Remember when you went to the fair as a kid and there was a booth called “Fool the Guesser?” This eccentric gentleman was tasked with guessing your age (within two years), your weight (within 3 pounds), or the month of your birthday (within two months). If he got the answer wrong, you won a prize. It was a simple trick. He had to know the answer to just one question. As crazy as this guy looked, somehow, he seemed to always get the answer correct, mystifying the gathering crowd.
“Fool The Guesser” at the New York State Fair. Source: Syracuse.com
Was he psychic? Or are these things just obvious to an astute observer?
Many years ago, I met a radio researcher who claimed that the answer to just one question was the key to winning or losing radio stations. Just like in Fool the Guesser. Curious about what that question might be? I was too. The question was “What is the first word that comes to mind when you think of (radio station name)?”
His line of thinking was that if most listeners mentioned the base music position of the radio station, the station was in a healthy place. If they mentioned the morning show, a contest, a feature, or some other programming element before music, he would say the station was not properly branded, and in a bit of trouble. The classic radio example is Howard Stern. Howard’s brand was so powerful, it overpowered the base positions of the stations that carried his show. When he fled for Sirius, a large percentage of the brands were forced to flip with no foundation to stand on.
Today, that remains a critical question and one of the most valuable health checks you can perform on your radio station. Indeed, it forms the foundation of the Coleman Insights Image Pyramid philosophy. Listeners must be able to, in a word or two, be able to explain what your station represents. What kind of music is it famous for? This applies for Spoken Word stations as well, with the Base Talk position replacing the Base Music position.
The Coleman Insights Image Pyramid
As the Image Pyramid demonstrates, the importance of the correct answer to the “one question” doesn’t mean the other elements are not important to study as well. The base position is the foundation, the other elements provide brand depth.
The “one question” exercise can be applied to any brand. Certainly, other audio brands in the podcast and streaming segments, but in other product categories as well. Take Spirit Airlines, in the news recently for all the wrong reasons. If consumers start regularly answering the one question with “cancelled flights” instead of “low fares,” Spirit is going to have a serious problem.
While no replacement for comprehensive research, try this exercise with your brand. Ask about the first thing that comes to mind.
One thing is for certain. There are very clear differences in this data. But first, what’s not different.
No matter how you slice the data, by various demographics, whether you listen daily to AM/FM Radio, podcasts, streaming services, or smart speakers, you are likely to see Pop perform well. Pop is the one mass appeal genre that crosses demographics, genders, ethnic groups, and consumption habits. After that, we see a number of interesting differences.
Country is more prevalent in the best testing songs of women and consumers 35-54. Hip Hop/R&B is more prominent among consumers 12-34 and men.
Country represents 18% of the Top 100 of women, but only 8% among men. 12 to- 34-year-olds have almost no Country (4%) in their Top 100, but Country represents 33% of the Top 100 among 35 to- 54-year-olds. 30% of the Top 100 among men is comprised of Hip Hop/R&B, compared to a solid 23% for women. Consumers 12-34 have 43% Hip Hop/R&B titles in their Top 100, while 35 to- 54-year-olds have only 11% Hip Hop/R&B.
The most popular songs among Black and Hispanic consumers are Hip Hop/R&B, with very little Country. Caucasian/Asian/Other consumers have lots of Country, far less Hip Hop/R&B, and more Alternative/Rock.
Hip Hop/R&B comprises a massive 70% of the Top 100 among Black consumers, while Country represents only 2%. Though Pop is the top genre for Hispanic consumers, Hip Hop/R&B is a strong #2 at 31% and Country also only represents 2% of their Top 100. Country represents the second biggest genre among Caucasian/Asian/Other consumers behind Pop (28% of their Top 100), while Hip Hop/R&B trails well behind at 14%. Alternative/Rock at 13% is most prevalent with this ethnic group.
Country is huge with Rural consumers, but not with Urban or Suburban this year. Hip Hop/R&B goes the other way; big with Urban and Suburban, not with Rural.
