Tag Archives: podcasting

Ask Me Anything – Episode 3: Music Testing

Welcome to our new Ask Me Anything webinar series!

Each month will feature a different topic, as we cover questions related to research, branding, and marketing strategy in audio entertainment – all in just 15 minutes!

In this episode, consultants Jay Nachlis and Meghan Campbell, along with moderator and Director of Client Services Kimberly Bryant, discussed “Music Testing”. Watch the 15-minute video below:

Questions We Answered:

1:28 – Why is conducting Perceptual Research before a music test so valuable?
3:48 – What are Fit and Compatibility and why do they actually matter?
6:43 – How do you select which songs to test?
9:06 – Why is accurate Sound Coding essential for a successful music test?
10:29 – How do Oldies and Classic Hits get the right male/female balance and is there a special challenge to selecting the right balance?

The Extraordinary Podcasting Opportunity: A Conversation with Hetal Patel

Hetal Patel is the Executive Vice President of SmartAudio Intelligence at iHeartMedia. In a conversation for this week’s Tuesdays With Coleman blog, we discussed her recent talk at the Audio Intelligence Summit, “Podcasting Trends & Mythbusters: What to look forward to in 2023.”

That turned into a wide-ranging discussion on generational differences and habits in audio consumption, how to connect on a deeper level with younger consumers, an untapped opportunity in podcasting, and our mutual adoration of “Extraordinary Attorney Woo,” a Netflix show from South Korea featuring a lawyer with autism in the lead role.

A PODCASTING MISCONCEPTION

The Audio Intelligence Summit, a conference focused on how audio and audio advertising can be utilized effectively, was held in New York in February. Of the myths surrounding podcasting she covered in her talk, I asked Patel which myth bothered her the most. She described the lack of education surrounding platforms and publishers.

For example, iHeartRadio is a podcasting platform, but it is also a publisher. Stuff You Should Know and The Ron Burgundy Podcast are published by iHeart, but you can hear them on Spotify, Apple, and “wherever you get your podcasts.” On the one hand, it’s a somewhat unique dilemma to podcasting. Patel offers an analogy: “If you watch a video from a publisher like Vox, CNN, or Fox on Facebook, you know the content belongs to those publishers. But many people who listen to an iHeart show on Spotify may think it’s a Spotify show. Other publishers probably feel the same thing when consuming content on the iHeartRadio app.” This poses a challenge on the advertising side, when buyers don’t necessarily recognize that their ads travel with the content to each platform.

Stuff You Should Know is published by iHeartRadio, but is available on multiple platforms

To me, it’s a classic example of Inside vs. Outside Thinking. Inside Thinking occurs when you’re too close to the product, and you make assumptions about consumer behavior based on your own experience. Outside Thinking is adopting the mindset of your target consumer (in this case the buying community).

GENERATIONAL DIFFERENCES IN PODCAST LISTENING BEHAVIOR

Patel is struck by the primary reasons people listen to podcasts, and she shares the differences between Millennials and Gen Z. “Millennials listen to podcasts for productivity. They listen to learn something. Gen Z seeks companionship, which makes sense. The levels of loneliness are highest in America right now. While digital media was made to keep us together, it has done the exact opposite.”

This led to diving into a startling statistic from a 2021 study by the Survey Center on American Life on the state of American friendship. In 1990, 27% of Americans said they had three or fewer close friends. In 2021, nearly half—49%—claimed to have three or fewer close friends. The percentage of Americans that said they had no close friends quadrupled, from 3% to 12%.

Percentage of Americans that say they have (x) number of close friends. Source: Survey Center on American Life

When you begin to consider several pieces of information together—younger consumers choosing podcasting for companionship, the decline in the number of close friends, and the increase in the mental health category in podcasting—the role of companionship to reach younger listeners is evident.

PODCASTING’S WIDE-OPEN OPPORTUNITY

When talking about the diversity of younger consumers, Patel mentioned that over 50% of Gen Z and Gen Alpha are non-White, meaning an opportunity exists to deliver content targeted to these consumers. She believes earlier assumptions within the industry that Black and Hispanic consumers aren’t interested in podcasting were fundamentally incorrect. “When we launched the My Cultura network, a slate of Hispanic-targeted podcasts, we learned one in three Hispanics who had not given podcasting a shot said it was because there wasn’t content relevant to their interests. It wasn’t a discovery problem, it was a content problem.”

