The news this morning is that Google is launching a music streaming subscription service called Google Play Music All Access to compete with the likes of Spotify and Microsoft’s Xbox Music. Initially to launch in the US, the Android based service will soon be rolled out in the UK and other countries.

It has been reported that Google have described All Access as “Radio without rules”.

Being an inquisitive sort, I visited the Google Official Blog to try to find out why they felt able to make this claim. The only reference to radio I found was within a description of the service: “You can create a radio station from any song or artist you love…” – which suggests that listening to radio is the equivalent of listening to a playlist on iTunes or, in old money, sticking an album on the turntable.

Given that I work in radio and I’m proud of its uniqueness, I feel I have a right to be defensive when other media infer that they possess the same qualities purely because their offering is based around audio. This sort of lazy thinking – particularly common in the tech world – demonstrates a lack of understanding about what radio is and how it works for listeners.

So please allow me to clarify: Google’s All Access – like Pandora, Spotify, or any other streamed music service – is NOT radio, and it never will be.

Now I’m sure this is all just a simple misunderstanding, so to help tech companies developing similar services in the future, here’s my simple five point checklist to see if you qualify to use the term ‘radio’:

1. Is your service a real-time linear stream of content edited by professionals?
2. Do you serve content other than just music (e.g. travel, traffic, weather)?
3. Are the different content elements linked by a human presenter?
4. Do your listeners ever get to hear from other listeners within the content stream?
5. Can the listener access all of this content with a single flick of a switch?

If you answered yes to the majority of these – well, congratulations on being a radio content provider. From a commercial perspective, you also have the added advantage over streamed music services that your audience is more receptive to commercial messages as a natural component of the real-time linear flow.

If you answered ‘no’ to three or more of these, then I’m afraid you’re just a plain old streamed music service – so please don’t pretend to be anything else!

Disclaimer: this check list is based purely on my personal experience and doesn’t pretend to be comprehensive – if there are any other points you’d like to add I’d love to hear them. Similarly, if you think I’m being unfair on streamed services, please let me know why.

Last week PRS for Music revealed that songwriters received royalties of nearly £2m from their tracks being used in radio advertising. However, using a piece of music (‘sync’) in adverts doesn’t just have a positive impact on the songwriters’ bank balances, it can also reap dividends for the advertisers themselves.

In our latest piece of research, Turning Art Into Science we found that music featured in radio ads when linked with TV is the second most effective creative feature for successful radio campaigns. Therefore it’s no surprise that 14 of the 20 top ‘sync’ advertisers have used radio integrating music with their TV advertising. By establishing strong associations between a particular piece of music and a brand – hands up anybody else who refers to “Eliza’s Aria” as the “Lloyds music” – radio can be an effective complement to a television campaign and cost-efficiently extend brand presence.

Why is music such a powerful tool for advertisers to harness?

It’s one effective way to entice listeners in and engage with the story or information in your ad. Let’s be honest most of us aren’t necessarily interested in hearing about parcel couriers, insurance or boilers but by using music such as ‘Ain’t No Mountain High Enough, ‘YMCA’ and ‘Rescue Me’ it helps advertisers such as DHL, Confused and British Gas stand out on air rather than getting lost in the shuffle.

Radio should be a key element for all of these advertisers on the list and we have to tip our collective hat to Thinkbox for revealing why. In their Payback 3 study published in 2011, radio is demonstrated to deliver the second highest ROI (behind television) at £1.48.More importantly the study also reveals that when radio campaigns are creatively linked with TV activity the ROI from radio can be significantly boosted – in some cases increasing by over 100%.

And therein lies an opportunity for those advertisers on the list – LV Insurance, Nikon, DHL and Garnier – who didn’t invest in radio advertising last year. Having already established one of the most important creative features for effective radio advertising through the use of music in their TV commercials, there’s a high chance that adding radio to the media mix will extend brand presence and boost ROI from marketing budgets.