Rural consumers have 43% Country in their Top 100. Last year, Country represented 27% of the Top 100 among Suburbanites, but this year it drops to 7%. Urban consumers have even less Country in their Top 100 (5%). Pop is tops with Urban and Suburban consumers, but Hip Hop/R&B is #2 with these groups at 30% each. Rural consumers in contrast have only 15% Hip Hop/R&B titles in their Top 100.
Country music experienced a steep decline with Suburban consumers this past year. (pictured: Luke Combs)
Liberal leaning consumers have a large amount of Hip Hop/R&B but almost no Country in their Top 100. Conservative leaning consumers prefer Country and have only a small number of Hip Hop/R&B titles in their Top 100.
Country music and political orientation appear to go hand in hand.
Daily streaming service listeners are more likely to have Hip Hop/R&B in their Top 100 and less likely to rate Country highly.
Pop represents 40% of the Top 100 of streaming service listeners, followed by Hip Hop/R&B at 29%, and Alternative/Rock at 12%. Country trails with only 9% of the Top 100, tied with Dance/Electronic.
While Pop is king among daily AM/FM Radio listeners, the balance of their Top 100 includes equal amounts of Country and Hip Hop/R&B. FM Radio listeners love Pop the most, at 41% of their Top 100. But for these consumers, Hip Hop/R&B and Country are tied for second place, at 20% each.
The tastes of daily smart speaker listeners are very similar to daily AM/FM Radio listeners.
Interesting correlation that we plan to spend more time studying in the future.
The tastes of daily podcast listeners are very similar to daily streaming service listeners.
Like the previous correlation, likely worthy of greater investigation.
Consumers who prefer Apple Music and YouTube have a large percentage of Hip Hop/R&B in their Top 100, but very little Country.
Apple Music and YouTube partisans are the two consumer segments that have a larger percentage of Hip Hop/R&B than Pop in their Top 100. It is particularly notable that streamers who prefer Apple Music have a Top 100 made up of nearly half (48%) Hip Hop/R&B titles. Country makes up a miniscule portion (3%) of Apple Music listeners’ Top 100, while Country makes up 8% of the Top 100 of streamers who prefer YouTube.
Hip Hop/R&B songs are more likely to be preferred by daily users of Apple Music and YouTube than daily users of Pandora and Amazon Music. (pictured: Roddy Ricch)
Consumers who prefer Pandora and Amazon Music have a large percentage of Country in their Top 100, but significantly less Hip Hop/R&B.
Pandora is the most pronounced example of Country’s dominance with this platform. At 35% of the Top 100 among streamers who prefer Pandora, Country even exceeds Pop at 29%. While Pop is the dominant genre for streamers who prefer Amazon Music, Country comes in second. Hip Hop/R&B represents only 11% of the Top 100 with Amazon Music listeners.
Consumers who prefer Spotify have lots of Hip Hop/R&B and less Country, but are also more likely to have Alternative/Rock in their Top 100.
Mirroring its large popularity, Pop performs best among Spotify listeners, representing 44% of their Top 100. Hip Hop/R&B is second at 24%. Alternative/Rock is third with Spotify listeners, which is notable because the 16% of Alternative/Rock songs in their Top 100 is quite a bit more than the percentage among other streaming service partisans.
Of course, this doesn’t mean streaming charts will stay within these defined taste parameters. This past week, “Montero (Call Me By Your Name)” by Lil Nas X led the Spotify Top 200 Chart and “Astronaut In The Ocean” by Masked Wolf topped the Pandora Top Spins chart. Having a larger understanding of music tastes within each platform should help you better understand the charts and provide some clarity in navigating the numbers.
Later this spring, active Coleman Insights clients will receive the song-by-song data this spring as part of our Coleman Complete promise.
Up next, we’ll dig deeper into the numbers with the Contemporary Music SuperStudy 3 Deep Dive webinar, Thursday, May 13th at 2PM EDT/11AM PST. Register now.
For the past 12 years, Z104.3 has served Baltimore with Top 40 music. Prior to that, the frequency had gone through iterations of formats including Modern Rock, Smooth Jazz, Classic Rock, Classic Hits, and Soft AC.
