We seem to be reaching endgame for anything approaching truly local radio commercial operators in the UK, at least in the big conurbations in England and Wales. The dream of having local, relevant, dynamic public services, but funded by advertising which first came to public debate around 60 years ago, is finally dying. What were local stations are now effectively regional broadcasters, and the more recent regional licences have become quasi-national 'brands', all of them, pretty much, playing the same music and having the same, shall we say, audio texture. The last great hope, with the stations run by the Guardian Media Group, has gone, with the announcement that their relatively well-resourced 'news hub' in Manchester is to be slashed.
In my view – or listen! – you can only serve regions, let alone specific localities, in any credible sense if your news teams are, say, within 30 minutes' driving time of any of the main centres of population. It's no good saying that with modern technology you can do just as good a job hundred miles away. Certainly, you can process the news – you can provide 'churnalism' – from anywhere in the globe, but you don't break stories; you don't provide original insights, because you only do that by building face-to-face contacts and see the whites of their eyes and by getting the feel of what's happening on the ground, ideally with people who have grown up in the area.
From April, BRMB the fourth licensed commercial radio station to go on air in this country, based in Birmingham, along with Beacon Radio, Mercia and Wyvern, are all to be replaced with a new brand: Free Radio. There will then be local output only at breakfast and drive-time. The stations have been owned for about the last 2 1/2 years by Orion Media, backed by an investment arm of the Lloyds TSB Bank, and Orion's Chief Executive Phil Riley, who began his career as a graduate trainee at BRMB about a third of a century ago. I've known him – not well – for a long time and I like and respect him. He has helped me with my academic research. I think he is a good man, who loves radio and I have no axe to grind against him, his company, or even any personal reasons to attack the previous owners of Beacon Radio, the GWR group, having never worked for them, or even applied for a job with any of their stations, or even had any close friends hired and fired by them. I do take great issue with what GWR did to British local commercial radio, but what follows is not motivated by any personal malice or score-settling, except to 'set the record straight'. OK, that's 'the legals' sorted!
However, I must point out my particular interest in the fate of the stations. I was living in the BRMB area when it opened up in 1974. I'd started on the 'city region's' hospital radio network – it then covered some 25 hospitals and was I think the second-biggest network in the country – some three months before. The hospital radio network actually co-presented with BRMB a Sunday morning programme of requests, and of course many of those working, like me, as volunteers at the station hoped to find employment at BRMB and other new stations. Furthermore, the presenters at BRMB were very kind in that they use to come along to my Saturday morning programme of reviews of new releases. What you have to bear in mind is I was only 16-18 years in this period and it was so good of them to do this, and of course in turn it made me feel that I was being taken seriously as a broadcaster, at a time when I had only just started shaving. Heady stuff! To understand how important it was, it would be a bit like a 17-year-old football fan having the top players in the local premiership round to play the kick-about at your local playing fields! I was the youngest at the station – nearly everybody else was in their 20s, 30s or even older - so it was a maturing process as well, especially given that they were from quite a wide range of backgrounds and occupations.
Joining Beacon at the age of 21 felt like I had been picked for the premiership team itself. At the age of 22 – a time when most of my graduates are just trying to get a bit of freelance work or any paid work at all - I was presenting hour-long news programmes and reporting on stories for the commercial radio news network. An extraordinary level of responsibility and exposure at such a young age and again, I was the youngest in the newsroom and I think on the station overall, apart from one of the technical operators. I've expounded my thoughts about Beacon before in my blogs and elsewhere and indeed I'm quoted in no less than a Ph.D. thesis, which compares the different histories of BRMB and Beacon – and very different stations, and very different histories they are to. It's quite funny reading someone else's dissection of places, times and events that you experienced first-hand that they didn't; rather like someone of my age writing about World War II being read by my mum's generation.
Book plug time! Just in case I lose any of you by the sixth paragraph, I'd better get in that a chapter in a new collection of papers, emanating from a New Zealand conference I attended last year, has just been published. My contribution is about the reaction of the establishment of commercial radio in Britain, and in particular how this was expressed through the national press, to the idea that there should be alternative stations to the BBC, funded by advertising.