THE INTIMACY OF AUDIO

Ask Hetal Patel about video’s role in podcasting, she’ll tell you she certainly sees one, but what you’ll really unlock is her love of audio. The key for the industry, she believes, is recognizing what makes it so special.

She asked me, “When was the last time you watched TV without a cell phone in your hand?” Long pause. “Point made.”

“When was the last time you listened to a podcast while focused on your cell phone?” “Point made.”

“The engagement, the curiosity, demands the listener commit to it.”

AN EXTRAORDINARY SHOW

When Patel told me that she started watching Korean TV and cinema during the pandemic, I had to ask if she’d seen “Extraordinary Attorney Woo,” a Netflix show I happened to have just started watching a few weeks ago and am in love with. Her face lit up.

We love the show for similar reasons. The South Korean show is about an attorney with autism but connects on several deep levels. At its core, it is a show about inclusivity, kindness, warmth, and respecting others. It’s one of the only shows she’s comfortable watching with her 7-year-old, and we agree there’s nothing like it on American television.

As she puts it, “When you see someone different, it’s human nature to distance ourselves when we should be warm.”

Funny how the conversation all fits in. Companionship, inclusivity, intimacy = extraordinary.

12 Hour Sound Machines: A Podcast Success Story

A couple of weeks ago in the Tuesdays With Coleman blog “Brand Growth Inspiration from Lofi Girl,” I mentioned 12 Hour Sound Machines, a podcast created by a father who couldn’t get his son to go to sleep. The podcast, which he simply created for himself to play on the smart speaker in his son’s bedroom (“If there was a private toggle, I would have turned it on”) now gets 300,000 listens a day and is approaching 80 million total downloads.

I spoke with Brandon Reed, the creator of 12 Hour Sound Machines, who shared lessons from his launch for current and aspiring podcasters.

12 Hour Sound Machines podcast

12 Hour Sound Machines creator Brandon Reed

 

The genesis of 12 Hour Sound Machines was a need based on what was currently available. To help his crying child, he first tried an air filter. It wasn’t loud enough. He looked online and found the sounds he was seeking either weren’t long enough, were multiple tracks put together that faded in and out, or he could hear clicks when they looped.

And so, he made his own 12 hours of brown noise. No fades, no loops, no clicks.

The night he posted it online, he needed a name and was exhausted. So he came up with, as he puts it, “the most straightforward thing imaginable,” 12 Hour Sound Machines. He made a thumbnail in three minutes and turned it on.

In the beginning, Reed says people started finding it organically (about 30 downloads a day) and he wondered why people besides him were listening.

Even though he made it available on all podcast platforms, it was Spotify where the magic happened. Here’s his explanation:

“My offering is pure utility value. People don’t care that it’s a podcast. They don’t treat it like a podcast. They just need white noise to help them sleep. People were already using Spotify to get sounds and noise. So they type in “sound machine”. Because I was first in, I had an algorithm advantage. They see 12 hours in the name, and they click.”

And so, 12 Hour Sound Machines grew and grew, mostly on Spotify, almost entirely organically. It wasn’t until it crossed the 50,000 daily downloads mark that Reed started thinking about it as a business. He was a podcast consumer but didn’t know the industry side. So, he started learning and studying.

At 75,000 downloads per day, he started looking into monetizing. His hosting platform at the time, Anchor, released a subscription model. He kept a free level of sounds but added 25 additional sounds for 2.99/month to see if people would pay.

They did.

Last Summer, Brandon Reed turned ads on for the first time, recognizing it had to be pre-roll (it wouldn’t be on brand to interrupt a 12-hour sound machine with a commercial). Despite some initial angry responses from a few listeners, it hasn’t stopped the growth.

He hasn’t left his day job working on apps for Disney, but he’s sure got one impressive side hustle. What he’s learned provides a valuable road map for anyone looking to create and monetize a successful podcast. Here are three takeaways:

  1. Find an unoccupied lane and fill it. Blue Ocean Strategy (finding unoccupied market space in the clear “blue ocean” rather than competing in the shark-infested “red ocean”) worked in this case, even if it was by accident. Reed identified a need and served it. Everyone needs a good night’s sleep.