Perhaps 104.3 was destined to return to CHR, a format that flourished when B104 ruled the Charm City from 1980 to 1992. Those who grew up in Baltimore in the 80s may remember B104 as a dominant brand that was part of their lives—and they almost certainly remember B104’s slogan:
B104 Means Music.
In 2021, it’s easy to write off “means music” as a generic, trite, and meaningless tag line. But in the early 1980s, many CHR stations were still on the AM dial, operating as full-service outlets with a lot of talk, interruptions, and noise. “B104 Means Music” spoke volumes about what listeners could expect from the brand—particularly when contrasted to the competition.
This doesn’t mean B104 didn’t have personality. Brian Wilson and Don O’Brien, known as Brian and O’Brien (there’s another branding lesson in the catchy name) regularly topped the morning ratings throughout the decade. But B104 understood that the first battle to win–to drive listeners to the station–was music, and it did.
There are powerful ways to add meaning to your brand and there are wimpy ways that never stick. Downplaying or soft-pedaling it, especially in today’s saturated world, is a recipe for disaster. You have to bring the sledgehammer.
Branding expert Laura Ries (daughter of branding legend Al Ries) explains this need for a sledgehammer in her book, “Battlecry: Winning the battle for the mind with a slogan that kills.” She details sonic tips to engage the brain when crafting a slogan, like rhyming: “Roto-Rooter, that’s the name. And away go troubles down the drain.” Or repetition: “The Few. The Proud. The Marines.” While the “visual hammer” references she makes (like the Aflac duck or the Tropicana orange with the straw) are trickier for audio brands, the lesson of the message is the same. Say what it is, say it loud, and make sure it means something.
Fast food may not be good for you, but the category sure delivers memorable slogans. Arby’s “We got the meats!” is stuck in my head these days.
Legendary programmer and voice talent Mark Driscoll whimsically positioned the original Rhythmic CHR incarnation of Q102/Philadelphia with the slogan “What the hell, here’s another hit…” The words came out of nowhere, magically setting up the off-center attitude of the station, and stuck in people’s heads like that song lyric that just won’t go away. The “#1 Hit Music Station” slogan serves an important strategic purpose, but nobody is going to repeat it or laugh about it on a Zoom Happy Hour.
To this day, for thousands and thousands of people, when you say B104, they’ll say “means music” either in their head or out loud. They’re still buying the shirts on eBay.
So when it comes to your slogan, don’t come to the battle unprepared. Bring the sledgehammer.
This is the second of our two-part blog series focusing on a roundtable discussion about the impact of 2020’s upheaval on the audio entertainment industry. Last week’s post focused on what the social justice movement, the election, and the pandemic meant for how people consume and what they want from audio entertainment.
In this second installment, our Senior Consultants—Warren Kurtzman, John Boyne, and Sam Milkman—share their thoughts on nonmusical content, podcasting, and the need for thoughtful innovation.
Coleman Insights Senior Consultants (L-R) Sam Milkman, Warren Kurtzman, and John Boyne
This was already true to some extent before all of 2020’s craziness, but we enter 2021 with the sense that the margin for error is slimmer than ever. Hyper fragmentation and democratization of the media was already making it challenging for audio entertainment brands to cut through; now with economic uncertainty and so much of what we’ve always known to be true about how and why consumers use audio entertainment potentially changing, every client we work with really must get things right as often as possible.
Personality content is going to be more important; there is a race to create unique unduplicatable content that is happening in radio, with podcasts, and even the streaming platforms focusing on this, too.
We used to talk about how crucial developing nonmusical content was for radio, but now it’s vital for all audio brands. And it’s not just about the brand value of personalities; developing unique, compelling personality content is expensive, and understanding the behavioral impact personality content can have—whether it drives consumers to use an audio brand—is going to be more important as audio companies make ROI decisions on this content.
As personalities become a bigger part of the strategy of almost every audio brand, how do you make sure that you are truly reflecting what your audience wants both in terms of content and tone? For example, we saw many Hip Hop radio morning shows adapt to the heaviness of 2020 with less of a focus on comedy and celebrities and greater emphasis on social issues.
It’s important to have great talent and unique content, but more than ever, our clients are demanding more sophistication in the development and execution of that talent and content. That’s where qualitative research and content testing are becoming a bigger and bigger part of our business.