Source: PRS For Music, via The Guardian

This week we are delighted to feature Tracy Roberts, Business Director for Radio at Mindshare as our guest blogger, giving her thoughts on our Sound of Spring event last week…

It’s the 24^th April and we’re overlooking London from the 32^nd floor of Paramount, a very nice way to start the day! As lovely as this was, we weren’t just there for a good catch up with our fellow colleagues in the industry, but to hear about the latest research and announcements from the RAB, named “Sound of Spring”.

There are many meetings you can go to where you often hear that there isn’t radio creative or people are unsure how the client’s message can be communicated through radio; so it was good to go to a session dedicated to discussing what radio means to creative agencies and also to hear a few tips and pointers that can be added into a radio ad to make it even more effective!

After we’d gone on a very entertaining journey down memory lane with Simon Redican and a great intro from Clare and Tim, it was good to hear the Aerial Awards are making a return. It’s a positive thing to recognise good creative and also hopefully it will stimulate some excitement into creating good radio copy, after all who doesn’t like winning awards for good work!? Add on-top of that your chance to win a yellow pencil and surely you’re onto a winner!

Following on from the announcement, we got a taste of what some creative’s really thought of radio. Listening to Emer and Ben’s take on radio creative was enlightening and I think we all understood their point with their one slide. Let’s not forget, radio has some key attributes that are as true today as they always have been.

Finishing the session with some science is always a good way to round up, I know we all like some insights to share internally to add radio to the schedule. There’s a lot of truism on the more campaigns are joined up, the more impact they have. Sometimes it’s good to share some of the obvious points that maybe we sometimes forget. As campaigns are now more integrated and run across multi-media, running integrated creative is becoming even more important.

The event was a chance for everyone across the board to get together; creative agencies, media agencies and clients alike, and have some time to really think about radio copy. There are some great partnerships out there that are fantastically creative, maybe now it’s a time to start showcasing some great spot activity again and have a new ad to start showcasing rather than Hamlet. The challenge’s been set. . . .

I couldn’t agree more with Andy Nairn’s Campaign blog ‘Watch your Tone’ this week.

http://campaignblog.campaignlive.co.uk/2013/04/25/watch-your-tone/

Much about a briefing document is not especially inspiring. Phrases like ‘single-minded proposition’ and ‘measures of success’ are hardly the stuff of which Shakespeare is made, but the paragraph dedicated to brand tone of voice has a special awkwardness all of its own.

You know on dating sites when, (I’m told), you are asked to describe yourself in an enticing yet self-deprecating selection of non-controversial adjectives? Well, there is a section on a brief in which the planner tries to descipher client Newspeak for how they perceive themselves on their brand pyramid/ tree/ onion/ octopus/ [insert random metaphor here]. As Andy points out, the client brief equivalents of GSOH are words like ‘empowering’, ‘optimistic’, ‘real’. And if it says ‘irreverant’ you are in trouble: it’s the most studious synonym for ‘fun’ going and you already know that this brief is going to be anything but.

Andy cites the delicious juxtaposition of the descriptors used on the old Hovis briefs: ‘grit and goosebumps’. Distinctive, different and directional – sparking more subtle imagiantive thinking. As a brief is supposed to do.

With radio advertising, I have a particular loathing for what I call ‘Shouty Radio Voice’. You know it. The one where people stop sounding like people and start sounding like bad radio advertising because they think that’s how radio advertising is meant to sound. At RAB we talk a lot about consistency of tone of voice and if you read our Turning Art into Science paper http://rab.co.uk/turning-art-into-science you’ll find evidence as to why sonic consistency works in voice over, music, sonic sign off etc. For me however, the first step is to get that tone of voice 100% right in the first place before you even think of consistency. It informs upon everything: from the vocabulary of the script through to the pacing of it through to the performance. If you write your tone of voice to an indistinct vocabulary, you are likely to see similarly pappy words in your radio script that won’t give the message the punch it needs to cut through. And if you direct your talent in studio with bland words like ‘fun’, ‘upbeat’, ‘excited’ et al, that’s when you end up with Shouty Radio Voice.

So, planners, more adjectival ingenuity would be much appreciated. Thanks.

The Radio Advertising Bureau (RAB) has today (April 24) re-launched its Aerial Awards to recognise the cream of creative radio advertising talent.

