Radio 1 - Q (Assisted)
Explain how popular music radio programmes target, reach and maintain a variety of audiences. Refer to The BBC Radio One Breakfast Show to support your answer [15 Marks]
- Macro
- Answer Q - who are the audience? how are they attracted?
- How is it maintained?
- Economic & cultural contexts - how it differs
- Conclude
Popular radio programmes target, reach and maintain their audiences based on their ownership type. The public sector must satisfy those who pay the license fee as it is solely funded by that. The BBC's 11 stations are part of this sector, meaning they must use contrasting methods to the private sector stations like Capital FM, on the basis of them not featuring outside advertisement. They do this by abiding by the Reithian values of: inform, educate and entertain. This covers the meeting of OFCOM's regulations.
Due to on demand music apps like Apple Music and Spotify, the target audience of 15-29 year old's is challenging to attract. The apps offer a bespoke method of listening that the radio can't offer in the same way. This is why Greg James dedicates his shows to audience interaction shown by his new slogan of 'Breakfast with Greg James and You!'. Another way of satisfying the need for personalised playlists is by releasing the BBC Sounds app. The availability of past broadcasts, best bits etc allows the gen z audience to have that 'on demand' feel.
When listening, the audience must stay. Greg James is proven to be successful in doing so as when he joined following Nick Grimshaw, the listening stats increased by 0.5 million. Furthermore, in the first quarter of 2020, listenership increased by 1.3% (the only leading station that increased). James continues the interaction with the audiences by having '10 minute take overs' where the audience sends songs they want, again trying to provide that 'on demand' style. Additionally, huge names in music are featured, tailored to the pop style. For example, Lizzo was interviewed. This maintains the audiences as a form of celebrity endorsement.
As Radio 1 does not rely on advertising to fund it, it can use those slots for BBC cross promotion over all platforms showing the vertical integration it holds. As digital audiences are increasingly moving onto online, user generated platforms, the radio as an industry are having to make up for the audiences lack of control. Made even harder to provide by the fact pop music and youth culture is having increasingly lower status than other content. Radio 1 have made up for this with the use of The Live Lounge.
To conclude, Radio 1 have successfully targeted, reached and maintained their audience with the use of interactions with the audience, demand-like sites (BBC Sounds), and additional content like artist interviews. It offers more than tailored playlists like Spotify, it has adapted and overcome the issue of bespoke listening. Greg James has shown to be huge influence on the success due to the increase in audience since Grimshaw's leave.
- Macro
- Answer Q - who are the audience? how are they attracted?
- How is it maintained?
- Economic & cultural contexts - how it differs
- Conclude
Popular radio programmes target, reach and maintain their audiences based on their ownership type. The public sector must satisfy those who pay the license fee as it is solely funded by that. The BBC's 11 stations are part of this sector, meaning they must use contrasting methods to the private sector stations like Capital FM, on the basis of them not featuring outside advertisement. They do this by abiding by the Reithian values of: inform, educate and entertain. This covers the meeting of OFCOM's regulations.
Due to on demand music apps like Apple Music and Spotify, the target audience of 15-29 year old's is challenging to attract. The apps offer a bespoke method of listening that the radio can't offer in the same way. This is why Greg James dedicates his shows to audience interaction shown by his new slogan of 'Breakfast with Greg James and You!'. Another way of satisfying the need for personalised playlists is by releasing the BBC Sounds app. The availability of past broadcasts, best bits etc allows the gen z audience to have that 'on demand' feel.
When listening, the audience must stay. Greg James is proven to be successful in doing so as when he joined following Nick Grimshaw, the listening stats increased by 0.5 million. Furthermore, in the first quarter of 2020, listenership increased by 1.3% (the only leading station that increased). James continues the interaction with the audiences by having '10 minute take overs' where the audience sends songs they want, again trying to provide that 'on demand' style. Additionally, huge names in music are featured, tailored to the pop style. For example, Lizzo was interviewed. This maintains the audiences as a form of celebrity endorsement.
As Radio 1 does not rely on advertising to fund it, it can use those slots for BBC cross promotion over all platforms showing the vertical integration it holds. As digital audiences are increasingly moving onto online, user generated platforms, the radio as an industry are having to make up for the audiences lack of control. Made even harder to provide by the fact pop music and youth culture is having increasingly lower status than other content. Radio 1 have made up for this with the use of The Live Lounge.
To conclude, Radio 1 have successfully targeted, reached and maintained their audience with the use of interactions with the audience, demand-like sites (BBC Sounds), and additional content like artist interviews. It offers more than tailored playlists like Spotify, it has adapted and overcome the issue of bespoke listening. Greg James has shown to be huge influence on the success due to the increase in audience since Grimshaw's leave.
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