 

  1. KISS (Keep It Simple, Stupid). He says coming up with the name of the podcast quickly was the result of exhaustion, but “the most straightforward thing imaginable” is usually the right thing. Find out what consumers are searching for (i.e., sound machines) on what platforms (i.e., Spotify) and name it the way they would search for it and describe it.

 

  1. Don’t try to do it alone. Reed recognized early on that his podcast couldn’t scale and be successful without help. That meant bringing on a support team that included a website developer and audio engineer so he could focus on business development.

I’ll leave you with his perspective on a mistake he often notices people and companies make.

“What so many people do, with any idea or product they’re trying to build, they think, if I build it, they’ll come. If I just build the coolest widget, the most awesome service, the most unique and innovative product. Then they give it to the world, and it doesn’t catch on. So, they say, “nobody wants it.”

It’s not that nobody wants it. It’s that nobody knows about it, or the wrong people know about it.

What this showed me is that if product market fit is right, if you just give people what they need, then they will come. And they will buy.”

Ask Me Anything – Episode 2: Podcasting

Welcome to our new Ask Me Anything webinar series!

Each month will feature a different topic, as we cover questions related to research, branding, and marketing strategy in audio entertainment – all in just 15 minutes!

In this episode, consultants Jay Nachlis and Meghan Campbell, along with moderator and Director of Client Services Kimberly Bryant, discussed “Podcasting”. Watch the 15-minute video below:

Questions We Answered:

  • 03:19 – What’s a podcasting strategy you’d recommend?
  • 06.46 – What’s the most important think for a podcast to present in the first five minutes?
  • 09:18 – Should radio morning shows upload their entire show or create an after-show podcast?
  • 13:02 – What kind of podcast research do you recommend?

 

YouTube Music and Spotify on the Podcast Branding Carousel

As I reflect on the past week in Las Vegas at the Podcast Movement Evolutions conference, I’m thinking about two recent announcements that will have a significant impact on the podcasting industry. The first announcement, made the week prior at the Hot Pod Summit in New York, was revealed by YouTube’s head of podcasting, Kai Chuk.

YouTube will begin featuring audio and video-first podcasts on its YouTube Music platform.

The level of YouTube’s prowess for podcast consumption and discovery and this move was widely buzzed about in Vegas. For many podcasters, how to utilize YouTube effectively is a conundrum. Unlike audio-only platforms like Spotify and Apple Podcasts, YouTube cannot pull your show in with an RSS feed, which automatically populates artwork and show notes, and results in the user-friendly displays and players you see on audio platforms. Therefore, podcasting on YouTube can be a clunky, manual process. Discovery can be difficult and sorting chaotic. Because there’s no RSS feed, podcast analytics are a challenge, and thus monetizing becomes a pain.

Within this context, YouTube’s move makes sense. By offering podcasts on YouTube Music, it will pull in RSS feeds and should be easier for podcasters to set videos as podcasts on YouTube Studio. But YouTube’s biggest challenge has nothing to do with easing functionality for podcasters and listeners.

It faces a massive branding challenge.

According to Viralyft, YouTube has over 2.68 billion active users globally as of September 2023. YouTube Music just surpassed 80 million subscribers. YouTube is where podcast listeners are. YouTube Music is where they want them to be. In theory, it will create more paid subscribers for YouTube Music and it will offer an ad-supported version if you don’t want to pay for it.

But YouTube Music is not a podcasting platform today. It never has been. It has “music” in the name and will attempt to grow using a spoken-word medium. It will take an immense effort to educate consumers of YouTube Music’s new role as a podcasting platform, one with no guarantee of succeeding. It may be challenging to improve the podcast experience on YouTube, but that feels like the more logical branding play. YouTube Music as a podcasting platform will start as a weak brand in the podcasting space, and we won’t know the quality of the content until its planned launch.

Anchor, one of the top podcast hosting platforms, was acquired by Spotify in 2019 and it benefitted from the unique new show boom that was fueled during the pandemic while people were at home. The number of active podcasts inflated. One of the things that supercharged Anchor’s growth was the fact that it was, and remains, a free hosting service and attracted beginners. This is in contrast to the $15 or so monthly fee that most hosting platforms charge to house your podcast, distribute to multiple players like Spotify and Apple Podcasts, and provide a level of analytics.

