IBC2026: WorldDAB and BNE urge broadcast radio in all new vehicles
MADRID — One might assume that broadcasting and streaming are the only channels of music radio. Nevertheless, public service music radio exists beyond the airwaves and the internet.
Traditionally, music stations have been a spearhead of public service media. According to the European Broadcasting Union, the main reason audiences turned to public service radio in 2024 was music, which accounted for 51% of the total broadcast schedule. Indeed, music radio is an exceptional way to disseminate public service content in a friendly, emotional tone across a wide range of music genres, including classical, contemporary, traditional, folk and popular music, whether mainstream or indie. However, since 2019, daily radio listening among young Europeans, aged 15–24, has declined by 17 minutes, settling at 1 hour and 13 minutes.
Even with increasing private competition, public service media remains a cornerstone for 43% of the population. Music remains the primary engagement driver. By leveraging genres ranging from classical to indie, music radio delivers public service missions through an accessible, emotional lens. In this evolving market, the strategic focus is simple: Meeting audiences on their terms and platforms.
The European live music sector is currently a study in contrasts. While the market is projected to reach €38 billion by 2030, aggressive corporate operations cast a shadow over this growth. Data from Live DMA, a European network of national live music associations, highlights a growing divide. A handful of giants, including Live Nation, AEG, CTS Eventim, and Superstruct, now control over 150 of Europe’s premier festivals. While Live Nation reported US$7.0 billion in Q2 2025 revenue, independent venues face skyrocketing costs and market barriers. In a 2025 report, Live DMA explores how to keep European music venues thriving. European live music venues and clubs deal with gentrification, inflation, a lack of political vision and support and, from the audience’s perspective, shifts in audience behavior and how to hire and retain staff.
To protect cultural diversity, European Union initiatives like Music Moves Europe, especially the MME Awards for emerging European artists, and networks like Liveurope are aimed at European music diffusion, with participation of PSM such as RTVE in Spain and ESNS (Eurosonic Noorderslag), an independent platform for European music talent with participation of the EBU.
In this commodified world, PSM acts as a crucial counterbalance. The EBU’s Music Exchange stands as the world’s largest live music provider, distributing 2,700 concerts annually. As stated in the first part of this article, on festivals and concerts, in RedTech Magazine March/April 2026, a prime example of this synergy is the Eurosonic Festival, which aims to discover and showcase exciting new up-and-coming acts. As for venues, concert halls and music talent competitions, we find the EBU Media Orchestra Group for members or Eurovision Young Musicians for Europe’s rising classical stars.
A place for everyone
Music events serve as a critical tool for expanding the reach of public service radio. By integrating live experiences with multiplatform content, stations can achieve three primary objectives:
- Building participatory communities. Public service media can shift from mere broadcasting to active community cultivation. Events foster culture, bridging the gap between passive listeners and active participants, and are particularly effective at engaging younger demographics who mostly do not consume traditional radio.
- Strengthening the music ecosystem. Unlike commercial competitors, public service radio can afford to take curatorial risks. These events serve as essential platforms for emerging talent and under-the-radar music genres and styles, while offering established artists a secure environment for noncommercial artistic experimentation.
- Providing trusted curation. In an era of algorithmic fatigue, public service media offers a human filter. By providing context and narrative, radio acts as a cultural prescriber, with curated recommendations beyond the public remit.
The following examples represent seven notable venues, concert halls and music talent competitions organized by public music radio.
- Maison de la Radio et de la Musique (Radio France, France). The Maison de la Radio et de la Musique, affectionately known as “La Maison Ronde,” houses the Orchestre National de France and the Orchestre Philharmonique de Radio France, and, since 1975, has been Radio France’s headquarters. It is considered the architectural and cultural heart of French public broadcasting. The building underwent a massive renovation completed in 2014 to modernize its studios and performance spaces. The venues, with popular prices for under 30-year olds, are located in two spaces: The Auditorium, in the old studios 102 and 103, and “le Studio 104,” the place for historical events at Radio France. The list of events is broad, including “classique & mix” (a combination of pop and classical musicians), resident artists, pop music stations, online venues, and even organ concerts. Plus, there are side activities such as radio and music workshops.
- Sala Radio (SRR, Romania). A concert hall built in the center of Bucharest in 1959 houses Radio România and the country’s largest symphonic concert, the National Orchestra and Choir, the Radio Camera Orchestra and Choir, and Whichpopular music and big band ensembles. In 2018, the building hosted RadiRo, an international festival dedicated to radio symphony orchestras.
- Agnieszka Osiecka Music Studio (PR, Poland). Designed in the late 19th century, it is Warsaw’s oldest radio building. The building has an interesting history: It originally served as a riding arena for cavalry units, was destroyed during WWII, and was later rebuilt and converted into a radio station in the 1950s, becoming the home of the Polish Radio Symphony Orchestra. In good weather, guests can enjoy the gardens around the building. Polskie Radio also has the Witold Lutosławski Studio, dedicated to contemporary music; Studio S2, for recordings of classical music and film soundtracks; Studio S3, for the Dance Orchestra of Polish Radio; and Studio S4/6, which specializes in recording light music.
- SRF3 Best Talent (SRF, Switzerland). Considered the premier launchpad for emerging musicians in Switzerland, SRF 3 Best Talent is a comprehensive promotion initiative by the Swiss German public broadcaster aimed at audiences interested in the sounds of tomorrow, from pop to urban music. Unlike standard radio rotations, this program selects a featured artist each month, providing them with massive on-air and online exposure, culminating in a prestigious annual award. The program originated as a strategy to bridge the gap between local acts and international charts, ensuring Swiss talent receives prime time visibility.
- Label Suisse (RTS and City of Lausanne, Switzerland). Label Suisse was launched in 2004 and focuses on showcasing the country’s linguistic and musical diversity through a free biennial festival in Lausanne. It combines large-scale live events in urban spaces with venues, while maintaining a nonticketed model to ensure cultural accessibility for the entire population. Similarly, the Radio Television Suisse stages within the festival function as a hub for live recordings and interviews, offering free access to the public. The professional forums held during the weekend provide a meeting ground for the music industry, ensuring that Swiss creativity remains at the center of the European cultural map.
- RTÉ Choice Music Prize (RTÉ, Ireland). This annual prize was created to encourage, showcase, and promote excellence in Irish music. Established in 2005, the project serves a dual purpose: To bring deserved recognition to standout albums that deserve some extra time in the spotlight, and to identify the record that best captures the essence of the year in Irish music. There are five categories: Irish Album of the Year, Irish Song of the Year, Irish Artist of the Year, Irish Breakthrough Artist of the Year, and Irish Classic Album of the Year, with judges from different broadcasters, including the BBC.
- Concertino Praga (Český Rozhlas, Czech Republic). The Antonín Dvořák International Radio Competition for Young Musicians, known as Concertino Praga, celebrates its 60th anniversary in 2026. It is an institution for young classical music players, aged 16 to 18.
Which of these would you choose to attend?
The author is a lecturer and researcher in Communication Studies at the Open University of Catalonia (UOC).
This story originally appeared in the July/August 2026 edition of RedTech Magazine. You can read or download that edition for free here.
You can access all past RedTech publications, also for free, here.
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