There’s little doubt that British radio is thriving. Radio attracts 51m listeners every week across the U.K., which is 88% of the adult population, according to stats from research body RAJAR.
A recent report from communication services regulator Ofcom says that despite strong competition from streaming services, live radio continues to be the most popular form of audio across the country for those aged 15+. Commercial radio leads the market, thanks to strong brands like Global and Bauer, with a listening share of 53.3%. The BBC, a public-service broadcaster, takes second place with a 44.5% share.
Radio remains a key promo avenue for labels and artists, as you’ll hear across the rest of these pages. It looks set to become even more important in the future as stations commit to supporting artists in an increasing variety of ways, notably investing in content and technology.
As BBC Radio 1 Head Aled Jones tells us, “We see ourselves as content creators with a range of platforms to broadcast on.” These platforms include the traditional airwaves, alongside social channels, festivals, events and streaming sites.
The next six years of evolution at Bauer Media Audio is about “investment in content and working with record labels to do 360 campaigns around artists,” says the division’s head of Audio, Gary Stein.
Radio isn’t just “keeping up” with advances in technology, according to James Rea, Chief Broadcasting and Content Officer at Global. “It’s leading the way with advanced technology that makes it more accessible and engaging,” he says, while pointing to the company’s app, Global Player.
Rebecca Allen, President of UMG U.K.’s Audience and Media division, says radio’s role in 2024 is “largely driven by curation and context. It has always dared to put the unfamiliar next to the familiar. And, whether on the airwaves or elsewhere, people we know are those we trust most to make a new-music recommendation.”
She continues: “Radio exposes listeners to tracks, artists and genres they may otherwise never have fallen upon.” Beyond traditional radio, Allen also points to online platforms like London-based global online network NTS, “which is driven by huge, global communities of passionate music curators.”
There’s no doubt, she adds, that a bespoke radio moment done right can lift an artist. This can be seen in Capitol U.K. artist Olivia Dean’s Live Lounge performance for BBC Radio 1 last October, which Allen calls “a catalyst for lots of global discovery.”
In addition, she says the BBC’s support for Island U.K. breakthrough act The Last Dinner Party, from early playlisting to their winning the BBC’s Sound Of 2024 poll, has played a key role in their success. You’ll hear more about both of those acts in this issue.
Sony Music U.K. Chairman and CEO Jason Iley echoes Allen’s remarks about radio remaining a champion for human curation. “While the medium of consumption has evolved, radio can still open doors and provide opportunities for emerging artists,” he asserts. “DJs who are passionate about music and are willing to take risks and back an artist early are vital to the music ecosystem.
“That first play can move the dial for an artist, and one thing that isn’t likely to change is the joy and excitement an artist feels when hearing their track played on the radio for the first time.”
As Iley points out, the diversity of British radio, which ranges from BBC flagship channels Radio 1 and Radio 2 to a wealth of specialist and local stations and offerings that focus on today’s hits, catalog music and much more, is a key factor in its strength. He says: “The BBC have always played a crucial role in shaping the landscape of broadcasting in the U.K. and have provided vast and varied music for many years. The melting pot of genres and artists they support is unique and not replicated in other markets around the world.
“We have huge commercial networks around the country, including Global, who organize successful events annually, and Bauer, who continually help increase audience reach nationally.”
Warner Music U.K. CEO Tony Harlow urges the music industry and broadcasters to continue to support the variety mentioned by Iley. “I’d ask that everyone values all these openings and they aren’t the victims of funding cuts and increasingly tough advertising markets, and we can continue to be spoiled for choice.”
When asked about the role of radio in 2024, Harlow says that while “it’s always great to see a song gain traction on streaming platforms, we start to get really excited that we have a big crossover hit when we see it climb the airplay charts.”
He explains: “Radio is a great indicator of how well the track is connecting with a wider audience and how established an artist is in the mainstream. After a few radio hits you really start to see an artist become a staple in the public consciousness. Streaming can break a song, but radio helps break an artist.”
The format is also essential, Harlow adds, for cutting through the amount of choice that music fans are faced with. “In the U.K. there’s so much music out there—radio helps people who are overwhelmed by that to find a way through it, and focus on finding songs they love. It also continues to ‘event-ize’ and localize our hits, with content that helps bring artists to life through interviews, live lounges, major outdoor events and so on.”
Discussing the relationship between streaming and radio, Harlow says the latter adds fuel to a burgeoning fire. “When we see a song start to stream, that’s when we push hard to get it up the radio playlists. We can add impetus to a track that’s doing well on streaming platforms and turn it into a proper hit, and give it longer life, through radio play.”