Then, all of a sudden last Wednesday at Spotify’s Stream On event, the company announced it would change the name of Anchor to Spotify for Podcasters. If you do a Google search for Anchor podcasts, you may see Anchor in the listing but you’re redirected to podcasters.spotify.com with a long explanation of why Spotify for Podcasters will be better. Among those improvements include the ability to upload video podcasts to Spotify and more advanced analytics.

Just as time will tell if YouTube’s launching of podcasts on YouTube Music will work, we’ll have to see how Spotify’s dropping of the Anchor (sorry, too easy) plays out. The company didn’t spend time leading up to the change educating and informing consumers it was coming. Many users will be confused when greeted with the new name. Spotify is a podcasting player, not a hosting platform for podcasters. Its challenge will be to convince current users to stay, as well as educate consumers about Spotify’s new role as a hosting platform.

In time, both initiatives may succeed but each will be undeniably difficult. Changing brand perceptions to influence consumer behavior is one of the most difficult tasks a marketer will face. We look forward to watching both closely.

The Podcast Analytics Overload

Ever thought about how we’re living in the golden age of quite a few things?

Not that long ago, Sam Adams was the best craft beer option if you didn’t want a Budweiser or Miller Lite. Today, breweries dot the landscape with a multitude of options ranging from Lagers to Porters to IPAs.

We’re certainly living in the golden era of content. If you’re like me, you have a “content queue.” I’ve got at least six or seven recommended TV shows on streaming services I want to get to but haven’t had the time. Same for podcasts. There are three or four True Crime podcasts alone I keep meaning to start.

Speaking of podcasting, as I just returned from another content-rich Podcast Movement conference in Dallas, it strikes me that the industry is in the golden age of analytics.

In contrast to the radio industry, which relies almost exclusively on ratings services like Nielsen and Eastlan for its measurement, the podcast industry has so many tools to navigate it can be overwhelming. Generally speaking, it’s a great thing. Podcasters can easily access analytics directly from platforms like YouTube and Apple. Hosting platforms like Blubrry, Libsyn, and Anchor offer at least a baseline of statistics with a subscription that can cost as little as a few bucks a month and more for an additional charge. And in contrast to radio stations that hope and pray that the sample size will be reasonable, and ratings won’t show a strange inexplicable rollercoaster, if the software shows someone has listened to your show, they’ve listened to your show.

Chartable is an example of software that does a great job of taking analytics a step further. Some of these features include providing some demographic information, episodic retention analytics, and via Apple and Spotify integrations, the percentage of each episode that was completed. While all these analytics are extremely valuable and provide an important service to podcasters, they may also provide a bit of false comfort. Meaning, just because so many analytics are available doesn’t mean podcasters are getting all the data they need.

Example of a Chartable dashboard

As the radio industry learned a long time ago, ratings information can only tell you so much. Ratings tell you how people behave. They don’t tell you why they behaved that way. When you rely on ratings information to make programming and content decisions, bad things can happen. If the morning numbers sink three months in a row in radio, does it necessarily mean the show has suddenly declined in popularity or its content decisions suddenly deteriorated?

It does not.

Over years of doing research studies for radio, we’ve seen occasions where ratings declines made all kinds of sense, because the study indicated problems existed. Other times, we’ve seen stations with extremely healthy perceptual profiles go through extraordinary ratings slumps. Because we had a line of sight to that information, we were able to encourage the station to avoid rash programming decisions, and more often than not, the numbers came back around.

The sheer volume and reliability of research that tells you the “what” in podcasting is extraordinary. As podcasting matures, the medium must start embracing deeper levels of qualitative analytics that explain the “whys” of behavior. It is indeed helpful to learn at what point in an episode listeners tend to leave. But if you don’t know the reason why they’re leaving, you risk making the same kind of dangerous assumptions a radio programmer might make in a bad ratings book.

Podcasters who invest in a deeper understanding of their consumers’ behavior will have the best shot at creating strong, lasting, memorable brands. Now is the time to take the leap.