Right, John. That’s where the discussion about the Hip Hop shows Sam mentioned continues. Many shows adjusted their content based on the gut instincts of some very talented hosts and producers who are successful because they are in touch with the audiences they serve. But now, they must refine what they offer. Have all of these shows got the balance between entertainment and issues exactly right? Are they truly reflecting what the audience wants from them right now and will that change over time? Will it be different when we’re no longer in a presidential election year or after the pandemic ends?
I think this extends well beyond radio morning shows. Our podcasting clients are going to need to get a handle on how their audiences are responding to their content if they want to keep growing.
There’s so much room for growth with podcasting. We don’t know what the ceiling will be.
Let’s stop treating podcasting like it’s a nascent category; it’s part of the lives of so many people.
Yet there are still so many people who haven’t tried it yet.
But it is now a big business. Look at how companies like iHeartMedia, Spotify, Entercom, Amazon, SiriusXM, etc. have snatched up podcasts and podcasting companies. That’s happening because it’s growing and starting to generate revenues in a big way.
Which is my point. We anticipate doing more and more research for podcasters who recognize they’re in a big business. They need to measure the health of their brands, and they need to do content testing to see what works and doesn’t work with their audience.
All three of us having been doing this for a long time, and as I reflect on that, it’s striking how much more complex and challenging things are than when our business almost exclusively consisted of perceptual studies and music tests for radio stations. It’s invigorating and I know all three of us—in fact, our whole team at Coleman Insights—can’t wait to get to work on exciting opportunities for our clients in 2021.
Every time we turn over the calendar to a new year, it makes me think of thoughtful innovation. This may be truer this year, as we emerge from the pandemic and look for new opportunities. We do a lot of research on how consumers feel about and perceive things that exist; I’m hopeful that 2021 will include more work on innovations that audio companies could potentially offer to listeners.
Agreed. This harkens back to many of the points our founder Jon Coleman made in his “Should Radio Go Back To Normal?” blog post in December. I hope that many of our clients pursue Blue Ocean Strategy ideas in 2021 and that we have many opportunities to provide them with the insights they need to make those ideas succeed.
In January 2018, when we last utilized our Tuesdays With Coleman blog to offer our outlook for the coming year, we had no idea how easy we had it. Observing trends in consumer behavior, tastes, and perceptions is our bread and butter and has always allowed us to project future happenings in the audio entertainment world.
That was pre-COVID, and we admittedly approach our look ahead to 2021 with less confidence than we have in the past. We won’t let the uncertainty of our times stop us, however, as our Senior Consultants—Warren Kurtzman, John Boyne, and Sam Milkman—share their thoughts over a roundtable discussion as we begin 2021.
Coleman Insights Senior Consultants (L-R) Sam Milkman, Warren Kurtzman, and John Boyne
This is the first of a two-part blog series in which we focus on the impact of 2020’s upheaval (the social justice movement, the election, the pandemic, etc.) and what it means for how people consume and what they want from audio entertainment.
I think before we get too far into this, we should state that we are extraordinarily empathetic to our clients’ challenges and we are thinking anew about those challenges.
Yes, we are going to focus on the path forward in the belief that things will get better at some point in 2021. That said, we are not turning a blind eye to the difficulties that many of our clients are facing.
Which is why we are emphatic that if you are involved in audio entertainment—radio, streaming, podcasting, etc.—you must make sure to really understand the short- versus long-term impacts of the pandemic. It may create the need to reintroduce your brand; it may make you rethink your role in your listeners’ lives.
Coming out of the pandemic, things may be different in ways that we can’t anticipate right now. But historically when we have big events, things change. We should be on the lookout for changes that will impact all forms of audio entertainment.
These changes may not only impact the quantity with which people use your brand, but also how and why they use it.
More broadly speaking, the pandemic will likely cause long-term changes to the way people use audio entertainment and it is incumbent on us to understand those changes. There are many people now just discovering streaming, podcasting, etc. because of the pandemic.
