Irreconcilable Differences

For many years, radio has been a best friend to artists. New releases and concert tour dates were heard first on radio stations across the country who teased their listeners promising a “big announcement.” There were times when radio stations were given exclusivity to be the first to air a new song or to announce concert tour on-sale dates. Labels, management and promoters agreed to offer pre-sale opportunities in some markets where super-fans could purchase tickets before the general public, using their favorite radio station’s website. It was a marriage unscathed by any technological advances in the business. That’s changed.

How fans consume music from their favorite artist has moved drastically to a different strategy where artists use radio as a marketing and promotion tool, but it’s not on the top of their priority list like it used to be. While studies say over 90% of music is heard for the first time on radio, it may be less true these days. Listeners and artists have been caught cheating on radio.

Spotify, Apple Music, YouTube and other streaming and social media platforms have become their new bestie. Granted, radio stations still attract huge audiences, but how listeners use radio has changed. The new generation of 18-34 adults are not loyal to radio like they used to be. Pop radio relies on 18-34’s in hopes of growing them into 25-54 adult fans, the most appealing demographic to advertisers. Overall cume, (the number of different persons who listen to a radio station for at least five minutes during any time period) has dropped significantly, but is on the rise again.

Radio is still the number one place to break new artists and grow fan bases resulting in huge “record” sales, concert ticket sales and merchandise sales.

It’s time for artists to see a marriage counselor. It’s time for artists to love, embrace and promote radio as a necessary, viable platform again. Artists, record labels and management need to give intensive care to radio stations and try to fix their relationship. It’s that important.

Here are some things I feel could be done to help this cause.

• Give radio companies exclusivity on new releases again. Make radio the center of attention again along with other worthwhile platforms.


• Rotate the new releases with companies using a lottery based system so smaller stations don’t feel slighted.


• This could be live-streamed for transparency. iHeart, Cumulus, Townsquare, Entercom, Saga, Salem, Forever, Midwest, and Beasley are placed in a lottery. Smaller companies are distributed among them based on market size. Every station is on a level playing field. Nobody feels less important.


• Offer radio stations more unique listener experiences through promotions and marketing.

There will be exceptions. There will be heated discussions. There will be issues but any good relationship always needs work. It’s time artists, management and labels work together to repair the most successful, long-standing relationship they’ve always had with radio instead of turning their backs and filing for divorce so easily.