The Aerial Awards, which will now be monthly, are the latest initiative from the RAB’s creativity programme which was launched in 2011 to address the historic lack of innovation in the radio sector.

The Aerial Awards will be judged by a different leading creative figure each month, with confirmed judges so far including former Aerial Award winners, Emer Stamp and Ben Tollett of adam&eveDDB, and Nick Darken of Albion who’s radio ad ‘Perfect Match’ for Antony Nolan the UK blood cancer charity, received awards at Cannes and the Campaign BIG Awards in 2012 and Creative Circle in 2013.

The RAB will fund the entry fees for the winning ads to be entered into the annual D&AD Professional Award so they also have a chance of receiving a D&AD ‘pencil’, or appearing in the D&AD book.

Entries for the Aerial Awards can be submitted via the newly launched website aerials.co.uk, with all ads submitted having been approved by client and have been on air in the last calendar month. Latest news, winners and judges will also be announced via twitter @aerialawards.

Clare Bowen, Head of Creative Development at RAB says “When I talk to creatives about radio, I’m amazed how many speak fondly about the Aerial Awards. At a time when radio is growing, it’s high time we gave proper recognition to creatives who show special talent in radio writing and audio craft and can apply those skills in the context of new listening platforms. RAB are thrilled to be bringing the Aerials back.”

Emer Stamp and Ben Tollett, Executive Creative Directors at Adam and Eve/DDB, said: “We are super excited about the revival of the aerial awards. And we’re really happy to see the RAB are committed to making radio ads as good as
they can be. Radio’s a great medium. A great medium deserves great work. And great work deserves to be celebrated. With a bit of luck the re-launch will help lots of brilliant UK creatives get all the recognition they deserve.”

The RAB will also unveil its latest research, Turning Art into Science, revealing the most effective creative features in ads.

Data gathered from the RAB’s latest research will offer a best-practice tool kit to help make creative ideas as effective as possible. Key findings include:

• Frequency of using consistent sonic branding is 44 per cent higher in the most effective ads compared to the least effective ads.

• Integrating music from a brands’ TV ad into their radio ad significantly increases levels of focus and increases engagement within the brain.

The research measured consumer feedback on over 600 radio advertising campaigns from the RAB’s radioGAUGE, as well as data collected using an EEG Neurotesting brain scanner.

Ends

For more information contact Lucy Goodwin at RadioCentre on: |+44 (0) 7951 480496 or email: lucy.goodwin@radiocentre.org

Last week, Andy Hart and Dave Coplin from Microsoft presented an excellent double act at Advertising Week Europe on the subject of ad avoidance. It struck me as a relevant topic for radio creativity as much as web-based advertising, not least in the week when Trevor Beattie announced ‘the death of the 30 second ad’ in the context of TV.

We live in an age of shrinking concentration spans and growing consumer choice: choice that increasingly means that ad exposure itself is becoming ever more optional. The‘3 seconds and skip’, ‘click to close’ culture is on the increase. Andy Hart argued that these formats actively encourage a consumer behaviour that goes beyond ad blindness to actual ad avoidance in an online environment. As online/mobile radio listening increases (it’s currently about a third of total listening), the medium is moving out of its linear heartland into a territory where ad avoidance is endemic.

In this context, I’d predict that radio creative will have to work harder or at least differently to gain and retain audience attention. One thing that gives me optimism is radio’s emotional advantage. I honestly struggle to name one great banner ad, and I normally skip video commercials I’m served before I’ve served up any sort of branding, because I have no emotional relationship with what I see. And not because I have a short attention span. Radio has the advantage that it can operate on a level of emotional engagement with its audience, where as banners broadly operate on an informative level.

Part of Andy Hart’s prescription for stemming the tide of ad avoidance was to ensure that creative was one of three things: that it’s either entertaining, useful or beautiful. I think this is a robust rule of thumb for radio ads too. Stella’s ‘Cidre’ ads from Mother last summer and the recent Warburtons campaign from WCRS are great examples of entertaining ‘traditional’ radio creative that draw me in and make me want to hear more. I’d happily listen to 30 or indeed 60 seconds of well written and well read audio branded entertainment. But there needs to be more, better written brand building scripts coming from agencies. Too many ads we hear try to be entertaining but don’t come up to the mark from a writing or a production point of few. (But the RAB is already addressing this with it’s Creative Development Project, of course…).