Our lives and behavior after all this won’t be the same, even if a lot of things return to pre-COVID normal. A lot of people will be going back to a workplace, but there’s little doubt that the number of people or at least the number of hours worked from home will be much higher than before, and that will have a big impact on how audio is consumed. Obviously, commuting consumption goes down, but there are also opportunities to reach those who no longer commute as they work from home; they have more flexibility and ability to listen to audio when working from home.
In every moment, media meets the challenge. Our challenge now is to pivot to the needs of the audience in this new world.
For example, music has historically been influenced by societal changes. What will music look like in 2021 and even 2022? There is a sense that contemporary music across many genres was not very strong heading into the pandemic and then so much stood still in 2020; does that put us on the precipice of something big? Is there a new genre that will emerge? We don’t know right now, but more than ever, we should keep our eyes and ears open for the next big thing.
Some of the best Rock emerged from protesting the Vietnam War; Rock in general was a rejection of the way things were previously. That’s what made it cool.
Grunge emerged in the early 90s with a grittiness that seemed to be a direct and jarring counter-response to the glitz, glam, and excessiveness of the 80s. Of course, also around that same time, Hip Hop’s explosion seemed to reflect young people’s hunger for something real and authentic.
Who is going to take all that has gone on between the social justice movement, the economic distress so many are in due to the pandemic, and the political polarization of our times, and wrap that up and speak to this generation in music?
Music outlets are clearly responding to aspects of the social justice movement—for example, there have been very public efforts to feature more artists of color on Alternative radio stations and streaming channels and CMT launched an important campaign to highlight female Country artists—and it will be interesting to see if their responses have measurable impacts and capture the essences of the movement.
You can envision something coming out of this that is different from what we’ve had before.
I remember how there were certain songs or sounds that lost relevancy when the planes hit the World Trade Center on 9/11. There is going to be some artist or sound that will fall completely out of bed because of what’s going on.
Speaking to 2020 has been one thing; it’s mostly been heavy for obvious reasons. But speaking to 2021 could be completely different, especially if the vaccine rollout gets done early in the year and we emerge from lockdown. People may want crazy, mindless fun in that case. But, if there’s still a great deal of economic challenges or the pandemic doesn’t end as soon as we hope, people may want something very different.
Finding the right tone or voice with our audience is crucial right now. Our brands must reflect the new reality not just in the music we play, but in our take on the world. How we say things. How we package things.
Next week, our roundtable discussion will cover nonmusical content, podcasting, and the need for thoughtful innovation.
If someone told me a year ago that a virus was sickening people someplace in China (in a place that I had never heard of) and that it would reach my little neighborhood, I would have said “you’re crazy!” Okay, full disclosure, my friend Elliot Segal from DC101 (who reads everything) told me last year that a deadly virus in China was coming here—and my reaction was “yeah right.”
Famous last words.
My naiveté aside, isn’t this the ultimate Butterfly Effect, the chaos theory concept that a small change elsewhere in the world can start a process in motion the leads to very big changes here in America?
Edward Lorenz posed the “Butterfly Effect” concept, which illustrates how a small change in one state of a system can set off big changes elsewhere in a later state.
2020 certainly has been the year of chaos so we might as well learn from it.
One of the big lessons to me in all this is: We are all connected. Every one of us, all across the world, even people in places I never heard of. If I throw a plastic bottle in the trash here, it really does have an impact around the world. We are all in this together.
I also think there are some interesting lessons for media. Viruses spread, but so do great ideas. Create something innovative and provocative and with a little luck, word will spread. It could be something big or small—but done right it can change people. Maybe even change the world.
One is Blendtec’s “Will It Blend?” videos. A company (Blendtec) took a pretty boring, run-of-the-mill household appliance (a blender) and turned it into a viral sensation. Noticing that founder Tom Dickson was always on the factory floor testing the durability and power of their blenders, marketing director George Wright got an idea. He took a fifty-dollar budget and bought marbles, golf balls, a rake, and a lab coat for Tom.
This turned into a series of “Will It Blend?” videos in which Tom blends everything from swords to Bic lighters to glow sticks. The video in which he successfully blends an iPad has been viewed over 19 million times. As Berger says about Blendtec, “even regular everyday products and ideas can generate lots of word-of-mouth if someone figures out the right way to do it.”