The real history of Beacon is quite astonishing. As I mentioned in my blog post as an obituary to the original Managing Director, Jay Oliver, he wanted me to write this history, not least because he felt the early years had been rewritten by the successive managements. I was wary of doing this, bearing in mind the strict laws of defamation that apply in Britain are clearly had an axe to grind, even though I was sympathetic to his cause. Sadly of course it is now too late to do it, because both he and the original Programme Director are dead. But I'm determined that their story and those of the other pioneers UK commercial radio that extraordinary turbulent period of the mid-to-late '70s should be told, if only semi-fictionalised form.
Beacon was very much the rebel station of the original 19 Independent Local radio services, established between 1973-76. If BRMB were the sensible, responsible sixth formers - given a bit of licence to let their hair down occasionally, because you knew they'd get your daughter home safely and wouldn't throw up on the carpet - Beacon were the bad boys, who got up to no good, and as soon as your back was turned would be smoking Woodbines outside, stubbing out in your rosebushes. I think I knew at the time how lucky I was to be at the station in these early days and frankly, if you don't enjoy being part of a rebel army at the ages of 21 to 23, as I was at Beacon, then you don't deserve to have a youth. If you are young yourself in an industry that is itself very young, finding its feet and making up the rules, then you're very fortunate indeed. Plus, the staff, from the journalists, the 'jocks', to the engineers, to the sales exec's were brilliant. In some ways, it was the best of times.
I met one of my best-ever friends, who died over 10 years ago, under 50 years of age at the station. How good a friend? Well, I was abroad on holiday with the family when he died. Amazing to think now, when I wouldn't go down the road without my mobile phone, I hadn't taken my phone with me. And of course there was no Facebook or other social media. I wouldn't even think of trying to log onto email on holiday in those days. So, the first I knew of his death was when I returned and listened to a series of messages on the answerphone from his wife, starting at 4a.m. on the night he died. I am not even sure the body had been moved at that time. By the time I returned I'd missed everything, including the funeral (which was packed of course). Everybody loved him and although I might have led a bit of a sheltered life, I have never seen anyone else cause a cat-fight between two women in a pub!
When it came to sorting out his effects, his widow wanted me to have his most precious tapes, such as his interview with Paul McCartney. But going back to 1980, he left Beacon to have a job at one of the other stations now belonging to Orion: Mercia, the ILR station for Coventry and Warwickshire. On my days off from Beacon (generally Tuesdays and Wednesdays) I'd go to Coventry and, after a great lunch with him at an Indian restaurant, record character voices, sketches, ghost stories and stuff. A bit corny now. Maybe lame. But whatever; in its first audience survey, Mercia (now 'co-located' with BRMB in Birmingham) achieved a weekly reach that has never been surpassed by any local station in England. Later, when he was approached by Wyvern in Worcester and I was by then in Germany with BFBS, he wanted us to do a double-header breakfast show on the station: "Funky (his soubriquet for me at Beacon, which stuck), he said. "You could be the credible journo and I could be the whacky 'jock'. It would be brilliant!" But I was then just getting established with BFBS Germany and having too much of a good time and having too many opportunities to come back to the UK. So it never happened. Another 'what if?' that sometimes torments me in the early hours.
So I accept I can't be totally rational about Beacon or these other stations. My 'emotional investment' is too great. The memories too precious. But the way its history was trashed by the guy on breakfast at Beacon, on the station's 35th anniversary, was unforgivable to me. Why do that? Do Liverpool fans trash their team of '77 even though the management and players then are all gone? Because the players wore skimpy shorts, had big perms and 'taches? This sneering at the past is lamentable. It also involves dear friends who are no longer here, so accept I am emotional about it and am a cheerful BOF, out of target and out of area!