As for functional advertising, radio has proven its effectiveness in delivering tactical messages. I think the watch out for brands is one of simplification. Advertisers should use radio tactically to deliver clear, single-minded messages that are relevant and properly produced. Absolute’s logged in listening is a model that delivers fewer but more relevant ads for listeners, while the potential of geolocation technology is another way to increase relevance for mobile listeners. I’d like to see a shift in standard spot lengths. More long-form ads for the entertaining, ‘branded content’ type commercials and shorter, snappier ads for tactical messages to keep pace with the nations curtailed attention spans.

And finally ads that are beautiful. In radio we don’t have the benefit of Joe Wright’s cinematic lens or Annie Leibowitz’s eye, but for me, Garrison Keillor’s voice over for Honda or Rutger Hauer’s dulcet tones for Lurpak show that radio can definitely do beautiful.

Writing in Campaign on 22nd March, Danny Rogers speaks of the necessity of a ‘digitally optimized approach to creativity’. With the reach and emotional capacity of the traditional linear radio model, combined with the opportunities of mobile platforms, If we keep the changing listener environment and expectations in focus, I’m confident that radio creative can hold its own in the brave new digital world.

The Radio Advertising Bureau (RAB) unveils its top ten radio advertisements as scored by the listeners. The Department of Health have topped the rankings for the most effective creative in the second half of 2012 with their Stoptober campaign, beating off competition from the likes of British Gas and Procter & Gamble.

The Stoptober campaign, created by Dare and with media by M4C, beat out 29 other brands to the top spot for creativity.

Simon Redican, Managing Director at RAB commented: “The latest radioGAUGE analysis shows that overall creative scores from the second half of 2012 improved by over 3% in comparison to the same period in 2011 (Source: RAB/radioGAUGE). Together with an improved UK performance in major awards such as Cannes and D&AD it is further evidence that the RAB’s campaign to improve creative standards on radio is bearing fruit. Additionally, our Top 20 advertisers increased their investment 29% YOY (Source: Nielsen, Jan-Dec 2012) which suggests a strategic commitment to the medium, another vital ingredient in ensuring strong creative performance.”

1. STOPTOBER (Creative by Dare ; Media by M4C)

The Stoptober campaign successfully avoids sounding like the Government preaching to the masses by using real people to deliver their message on the radio. By focusing on the positives of giving up smoking (backed with catchy, whistle-along music) and following these people’s stories in different executions across the campaign helped listeners to connect and empathise with those attempting to participate in Stoptober.

2. BRITISH GAS (Creative by CHI & Partners; Media by Carat)

Who are you going to call when you’ve got a problem that needs fixing? No, not Ghostbusters but the British Gas Team. They may not be able to help you get rid of ‘Gozer the Gozerian’ but by the sound of it they can do pretty much everything else. Using the A Team music (a break away from their established creative construct) British Gas has created an ad that successfully involves and informs the listener to achieve cut-through for a service that they may have previously been overlooked.

3. FAIRY LIQUID (Creative by Grey London; Media by Starcom MediaVest & ZenithOptimedia)

As the ‘90s TV programme attested, kids can say the funniest things – like the time I once mispronounced Prix when trying to tell my parents that the Formula 1 was on the TV. Leaving my innocent mistakes aside, parent and child conversations can often bring out the weird, wonderful and inquisitive thoughts whirring around inside a child’s mind. Fairy has successfully mined this territory to appeal directly to parents and remind them exactly why they should always be picking Fairy Liquid off the shelf.

4. TWININGS (Creative by AMV BBDO; Media by ZenithOptimedia)

A soothing voiceover coupled with their established use of Charlene Soraia’s cover of The Calling help bring to life the sensual side of a cup of Twinings tea delivering a temporary haven away from the morning rush. A superb example of a campaign that achieves strong cut through in the ad break whilst also tonally portraying the brand in exactly the right light.

