]

Look at how well many Classic Hits, Adult Hits and Classic Rockers are doing? Seems like the ones that are still listening to radio are choosing music from the past rather than the present.

BTW Audacy has stations in those formats, and they're doing well with them even in 18-34. Old music isn't strictly for older people.

 

[TheBigA]

The era of calling a jock is pretty much gone. It really does not matter competitively.

Except for talk or sports talk radio. But even then, my local sports talk radio station only takes occasional calls, and more often refers to tweets with targeted hashtags or texts. They have three voices in the studio, so they don't need another voice, just other opinions. A lot of what I've been saying in this thread mainly applies to music formats. In music formats, calls may get answered, but never live. They always get edited to fit in imaging or in ramps to certain songs. Calls are production elements.

 

[wastedtalent23]

When I owned 9 stations in one market long ago, my most profitable was perhaps 10th overall. I loved it!

We come from the same industry, but perhaps different walks of life. I started out as a board-op running Rick Dees in the early 1990s, to doing weekend overnights. Then did full-time nights and afternoons for the next 10 years, with my hands in programming as a Music Director, Assistant PD, then PD. Then on to other formats, but I've never done sales on been a GM. I've always been paid a modest-at-best salary. I've never had the pleasure of owning a station. If I did I could probably relate.

The era of calling a jock is pretty much gone. It really does not matter competitively.

Sad, but true. I have fond memories of running a party show, doing several phoners per hour, with spliced tape littering the studio. Giving away CDs, T-shirts and concert tickets. Studio lines ringing off the hook constantly. The stations were on fire! Those were very fun times.

The target of the better performing CHRs is mostly 18-49 , or specifically, 25-44 women. There is money there. There is vastly less in 18-34.

I'll take your word for it. The 2 CHRs in my city sound like they're targeting 12-24 persons. One of them has syndicated Zach Sang on at night. Tell me that's geared toward 35-44 Adults. Maybe I'm just getting old.

My point is I don't see how cutting local talent leads to higher ratings or higher revenue in this case. All I see is another unfortunate massacre.

 

[davideduardo]

We come from the same industry, but perhaps different walks of life. I started out as a board-op running Rick Dees in the early 1990s, to doing weekend overnights. Then did full-time nights and afternoons for the next 10 years, with my hands in programming as a Music Director, Assistant PD, then PD. Then on to other formats, but I've never done sales on been a GM. I've always been paid a modest-at-best salary. I've never had the pleasure of owning a station. If I did I could probably relate.

I was 18 when I built my first station in a market of just over 1 million; I was so young that I did not know that the reason I should not do the first Top 40 was that "it would not work there". Ignorance is arrogant at times, but in that case I was luckily right.

Prior to that I had been a board op at an FM in Cleveland and an intern at a 5-station group in Mexico. Fortunately, I was a skilled or lucky investor and made enough on penny stocks on the Toronto exchange to build a beautiful station when that could be done for less than $20 k.

Sad, but true. I have fond memories of running a party show, doing several phoners per hour, with spliced tape littering the studio. Giving away CDs, T-shirts and concert tickets. Studio lines ringing off the hook constantly. The stations were on fire! Those were very fun times.

That same Top 40 did things like artist competitions where listeners would call and vote to pick the day's champs who would challenge another artist the next day. Lots of other phone based things, too.

I'll take your word for it. The 2 CHRs in my city sound like they're targeting 12-24 persons. One of them has syndicated Zach Sang on at night. Tell me that's geared toward 35-44 Adults. Maybe I'm just getting old.

That may be part of the issue here. There is no money being spent against teens in the US, but it seems most CHR appropriate songs target them. So the adults listen less, which is what we have seen in the last 18 months.

My point is I don't see how cutting local talent leads to higher ratings or higher revenue in this case. All I see is another unfortunate massacre.

If local talent is not as good as national talent, then the change will benefit the station. Europe and much of Latin America discovered this decades ago.

 

[TheBigA]

If local talent is not as good as national talent, then the change will benefit the station. Europe and much of Latin America discovered this decades ago.

Exactly. Local talent has to be BETTER than national, otherwise there's no point. Local talent has to give you something you can't get from the national hosts. It used to be the other way around. Now it's not.

The other side of this is if you ARE unique and good at what you do, there's a new level to reach, one that wasn't easy to obtain before, and that's a syndicated host. So in this move, Audacy lost some people. But some people got promotions. The new status means more money. Maybe not double salary, but more than you were making before. Plus more recognition. You're doing what you do for a bigger audience. If you're proud of what you do, who doesn't want to do their show for a bigger audience? So sure, feel bad about the dearly departed. But feel good for the few who got promoted. That COULD be YOU!

 

[macattack]

That is one hell of a used car salesman impression BigA, gotta give credit where it's due. If you lose your radio gig you have your next one lined up already.

 

[TheBigA]

Here's a newly updated article with more comments from Audacy's SVP of CHR programming:

Country And Alternative Changes Are Audacy’s Blueprint For CHR.

The changes at Audacy’s CHR stations are the latest in a series of the company’s “ongoing commitment to programming investment and innovation,” says Executive VP of Programming Jeff Sottolano. The

www.insideradio.com

He's saying their wider platform hosts will be able to gain more exclusive interviews with top stars.

 

[radio128]

Wow, Power 96, a station as much a part of Miami as Collins Ave. and Lincoln Rd., Is using a midday show from Chicago and a night show from Los Angeles. I am sure Tanner, Cramer, and Cox are all spinning in their graves.

 

[davideduardo]

Wow, Power 96, a station as much a part of Miami as Collins Ave. and Lincoln Rd., Is using a midday show from Chicago and a night show from Los Angeles. I am sure Tanner, Cramer, and Cox are all spinning in their graves.

And those of us who have worked with them are in agreement.

 

[TheBigA]

Wow, Power 96, a station as much a part of Miami as Collins Ave. and Lincoln Rd., Is using a midday show from Chicago and a night show from Los Angeles. I am sure Tanner, Cramer, and Cox are all spinning in their graves.

Y100 was also a legendary station, and it's morning show originates in NYC.

Several other Miami powerhouses are gone completely.

 

[davideduardo]

Y100 was also a legendary station, and it's morning show originates in NYC.

And that station, with Tanner and crew, was 100% Miami flavored. I ran "the other station in the building" as GM and learned so very, very much from Tanner (who I'd traded talent tips with when he was in Jackson and I was in Birmingham) and his crew. Truly The Amazing Radio Station.

Several other Miami powerhouses are gone completely.

Some due to the changes in the market's composition, others because groups could not figure out that Miami is not like any other US market... it's the northernmost city in South America.

 

[Kelly A]

That is one hell of a used car salesman impression BigA, gotta give credit where it's due. If you lose your radio gig you have your next one lined up already.

What BigA said wasn't a pitch, it's true. Successful radio personalities these days need to act like their mic is open 24/7 even when it's not. That includes TONS of social media engagement after hours, creating company sanctioned podcasts, or whatever that continues to entertain or inform just as if you were behind that open mic. If one assumes you only need to do your best work in a traditional radio workflow, delivering bits purchased from some joke service, taking requests and dedications off the phone then editing them for playback, then you won't suceed. If someone believes being a personality these days is the same as being a 'jock' from thirty years ago, better start looking for a alternate career soon.

 

[vchimpanzee]

Except for talk or sports talk radio. But even then, my local sports talk radio station only takes occasional calls, and more often refers to tweets with targeted hashtags or texts. They have three voices in the studio, so they don't need another voice, just other opinions. A lot of what I've been saying in this thread mainly applies to music formats. In music formats, calls may get answered, but never live. They always get edited to fit in imaging or in ramps to certain songs. Calls are production elements.

About 35 years ago, I called a station because I was hearing its signal from farther away than they were probably expecting. It was near the North Carolina coast and I was west of Charlotte. The apparently white guy (it was an urban station!) had no enthusiasm when he answered my call and I told him my situation. He wanted to put that on the air but he didn't explain it. I thought he answered another call when he actually sounded like a DJ is supposed to sound. I said he was still talking to me. He explained we were going to pretend I was calling him and he was answering for the first time. At the end of the call he asked if I had "switched mine to Foxy 99". Well, sure, when I could hear it. It wasn't actually my favorite music, so I wasn't really telling the truth, but he was telling his listeners he was being heard west of Charlotte. Now the full truth was I was listening to the beautiful music station on 98.9, but every time I would stop at a stop light at the top of the hill, I was hearing Hot AC or whatever it was on 98.7 in Greensboro. I adjusted the radio and ended up on this urban station. Which actually sounded pretty good. It eventually went hip-hop, but back then it was the only Black FM station in the area.

 

[AbrahamJSimpson]

Um, ok…and that is relevant?

 

[vchimpanzee]

Um, ok…and that is relevant?

It's relevant somewhere.

 

[AbrahamJSimpson]

Debatable. Definitely not here, though.