You can go ahead and make fun of “Friday” by Rebecca Black. But how much would it be worth it to you to have everyone know your name and your song? “Friday” was one of the most viral videos of 2011, and later videos by Rebecca Black (some of the songs aren’t bad at all) have racked up millions of views on their own.
“Wassssup!!!” instead of “What’s Up.” That’s it. But we all said it. It was a simple, silly idea from Bud Light that added a word and expression of that word to the English language, spreading like wildfire.
Speaking of silly, years ago while I was working for a Rock station, we wanted to “own” The Who tour coming to Philadelphia. We crafted a special “Double Shot Tuesday” promotion dubbed “Double Shot Tah-WHOs-day”—every time we play a double shot of The Who, you win tickets. Goofy, I know. But 20 years later, any time I mention the day Tuesday with the group of people who worked there, this promotion comes to mind.
“Are we having lunch Tuesday?”
“You mean ‘Tah-WHOs-day’ don’t you Sam?”
And the laughter erupts. One silly promotion, and we’re all connected for decades. Can we make the simple things just a little bit better by dropping them in the blender and seeing if we can get people talking about our content?
Maybe we can change the world today. Or at least make somebody laugh.
With everything going on in the world, you would think it’s a great time for Talk Radio. Politics, the U.S. Supreme Court, public health, economics–it has all taken center stage, dominating our conversations. Try talking to one of your friends without mentioning the pandemic. It’s almost impossible. Is this an amazing time for talk? Or is it all being filtered through the lens of the same old voices and perspectives, homogenized into white noise?
In my experience, big changes in our world usher in new stars in all media. Someone rises to the occasion, sparks or captures the emotions that we are all feeling but struggle to express, and a star is born. A spokesperson for a new generation arrives. Suddenly, the clock runs out on that older, stately looking guy on CBS and somebody new picks up the ball and runs with it.
In music, Madonna’s “material girl” perspective was right in tune with the 80s. She epitomized the free spirit of that decade, but felt somewhat out of place in the 90s. In radio, Z100 moved away from the “Morning Zoo” format and gave us Elvis Duran’s more authentic, less “produced” perspective.
The unprecedented Iran hostage crisis gave birth to Nightline. We were no longer satisfied with 2 minutes on the crisis inside the nightly news, we wanted to talk about it for an hour or more every night. The show would eventually turn Ted Koppel into a star.
Kurt Loder became our trustworthy news source while mom and dad had that talking head going in the other room.
Jon Stewart took over The Daily Show from Craig Kilborn in 1999, but it was George W. Bush’s presidency that drove Stewart’s biting political satire and made him a star.
Anderson Cooper took on the federal response to Katrina–and became a national voice for “keeping them honest.”
My question is: Who is the person to become “the voice” of this moment? To break from the tried and true, say enough is enough, clear the desk and say, “I’m mad as hell and I’m not going to take it anymore!” (Wait, that’s been done, we need a new call to action.)
Because I worry that today’s voices have all taken their positions. We know what they stand for, we see their baggage, we can almost predict what they are going to say. And it’s falling on deaf ears.
Regardless of their specific ideological viewpoint, my hope is that someone will stand up, take the challenge, and become the voice of this moment. Embrace the different world we woke up to this morning, make sense of it for us, shed new light on the road forward, and speak to this time in America.
I loved the 2012 Chrysler Super Bowl ad, “It’s Halftime in America”. Maybe it failed because it was perceived as too political, supporting the auto-industry bailout. But it sure feels like halftime now. (Or worse, the clock is frozen.)
Over the last couple of weeks, we’ve learned quite a bit about the current state of contemporary music. Among many other findings, this year’s study of the current tastes of 1,000 12- to 54-year-olds across the United States and Canada has indicated a rise in the appeal of Country, a slightly older lean to the best-testing titles and a downtrend for Pop, Hip Hop/R&B and Dance/Electronic. This week, we’ll focus on how the genres of the best-testing songs vary based upon consumers’ choice of platform. For example, the best testing genres among radio users look different than those of streaming users. Pandora fans look different than those consumers who prefer Spotify. Why do we find these differences so interesting? Because programmers are barraged with data from different sources every day. A song’s amazing number of streams on Spotify, for instance, might be used as an argument why it belongs on your radio station. Or the fact that “everyone” on Pandora is flocking to a particular style suggests that you should move your programming in that direction.