5. PG TIPS (Creative by Mother; Media by Mindshare)

Millions of people cannot function until they’ve had that first cup of tea of the day (the daily rush to the kettles in the RAB office attests to this). In contrast to the sensuality of Twinings, PG Tips explores this different perspective on the tea-drinking experience by bringing it perfectly to life with an added touch of humour provided by Johnny Vegas & Monkey.

6. LLOYDS TSB (Creative by RKCR/Y&R; Media by MEC)

Lloyds TSB have done it once again. On this occasion, Matthew Rhys takes over the voiceover duties from Julie Walters when it comes to business but the music and the slogan still ensure you know exactly who it is and what they have to offer.

7. ASDA (Creative by Saatchi’s & Saatchi’s; Media by Carat)

As our MD Simon Redican recently highlighted 2012 was a year of growth on radio for grocery retailers as they came to realise radio’s strength at reaching shoppers with their latest deals and offerings (a strength underlined previously in a blog by our Insight Manager Aaron Pull). In a competitive environment, people want to know which supermarket is going to offer them the best value above others. A simple message from cheery ASDA employees David and Dawn – about saving on those ‘everyday essentials’ that we all need – does just that.

8. RAC (Creative by BBH; Media by ZenithOptimedia)

David Morrissey adopts a softer and friendlier tone than his current turn as ‘The Governor’ on TV’s “The Walking Dead” to introduce the familiar problem faced by drivers around the country of getting the car started on cold mornings – and then give them the solution courtesy of RAC. Using radio as a way of reaching drivers in car and integrating the creative execution with the TV campaign has worked well for RAC during these cold winter months.

9. JOHN WEST (Creative by Cheethambell JWT; Media by Carat Manchester)

Radio is often seen as the medium for tactical campaigns and gets side-lined when briefs for branding campaigns come to the table. John West demonstrates how this is a huge oversight and that radio can successfully tell brand stories. With a little bit of tongue-in-cheek humour the story of Felix the fisherman shows that tuna can be a lot more entertaining than you think!

10. CAMELOT (Creative by AMV BBDO; Media by OMD)

Everyone has their list of fantasy post-Lottery win purchases. For some it’s a big house, a flashy car, a round-the-world trip; and for others (e.g. specifically my parents) it’s a new fireplace and buying the local football club. Camelot cleverly allay ‘the fear’ that you might have forgotten to put those ‘lucky’ numbers on by highlighting how you can now play Lotto on your mobile. Now I just need to wait for those numbers to come in so I can finally fulfil my childhood dream of living like Richie Rich!

The idea of working with people, who were not my usual classmates, for a week, was daunting for my fourteen-year-old mind. But I was pleasantly surprised after a week at the RadioCentre.

My first experience of the company was on a strategy away day- there were presentations from different teams, and a summary of what they had done this year and what they hope to achieve. This was a great introduction, which included team-building exercises. There were also discussions about the future of radio, and how to increase the number of listeners. The two main discussion points that the teams came up with were: Shortening T’s + C’s, and making it easier to listen to radio on-the-go. It was really interesting to hear different views on the topic. It was a brilliant day, where I could meet everyone outside of the office environment.

Throughout the week, I had meetings with many people in the company. They were kind enough to explain what they do and the projects that they are currently working on. By the end of the week, I had spoken to almost every team, and had a clear, over-all view of the company and its employees. I even spent a morning at Global, where I visited Capital FM! Other media related companies in the building also gave me presentations and explained their work. I met the new character, D-Love, for Digital Radio UK, and also approved some radio advertisements for broadcasting. Unfortunately, the two adverts I approved were only being broadcast outside London- a road-trip maybe?

My RadioCentre week was an amazing work experience! Thank you so much to everyone who has looked after me, presented to me, and allowed me to follow them around for client meetings. I really enjoyed my time here, and learned a lot. Thank you to Hattie for being a big sister for me; who looked after me, organised my schedule, took me to my meetings, took me to Global and who made me countless cups of tea!

By Catriona Spence