How to Bring Messaging to Life

The new “911” commercial for the Apple Watch 7 series is absolutely amazing.

From the outset, you hear audio of three actual calls to 911: a woman whose car has flipped and is upside down in water; a paddle boarder stranded in the middle of the ocean; and a man who fell 21 feet and broke his leg. After nearly a minute of listening to audio from the three scenarios, we learn that all three were able to call 911 from their Apple Watch (and likely couldn’t get to their phones). The takeaway? Apple Watch helped save their lives.

This is an extraordinary example of how to use messaging to sell a core feature of a product. Because if Apple’s focus was on functionality, it would have sounded like this:

“The Apple Watch Series 7. If you’re in an accident or in trouble, you can make a call right on your watch, and it could save your life.”

Which is more powerful and effective—telling us what it does or playing the 911 audio?

How would these approaches play out in radio and podcasting?

A news station could do traffic reports…or it could present the reports in a way that help you understand how long it will take to get to work and will affect your commute. It could do weather updates…or it could present them in a way that helps you understand what to wear that day and how it may affect your plans throughout the day and evening.

A hit music station can just tell you it plays hit music, or it can bring the position to life, affirming it as the source for new releases, updates about which artists are in the studio, and who’s coming in concert.

A sports station can tell you Tamp Bay Buccaneers wide receiver Antonio Brown left in the middle of the game, or it could piece together a moment-by-moment drama.

A true crime podcast can just tell you the story, or can it provide an immersive audio experience that includes scripted reenactments.

Although it’s been used as a pop culture joke over the years, “I’ve fallen, and I can’t get up” is one of the most powerful taglines ever used in advertising. It was first uttered in a 1989 commercial for LifeCall, which allowed an elderly woman to call for help right from a pendant with a microphone that could reach a dispatcher.

Like you can do with your Apple Watch!

But what if LifeCall had just had a voiceover tell us, “Wear the LifeCall pendant, and you’ll be able to reach a medical dispatcher. It could help save your life.”

Would that have worked as well as, “I’ve fallen, and I can’t get up?”

“The Apple Watch. Now with life-saving technology.”

Or 911 audio?

What messaging will you bring to life today?

Blue Ocean Strategy for Podcasting

Coleman Insights founder Jon Coleman introduced Blue Ocean Strategy to Tuesdays With Coleman blog readers late last year in “Should Radio Go Back to Normal.” In short, brands that find themselves in heavily competitive crowded market segments are in metaphorical shark-infested, blood-laden waters. Hence, Red Ocean. On the other hand, some brands have established unique points of market differentiation in the minds of the consumer. This clear lane is the Blue Ocean. A few months ago, it struck me that podcasting resembles a Red Ocean in a number of ways. It is dotted with millions of shows whose names, logos, hosts, structure, and production sound similar. I wondered if there was an opportunity for podcasters to apply Blue Ocean techniques that brands in other market segments have successfully used to differentiate and make the competition irrelevant. That’s how the idea of my presentation, “Create A New Lane: Using Blue Ocean Strategy To Get Your Podcast Noticed,” which I shared at the Podcast Movement conference in Nashville last week, began.

As Jon pointed out in his December blog, Blue Ocean Strategy may have value for underperforming radio stations. Is it better to live in the shadow of a dominant competitor or blaze your own trail? When, for example, a station in your cluster is the third highest-rated CHR or second highest-rated Country station, is it more strategically advantageous to choose an untapped or underserved lane?

One way to look at available opportunity in podcasting is by reviewing the number of shows in each category in Apple Podcasts. For example, the general Science category has over 30,000 shows. Chemistry, a subcategory of Science, has only about 900. Should you publish a general Science podcast that may cover Biology in one episode, Physics the next, and Chemistry the next…or do you publish one that focuses specifically on Chemistry, hyper-targeted to those interested in the topic?

The Religion category is a massive Red Ocean, with over 150,000 shows. Christianity is a subcategory of Religion but is its own Red Ocean at over 90,000. Yet Hinduism, observed by 15% of the world’s population, represents less than two percent of the Religion category. Not to mention that India is the third largest podcast listening market. Whereas Religion and Christianity are Red Ocean, Hinduism is Blue Ocean. The most underserved categories? That belongs to swimming and volleyball, at only about 130 shows each. Total. As James Cridland of Podnews likes to say, “If you can’t rank in the Top 150 for swimming, you’re doing it wrong.”