But one of the points of the early stations was that they did serve a very wide range of the population. Beacon certainly had a target demographic but the beauty of radio is that you should be, or can be, aiming right across the board, and the most successful stations do this. For example, when I was at Radio City Gold some 12 years later – an AM station aimed at 35 to 55-year-olds - my modest mid-morning offering (which, I can't resist boasting, quickly trebled the audience of the previous incumbent in one survey – so there!) included a significant number of 15 to 24-year-old C2DE males, who shouldn't have been listening to the station at all, as well as a significant number of older, especially female, listeners. So – young men and old women: very camp! I did have the majority of the audience in the right demographic, but the point is it spread right across the board. The station itself was so successful that we overtook the FM service in some of the day-parts, which was then virtually unheard of, and proved something of an embarrassment to the station.
We certainly did research, but on the AM station we also used our judgement, including that of the wonderful Angela Bond, who had been Kenny Everett's producer at Radio One back in the day. She has the best some of the best pairs of ears in the business, had been a DJ herself in Hong Kong and knew how to use the Selector software but also her instincts and her own sense of what sounds good on the radio. Once we had gone through all of that, I still checked every track of every day myself. Just as importantly, it included 'surprises – tracks you hardly ever heard on the radio, but sounded good. This is the trick of music-based radio: to keep it familiar and provide a generally upbeat aural blanket, but throw in something new/unexpected/surprising. And above all, perhaps, to give the presenters some leeway and some identity/credibility with the audience. But if you are a slave to the research you do none of this: you get rid of anything that 'doesn't test well', and what tests well is what the audience already knows and, even more dispiritingly doesn't necessarily like, but doesn't strongly object to. So you end up with a grey splodge: tedious, totally predictable and uninspiring – and fewer listeners.
Well, of course, critics to this approach will no doubt say I am talking through my backside; that the radio environment has changed beyond recognition since 'my day'. That would have some force if the various buy-outs and managements had made a success of the stations. But on the whole they haven't. Failure has been a great reward for many; bizarrely, enriching some of those who were the least successful and made the biggest mistakes, because their stations were bought out in better economic times.
Anyhow, fast forward to the more recent past: the decade leading up to the Orion Media buyout in 2009 was disastrous for one of those stations. According to Phil Riley, both in the excellent Radio Academy podcast with John Myers and in the stations' own special podcast about the name change – I have now carefully listened twice to both of them – BRMB had lost 75% of its audience in that decade. A truly astonishing figure. The others have done better – they've lost only about half their audience! (Curiously, the stations' podcast seems to have disappeared from the site in the last couple of days – I wonder why?).
It was a decade in which commercial radio was trying to come to terms with not only great increase competition in the sector but the rise and rise of the Internet, of multichannel television and various other forms of competition for their audiences' loyalty and affection. On top of all that of course has come the economic and banking catastrophe of 2007-8, continuing and quite possibly gathering apace with the potential collapse of the Eurozone to come, and resulting dip in advertising revenues, on top of the structural changes which have had such a calamitous consequence on stations' revenues. The almost universal response in the commercial radio sector has been consolidation, huge cutbacks in newsrooms and other expensive aspects of the stations' output, and an increasingly doomed attempt to 'super-serve' the audience which advertises generally crave above all else: young(ish) adults.
But even with all these additional and enticing attractions with current and potential listeners, radio audiences as a whole have not only been holding up, but expanding. It's just that most of that expansion has gone to the BBC networks. The Corporation's share of the total radio audience continued to grow, although in fairness did fall back slightly in the most recent figures.
The rationale for the change, explained clearly and openly by Phil Riley, is that the advertising agencies in London do not understand how a number of different stations, even when programmed with the same music and largely the same features, contests etc., such as still exist, can provide similar audiences, and that therefore the group is losing revenue to the well-defined semi-national brands of Heart and Capital. I can't quite understand how the agencies are so unintelligent us not to be able to grasp this, but there you are. It is a long time since I've been in commercial radio and I suppose I have to accept what Phil Riley says on this. But the killer argument is that to build the audiences they need strong marketing, and the only game in town for this is advertising on commercial television. As ITV advertising and its transmissions are organised still on a regional basis, that means that if you advertise one station you are paying for a region-wide audience, which can only have an impact on the segment of it who live in that station's broadcast area. So a huge amount of that very expensive advertising time is wasted. Therefore the way to go is to have just one brand and one advertising/marketing push to try and entice people to try the station. For this reason, none of the previous station names will do because they carry too much baggage and have changed their formats so many times over recent years (no doubt each of them inspired by very expensive research, convincing the revolving-door management teams that THIS was the way to go!) that the audience is confused about their 'offering'. Nothing less than a clean break will now do if they are to have a chance of surviving, goes the argument.
I cannot understand why they would want to compete with brands who are after the same audience and doing the same thing. And I can't help thinking if they can find hundreds of thousands of pounds on TV advertising, why don't they spend a fraction of that on doing some good, local programming? Local does not have to equate with boring and worthy. 'Local' is what most people are concerned with.
Changing the name and then doing a huge marketing push is the oldest game in town. Traditionally, the biggest advertisers, other than the government, have been Proctor and Gamble and Unilever, who each market a number of different soap powders which in fact vary only slightly from each other. The smaller the difference, the bigger advertising/marketing spend. So it is with commercial radio. If there are only tiny differences between your playlists and if you don't have a significant local presence, then you have to spend a lot of money trying to convince people they should listen to brand 'a' rather than brand 'b'. And the name and the music/format has of course all been well researched. Hmmm.
It's not only the programme content though that has been stripped of its localness and its value as a service: it's ADVERTISERS. Local commercial radio used to be a very cost-effective way of advertising for local businesses (who often want a broader target audience than 25-45 year olds) and I found it very satisfying when a client would show up, delighted at the positive impact his campaign had had on his turnover. I also used to enjoy voicing commercials – which had to be 're-voiced' by someone else if they were to appear in my programme, to maintain the hermetic seal between the advertising and programme content. It might surprise some to read that in fact I also think they should be MORE commercial. When I was at Red Rose Radio we did what I think was the first ever 'live read' commercial. It was for Co-Op Travel and we had special dispensation from the IBA to read a live script of their latest holiday bargains – faxed in that morning - between their jingles. A little audience of sales exec's and programme types gathered on the other side of the studio glass to watch this little moment of broadcasting history – would the ghost of Lord Reith strike us down! Well, no. But I hardly ever hear this happen now. Why? Don't they trust their presenters? Probably, as they don't seem to trust them even to read their 'positioning statements' between tracks, but compel them to play a pre-recorded voice. Bizarre. In fact, the presenters have so little to do they might as well not be there – which of course they often aren't, given the extent of voice-tracking, this robbing the station not only of the 'local' bit but the 'live' as well. When we visited Beacon Radio during the reunion weekend in 2003, there was one guy running two stations (the one for Wolverhampton/Black Country and the one that was supposed to be for Shropshire). He only seemed to talk once every 20 minutes on either station, then pressed a button which set off the next sequence. "A monkey could do this, couldn't it?" he said to us, half-embarrassed. The polite thing was to say nothing. The impolite, even harsh thing, to have said would be: "Probably a monkey would have more integrity." As it is, we have long music sequences, followed by seemingly endless commercial breaks, so long that not only have I tuned out by the end, but have almost lost the will to live. Yes, they have dispensed with 'clutter' but they have suffocated any life or spontaneity, pace or excitement out of the output. The Stepford Wives of broadcasting – giving you what it seems you want whenever you want it, which is good for a short time, but in the end becomes (literally, in their case) moribund and lifeless.
I have been part of big changes in commercial radio, e.g. at Metro Radio in NE England, where a big change in the output resulted in us being a rather poor second to the then market leader Radio 1, to – in a remarkably short time - a dog-fight which we sometimes won.
