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LONDON — While in Munich for RadioDays I had the pleasure of meeting Emily Copeland, an Australian youth media and entertainment specialist. I don’t know much about youth radio due to a lack of personal experience, but talking with Copeland allowed me to address this, and it provided interesting and unexpected insights. I’ve always known that Australia has a vital youth radio scene, so it’s good to hear from them and see what lessons to learn.
We sometimes think about future audiences, but we need to talk about those in the present. For commercial radio organizations, the 25–54 age group is significant—that’s where most media investment is targeted. However, Copeland would argue that media bosses are in danger of neglecting the 20-year-olds. Without them, the current target audience will not be replaced, and channels will face an aging demographic in the future.
Copeland has a great deal of experience with some of Australia’s leading radio and TV brands, and with CADA, a national media platform and radio station for young audiences that promotes hip hop culture. Her expertise lies in growing communities and establishing commercial partnerships. Copeland’s involvement with youth media goes a long way back to her university days when she was enthralled by the energy and pace of the sector. Speaking with her, you realize she still maintains that excitement.
Recent research found that 82% of 16–24-year-olds engaged with music through short-form video platforms such as TikTok, while only 48% did so through radio
Creating brands
Copeland notes that patterns of music discovery are changing. Recent research by the International Federation of the Phonographic Industry found that 82% of 16–24-year-olds engaged with music through short-form video platforms such as TikTok, while only 48% did so through radio. That might disturb those in radio but, for Copeland, it demonstrates the necessity for radio providers to consider crossplatform content distribution.
While radio still has an important role in connection, curated music discovery and community, it is important to be aware of the changing context. Young audiences identify media with entertainment and consume it over a wide range of platforms. Broadcasters need to know where they are and what platforms might be emerging.
From what Copeland says about crossplatform distribution, she clearly thinks in terms of creating brands. A strong brand identity can make young people feel part of a community of interest rather than being “just” listeners. Emphasizing the community aspect can give broadcasters a real edge in comparison with algorithm-controlled streaming services. Yet young Australians feel overlooked by the current mainstream media offering and talk of the lack of platforms giving them the content they want presented by faces and voices they relate to. That’s a challenge and an opportunity!
A sense of belonging
For young Australians, music is an essential part of audio listening — it’s the core proposition. That said, it is also apparent that they want to participate and meet talent via audio listening. It’s interesting that both these priorities have to do with developing a sense of belonging and feeling part of a community — features out of reach for centralized tech giants.
How can all of this be achieved? Well, Copeland is clear on this question: Hire young people! And don’t marginalize them. It is vital that they have a seat at the table for strategy discussions and decisions around content. As Copeland says, “No one better understands what 18- to 24-year-olds want from content than a room full of 18- to 24-year-olds.” It’s difficult to argue with that, yet it’s rarely seen in broadcast boardrooms.
Copeland and I spoke about music and entertainment and then turned to news and information. It’s clear that globally, radio has a trusted role in the world of information. In many parts of Australia, radio is the go-to destination for up-to-date information when there is an emergency or a crisis. Young people look to social media for news. However, with all the talk of fake news and the need for accuracy, there is the recognition that social media may not be the best place to turn to.
A strong brand identity can make young people feel part of a community of interest rather than being “just” listeners
The magic formula
Friends in broadcasting in the United States talk of the difficulty of creating youth radio stations, saying the young are not so attractive to advertisers. I wondered if this was the same in Australia. Copeland is clear that no new or rebranded youth radio station will be commercially successful overnight. It must establish itself as a brand, grow an audience and develop commercial brand interest. The challenge is that the youth don’t like ads — they prefer commercial messaging integrated with the content, rather than interrupting it. This can be advantageous if commercial partners help fund the entertainment. Of course, the cost of sale is higher.
In conclusion, I asked Copeland for the magic formula for youth radio. Unsurprisingly, she didn’t propose any magic, just clear guidelines: Be authentic, be relevant, be open to collaboration and consider how commercial partnerships can integrate with your content, rather than interrupt it.
The author was head of Radio at the EBU until 2020, and before that managing editor of one of the BBC’s national stations. He currently advises media organizations.
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