This Red/Blue Ocean exercise can also apply to topics as opposed to categories. The Golden State Warriors are a hugely popular NBA franchise. If you search for “Golden State Warriors podcast,” Google’s algorithms will offer you many suggestions of shows that cover this topic. But do the same thing for “Stephen Curry podcast,” and you’ll find none. Zilch. Zero. But Google will recommend a golf podcast. Curry is one of the most popular athletes of all-time, yet there is seemingly no podcast focused on him. If you launched both today, which would have a better chance at acquiring new listeners? A general Warriors podcast amongst a sea of established Warriors podcasts or a Steph Curry one? The Golden State Warriors are Red Ocean. Stephen Curry is Blue Ocean.

Stephen Curry Podcast

A Google search for “Stephen Curry Podcast” shows a wide open Blue Ocean opportunity

Apply this exercise to your content, as a sales consultant that attended my session did. He explained to me that his podcast offers broad sales advice. The name of his show implies broad sales content. Now, he’s thinking about how to focus his show. He’s considering his target listener. Is it C-suite level? Sales managers? What market segment? A company that sells software for used car dealers has a podcast called – you guessed it – The Used Car Dealer Podcast. It’s a great brand building and lead generating show for them, though they wisely don’t use the show as a commercial. A podcast for car buyers (or even car dealers) is Red Ocean. A podcast for used car dealers is Blue Ocean.

When deciding to adopt Blue Ocean Strategy for your podcast, it’s important to remember you should not just pick a category or topic because it is underserved or narrowly focused. The content still has to be great. You must have a level of expertise, and put in the research and the work to make it so. But if you do, and the category or topic are Blue Ocean, you are increasing your chances of success.

Finally, it’s important to remember that Blue Ocean strategists don’t differentiate with just one thing. The greatest Blue Ocean brands differentiate in multiple ways. That means thinking about all the things podcast listeners see when they search for shows. The thumbnails look alike. The descriptions sound the same. The structure and production value is similar. Make a list and consider how you would Blue Ocean each item. The show name. The logo. The description. The sound. The host. The category. The topic. And so on.

Next stop: Blue Ocean!

The Year Ahead, Part 2

Tuesdays With Coleman

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

WARREN KURTZMAN:

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.

JOHN BOYNE:

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.

WARREN KURTZMAN:

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.

SAM MILKMAN:

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.

JOHN BOYNE:

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.

WARREN KURTZMAN:

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?

SAM MILKMAN:

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.

JOHN BOYNE:

There’s so much room for growth with podcasting. We don’t know what the ceiling will be.

SAM MILKMAN:

Let’s stop treating podcasting like it’s a nascent category; it’s part of the lives of so many people.

JOHN BOYNE:

Yet there are still so many people who haven’t tried it yet.

WARREN KURTZMAN:

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.

SAM MILKMAN:

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.

WARREN KURTZMAN:

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.

JOHN BOYNE:

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.

SAM MILKMAN:

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.

 

 

Coleman Insights to Present Outside Thinking for Podcasts Webinar

RESEARCH TRIANGLE PARK, NC, August 20, 2019 – Coleman Insights will offer a webinar for the broadcast and podcast industry that introduces a breakthrough strategy called “Outside Thinking,” and details specific ways to apply the strategy to podcasting to build stronger brands.

In this webinar, attendees will learn to view podcasts from the perspective of the listener and understand what behavioral factors influence their decision to consume it. In addition, presenters Warren Kurtzman and John Boyne of Coleman Insights will share headlines from a recent Coleman Insights podcast research study.

Coleman Insights President Warren Kurtzman says, “While at Podcast Movement, we couldn’t help but sense podcasting approaching a tipping point. We’re excited to offer this content to those who couldn’t make the conference presentation, and hope everyone interested in building podcasts into strong, memorable brands joins us for this webinar.”

Kurtzman and Boyne will present “Outside Thinking for Podcasts” Thursday, September 12 from 2 PM-3 PM EDT.

Registration is now open for the webinar here.