I am certainly not sniffy about appealing to a mass audience – quite the reverse. I want to be number one if at all possible and certainly number one on the station. Whether as Programme Controller and/or part of the on-air team, I was always very aware of my responsibility to the people who worked at the station and those who had invested their money. I knew that my performance would partly determine whether the sales exec's met their targets and commission at the end of the month, or whether indeed they had a job at all. Any commercial enterprise is not the place for self-indulgence. There is a bit of the huckster in me that relishes this imperative to appeal to the biggest audience. One of my great-grandparents ran a small end-of-the-pier type show. Being on local commercial radio feels a bit like that! They want more clowns? Give 'em clowns? They don't want clowns, but like comedians and crooners? In they come, and sorry old red-nose! We know that dinosaurs die out, we're in a completely different world, etc., etc. - all true. But look how Jim Moir did it on Radio 2 - moved the station on , changed it in quite significant ways, but held on to most of its former listeners and gained millions of new ones, mostly from commercial radio. It is amazing how commercial 'local' radio has virtually given up on 45 plus year olds. I'd love to know how much of the 75% loss of audience of BRMB in 10 years (astonishing figure!) was over 45. We're gone, of course, mainly to BBC networks, and it's going to be tough to win us back now. An astonishing and catastrophic misjudgement of historic proportion in media terms, IMHO. A third of the population is aged 45-75 and the highest income group is in the 45+ range.
Part of the appeal for music-led radio has gone, of course. Now, hardly anyone would go to radio to hear new music, because that is far more effectively and thoroughly delivered and personalised through iTunes, etc. If commercial radio relies on its music offering then it is dead. Long gone are the days when we were rationed – indeed starved – of music and the radio; where the charts, and the latest releases of the more esoteric ends of rock/pop music had real significance and excitement. Long gone are the times when a motorcyclist would arrive at the station with great fanfare with a white label copy of a newly-minted disc for you to slap onto the turntable, unheard, for the waiting millions (well, alright, tens of thousands!). Rudin 87.6 FM 'latest podcasts, greatest memories' and the Shuffle function on my iPod Touch, provides my personal 'better music mix' whenever and wherever I want it. So if commercial radio is to survive and prosper it has to be vital and relevant to people in other ways. The managements though seem content to throw away the one super advantage they have over Radio 2 (the market leader in most areas) or other national stations: their local presence. I won't say it is a tragedy because, to continue Phil Riley's point, no one died, but it is amazing how thoroughly and deliberately it has squandered the extraordinary loyalty it had with its audiences.
If radio becomes purely functional then it is dead. I will put up with tracks I don't like on Radio 2 or 6 Music because I like the vibe and attitude of the station, and because the presenters talk about something other than the bloody X Factor, and treats listeners with respect. But because most commercial radio has no loyalty or relationship with its listeners beyond an instant gratification and is only interested in me if I fit a particular demo', then if something comes along I don't like I say 'f**k that' and switch over. Commercial radio is in a different game of course from the BBC in terms of extracting revenue but it is NOT in a different game in terms of its relationship with listeners. Or at least it wasn't. You see, I am a great believer in the value of research in telling you what people are doing NOW! I quote research extensively in my book about broadcasting today. The exit polls at the last general election – correct to a percentage point, even though the sample was small – proves that if you do it right you have a very accurate picture of what people are up to. But in my view, research is MUCH less good at predicting what people MIGHT like. And I've done it all – Auditorium Testing, focus groups, call-outs, etc. People will tell you what they think they ought to tell you, and they can't know whether they like it until you do it. So once you let marketing people dictate the programming on the basis of research you are doomed.
I also have a particular issue with the name Free Radio, because that was the banner that was used by campaigners who took to the streets and defied the law, to prise radio from a monopoly or duopoly and to indeed free it from restrictions in speech, ownership, control, etc. For it to be used in this way is positively Orwellian; for what we have with the semi- closure of local stations and even tighter control over the market by one company, is precisely the opposite of 'free'.