Travis Scott and Kid Cudi’s collaboration debuted at #1 on Billboard’s streaming chart with a boost from a live Fortnite event.
That’s why understanding the different profiles of consumers of these various platforms should matter to you. It should help you appreciate what all those stats being thrown at you really mean.
For starters, the best testing songs of people who use radio every day look a lot different than those of daily streamers. What’s the big difference? The Top 100 among daily radio listeners contains a large percentage of Pop and Country, and a smaller amount of Hip Hop/R&B. About a third (32%) of the Top 100 of Daily Radio Listeners is Pop and 29% Country, but only 19% Hip Hop/R&B. Daily Streaming Listeners, on the other hand, have much more Hip Hop/R&B (29%) and far less Country (only 15%).
Does that mean Daily Radio Listeners don’t like contemporary Hip Hop? No. It means when we look at Daily Radio Listeners as a group overall, they gravitate toward Pop and Country among contemporary genres. You are more likely to find interest in Pop or Country when you take a broad look at regular radio users.
We see other notable differences when we compare the Top 100 of Pandora, Spotify and YouTube fans. Consumers who prefer Pandora over other streaming services have a tremendous amount of Country in their Top 100—39%. They also have 26% Pop but significantly less Hip Hop/R&B at only 17%. Those who prefer Spotify go in the opposite direction. They have a very large percentage of Pop (39%) and a good amount of Hip Hop/R&B (26%)—but very little Country, only 9%. YouTube fans look very similar to Spotify fans.
The point is that people who prefer Pandora have much more Country in the songs they rate best; those who prefer Spotify and YouTube have more Pop and Hip Hop/R&B in their Top 100 songs. We sometimes tend to think of streaming users as homogeneous, but they are not. The profile of consumers who prefer different streaming services are distinct—and it is important to keep this in mind when we look at data coming from various sources. And that’s true of almost every different platform we analyzed.
Dan + Shay’s “Tequila” tested #22 overall in Contemporary Music SuperStudy 2 with those who prefer Pandora over other streaming services, #48 with those who prefer Spotify and #55 with those who prefer YouTube.
Next week, we’ll dive into the political fray–to discover the respective taste differences between supporters of President Trump and Joe Biden. In an environment in which common ground and bipartisanship can be hard to find, can these two polarized groups find musical consensus?
Don’t miss next week’s Tuesdays With Coleman to find out.
A logical approach to programming strategy during just about any time other than the present would likely suggest that playing Christmas music in March would be a pretty dopey idea. But if one were to adopt an Outside Thinking philosophy–considering your brand from the viewpoint of your consumer–it may not be quite as nutty as it seems.
It’s not right for most brands, but for some that are already utilized for comfort and escape, maybe it’s not the craziest idea.
Inside Thinkers do things the way they’ve always been done, the way they know how.
Outside Thinkers think like their consumers, recognizing that whether they like it or not, Coronavirus is dominating their lives.
When you have a deep understanding of your brand and the need it fulfills, and you adapt that to the current lifestyle of the consumer, amazing things can happen. Even in the most uncertain of times. Maybe it’s time for your stations to spread some cheer!
As the world has turned upside down for the foreseeable future, the team at Coleman Insights has been engaged in conversations with our clients about how to navigate the new landscape. We recognize the ability of radio stations and other audio-based media to shine in moments of crisis, and there are already numerous examples of this occurring. On the other hand, we also recognize the lack of an “adversity road map.” There is no playbook that dictates how each brand should respond. Should you continue to deliver your format without any significant modifications? Is this a moment to break format completely and provide relevant crisis information instead? These are difficult strategic decisions. The specific choices are also hard.
Our consultant team has been having ongoing internal discussions about strategies for the audio entertainment industry. The result is the following special Thursday edition of Tuesdays With Coleman, a compilation of thoughts and ideas our team would like to share with you, with the understanding that there is no single solution for everyone.