Radio needs creativity, imagination, and a bit of risk-taking. It needs to gain the respect of the listeners. And finally(!) there needs to be a change of regulation. At the moment, all broadcast stations have to observe 'due impartiality' in the coverage of news and 'controversial issues'. I would keep that requirement of news – islands of fair, balanced, straight reporting – but I would allow stations to be partisan on issues. For example, stations in Buckinghamshire should be free – outside formal news coverage – to oppose the proposed HR2 fast train development. They could be a conduit for the protests. Similarly, a proposed hospital closure, say, or the change of a school in the Academy status. Even those who disagreed with their stance would be compelled to listen and react to it. And if/when the campaign was won, the station could justly boast 'WE did it, together!" People don't forget that sort of thing. There would still be requirements through the law of the land about stirring up racial hatred, etc., so a right-wing populist agenda which attacked minorities would still be illegal, but stations would be free to be subversive, anti-establishment, cheeky. Above all, indispensable. Independent stations are not weighed down by the institutional baggage, compliance and public service demands of the BBC, yet they usually seem more timid than those working for the Corporation. (I absolve the current LBC from these criticisms).
They do need credible news teams. Phil Riley argues that the coverage of the summer riots did not do the stations any good, because you can't 'monetise' it; there's no extra revenue. In contrast, he said, to Sky News. But this is wrong! Perhaps Phil hasn't noticed, but when there really is a big, breaking news story, Sky drop all their commercials! This is so viewers don't tune over to the rival BBC News Channel when the ad's come on (which can also seem very distasteful when covering wars, shoot-outs and other tragedies) but stick with Sky, not just then (and this is the point!) but other times too. Because Sky has won them over as a credible news service. So I expect those commercial stations that did cover the riots well (often at great risk to their staff) did have a 'pay off' in the summer figures. But you must then get out and about – the technology makes this ridiculously cheap these days – and get stuck in to other issues. My first manager in BBC local radio had the same view over bad weather: "Every snow flake is a like a new listener dropping into our lap", Richard". Because he knew that those who didn't normally listen to the station might well do so on those days. And if they liked what they heard, which might be very different from what they expected, or from when they last listened, they might be hooked on the station, or at least add it to their listening repertoire. But you do need the human resources – not just journalists and presenters, but technical operators and engineers (a dying breed in commercial radio) to do it.
The most dispiriting conversation I ever had about commercial radio was with a sales executive. I argued that, to keep the high level of audience we then had, required us to keep the relatively well-staffed newsroom and other resources. But she gently explained the realities: if they cut the budget by, say, £250,000, they might lose x thousands of listeners. But those listeners might have brought in only £200,000 of 'extra' revenue. So, although they would lose huge chunks of the audience, the company would be better off by £50,000. Simples! This, in fact, is in broad terms what they did on this station. Within a couple of years they had one third of the audience they had when I was Programme Controller and morning presenter, establishing in that slot a new peak audience which many stations today would be happy to have over the entire week. (Sorry about the boasting again but there have been attempts to re-write history about that as well, the figures are all in the public domain and I have the RAJARs to prove this!).
Of course, to prove that my ideas would work you do need financial backing as well as a licence to try this. And I don't have either. So, fine: 'dream on Rudin and w**k off to your tapes of Beacon, circa '76-'79 if it makes you happy', as I am sure some of my critics will be thinking – and by the way, despite the above boasting, I don't delude myself that my views are of the utmost insignificance to Orion, the late and unlamented GWR, and all the rest.
Any such station as I could imagine would have to be some sort of mutual/social enterprise/partnership. Something between the John Lewis Partnership and a co-operative. Not a public company or private equity business, which demands short-term returns above all else. It would need investors who would be happy to have a small stake in the business and accept small returns, especially in the early years, when most of the 'profits' would be re-invested in programming. Something in fact like the early days of ILR.
But to misquote yer man Lennon: You may say I am dreamer, but I am not the only one. Maybe some day you'll join me and we can challenge Radio 1 (and 2!).
One thing is for sure: Phil Riley and co probably can't lose. If this move proves to be a success, they can legitimately say to Ofcom and other doubters: "You see! People didn't notice! All they want is a brand! All that 'live and local' stuff is SOOO 20th century!" And if it doesn't work – if, as with most local newspapers, consolidation, cutting staff and reducing local content results in spiral of audience decline and revenue - he can say: "Well, the only way we can stay in business is to abandon local programming altogether and become one regional station!" Anyone want take a bet that, by the second anniversary of this 'merger', that is exactly what will happen?
Stay tuned. Or probably not.
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