Recognize unusual times call for unusual measures.
Everyone has something to contribute during a global emergency. Regardless of what your brand regularly delivers, your listeners are affected by the COVID-19 outbreak and your response should reflect this. Your brand has a voice and a platform to be heard when listeners need it the most. Known, trusted personalities should play a major role and leverage the intimate connections they have with their listeners.
Consider the role of your brand in COVID-19 coverage.
Understand the need your brand fulfills.
News brands have a responsibility to provide comprehensive, relevant coverage. These brands might consider whether there are opportunities to go outside the typical format. For example, does more long-form programming or an increased number of updates make sense? These decisions should be determined by the role of the brand–in this case, being a provider of constant, reliable and trustworthy information during the crisis.
Listeners may be visiting your music station to get away from news coverage, but that doesn’t mean they don’t want to stay connected. Does it make sense to employ a “We’re following the news so you don’t have to” approach? This allows talent to play a reassuring role; listeners can count on enjoying content on a music station without feeling like the world will pass by if they aren’t watching CNN or Fox News at that moment.
A full-service Adult Contemporary station may play a more personality-forward role of providing news and information. On the other hand, if your brand primarily provides comfort and escape, like a Soft Adult Contemporary radio station, constant news updates may be a harrowing intrusion and contrary to your brand. In fact, brands built on comfort and escape should lean in to that image, as it is particularly valuable when the real world is more chaotic.
Recognize that listening patterns are likely in significant flux.
If many people aren’t going to work or school, typical in-car commute listening levels no longer apply. What about everyone who is temporarily working from home? Or businesses that have been forced to close, like bars and restaurants? Will radio listening increase or decrease?
Reduced commuting will have a significant effect on listening patterns
With that in mind, consider the impact on how people may be consuming your station, podcast or streaming service and the programming options you may have.
With entire families now at home throughout the day, what about specialty programming geared to them during traditional at work hours? Should you do this on your main platform or would offering this through podcasts, separate streaming channels, etc. make more sense?
Aggressively promote all your listening platforms, keeping in mind that smart speaker listening is heavier at home than in the workplace and a surge of at home listening may be taking place.
Provide increased authentic and actionable listener engagement.
Listeners will find comfort in others going through the same issues. You may find yourself broadcasting from your home, which may be out of your comfort zone. Rather than trying to project a sense of business as usual, embrace the change! If the dog barks, the child screams or the husband sighs in the background, that’s real life. It’s exactly what your listener is going through. Let sharing be the mantra–you could, for example, have listeners upload pictures of their home offices to your social pages and share yours.
Find experts to feature on your shows. You don’t have to have all the COVID-19 answers yourself, and some of the best content is being generated by personalities across multiple formats interviewing those on the front lines of the crisis.
NIAID (National Institute of Allergy and Infectious Diseases) Director Anthony Fauci has been extremely media-friendly in providing crisis guidance
Consider taking more listener phone calls. Allow them to share feelings and information that may be valuable to other listeners.
Think about brand-appropriate actionable advice you can offer listeners that is applicable to the current environment (i.e., how to work at home while the kids are in online school, the best binge-able series on Netflix or which delivery services have waived their fees).
Modify your tone. Be empathetic to the new needs of an uncertain audience.
Rally your community.
In times of crisis, “Community” surges to a higher level of importance on the Image PyramidSM. As they would with aggressively promoting a Base Music or Talk position, brands should be going over the top with their community efforts. Build real community bulletins (here’s what is open, new hours for grocery stores, new restrictions, etc.). Be the voice of the community, invite listeners to participate and share as appropriate. Listeners will tell people where they can buy toilet paper (well, maybe they’ll share that information), who delivers groceries and how to find free learning resources for kids. Post the information on your website.
Don’t just think of your community as your market. Your community is your audience. A Hip Hop station and Classic Rock station will not rally the same communities, but each has the power to inspire, engage and activate their respective followers.
If you make a concerted effort now to think about what you can really do for your community and your audience, your efforts will create a halo over your brand when things settle down.
Consider reading two Tuesdays With Coleman posts in which we covered the important role of radio in a crisis: