Tag Archives: Steve Reynolds

How Can Harley-Davidson (and Radio Talent) Remain Relevant?

Tuesdays With Coleman

Two years ago, our Vice President of Research Operations David Baird wrote a blog post called, “Harley-Davidson Has More Problems Than Tariffs.”

Published in July 2018, it would become one of the five most-read Tuesdays With Coleman blog posts of that year. But the remarkable tale of that post was how it gained popularity with time. When we calculated the stats at the end of last year, “Harley-Davidson Has More Problems Than Tariffs” was the most-read post of 2019.

The Harley-Davidson blog post is about a brand that has struggled to evolve and maintain relevance. When a company makes attempts to evolve, it often violates the brand (e.g., introducing an electric motorcycle under the Harley-Davidson name when your brand is known for big, loud fuel-injected bikes). Last week, Personality Coach Steve Reynolds shared “How Harley-Davidson Killed Itself,” a video posted less than a month ago by a Canadian motorcycle blog that already has close to two million views. It offers a number of reasons for the company’s struggles, including some misguided attempts at evolving due to brand violations.

Steve works with morning radio talent, most of them established shows with deeply ingrained audience perceptions (like Harley-Davidson). As Harley-Davidson attempts to keep younger consumers engaged and interested, David’s blog post and video inspired Steve to share how he works with shows to remain relevant, including to people younger than themselves.

Here are Steve’s thoughts:

Will Harley-Davidson be successful in converting a younger audience to buy cheaper, faster, environmentally-friendly bikes? Most importantly, can a heritage brand known for something different effectively evolve?

It worked for Netflix–they seamlessly transitioned from DVD-by-mail to streaming dominance.

It didn’t work for Kodak–though the once dominant leader invented digital photography, it could not shift past its image as a traditional film company.

All radio talent will inevitably “age out.”

Any talent’s center of relevance stays the same. I will always be a child of the 70s.

That’s informed by my year of birth and formative years. To stay relevant, I must be inquisitive enough in life to gather a take on whatever is going on now because the audience wants to be connected to them, too. That I don’t personally care for The Bachelor doesn’t disallow me to have a working knowledge and take on it. I can only get that by experiencing it. Ditto every other relevant topic. The work of every talent is to be curious enough to fall down the rabbit hole of news articles, TV stories, YouTube videos, etc. on every topic to twist and turn their perspective.

Personality Coach Steve Reynolds

In the case of one major market Contemporary Hit Radio (CHR) show I work with, I used to always remind the principal talent that I’d get concerned if I heard them talking about college visits with their kids on the air. Why? Because the typical disconnect would happen with the core audience. Younger demos would say, “I cannot relate to these people because they’re my parents.”

The show hosts just celebrated their 20th anniversary together and continue to add relevant brand depth to the station because they’ve added fresh perspectives to the topics of the day from people in the demo – by using callers, interns, and new cast members – which has allowed them to just be themselves. They’ve actually heightened the show’s age relevance because of these strategic decisions.

Many shows I work with admitted to their audience when discussing the recent protests that they cannot understand the African American experience because they were White – that vulnerability defined them. Then, one invited on their show a Black pastor just so they could learn and listen. I found it to be immensely powerful and relevant to the moment.  It never got political, but was always human, real, and moving. It was deeply relevant on that day.

Relevance is this elusive term that means: we’re about what’s happening now. It’s why you see so many brands aligning themselves with messaging that parallels whatever is happening in the current news or pop culture cycle.

The goal for every talent should be to find interesting angles that inform them, from which they develop a perspective based on more than a tertiary knowledge about something because they saw it on their Facebook page.

If you want a brand and talent at their peak of relevance, especially for talent who’ve been around a while, don’t let them off the hook with poor excuses like “our audience isn’t into that” or “I don’t personally care.”  For connection, we all must dig deep to learn and read about the “now topics”, both silly and serious, if we’re ever going to bond with listeners to have a substantial relationship with them so they come back every day because they cannot get that connection and humanity anywhere else.

But what about the brand? Perhaps why, despite their recent innovation, Harley-Davidson is struggling is because they waited too long to pivot. If you release a bike that looks like a Ducati, rides like a Ducati and is even technically better than a Ducati, it doesn’t matter–Ducati was first and owns the image. Harley’s path to victory is immensely more challenging because they weren’t first.

Kodak may have been able to pivot to digital photography (Kodak invented the digital camera in 1975!) but was afraid to cannibalize its film business and waited too long, allowing Japanese competitors to win the image.

Netflix, on the other hand, pivoted early, becoming the streaming leader before any other brand could.

The key for the evolution of talent and the path to remaining relevant is always to recognize what’s relevant in every moment, bring in other players with perspectives that mirror the audience, and remain vulnerable and honest.


The Misguided Allure of Deep Tracks

Tuesdays With Coleman

Don’t get radio talent coach Steve Reynolds started on deep tracks. Wait, it’s too late. It all started June 2nd at 11:53am on his Facebook page, when he posted this:

“Dear Yacht Rock Radio on SiriusXM: welcome back, happy summer, missed you, but…you’re playing lots of unfamiliar music and songs that are stiffs. Please get back to the cheesy, known songs only.”

That initial post regarding the seasonal soft rock channel inspired 41 comments, including chime-ins from some pretty big name radio people.

But Steve was just getting started. An hour later he posted this:

Sirius XM Yacht Rock Radio

A few days later, he asked his followers to “report all non-yacht songs heard on Yacht Rock Radio,” a post that resulted in 80 comments.

To date, the topic has generated hundreds of comments. We were intrigued enough to cover the topic in this week’s blog.

Steve takes issue with two separate points in his posts. One is the playing of “stiffs”, or unfamiliar songs, and the other is songs that he feels don’t make sense on the station.

The Fit measurement we use in our FACT360 Strategic Music Tests can tell you when a song may not be in sync with your brand. I covered this topic in the blog, “Should I Play That Song On My Radio Station”.

When it comes to the former issue, whether or not to play deep tracks, here is an absolute truth—every radio program director or music director, at some point or another, has felt the allure of playing lesser-known songs or songs that weren’t hits on their station. It may be a caller on the request line, a salesperson or the programmer questioning himself. And when a PD has to make the decision on whether a deeper track makes sense, the first questions to ask are:

  • Who is your audience?
  • Why are they listening to you and what are their expectations?

SiriusXM, for example, has a deep tracks channel, where the perception Steve noted on the Yacht Rock channel would be reversed. If you hear a hit on the deep tracks channel, that would not be delivering to expectation.

This aligns with the very reason why Steve explains he was inspired to write the post in the first place.

“Yacht Rock brings me back to a happy, carefree time,” he says. “The role of the Yacht Rock channel for me is nostalgia. When a comfortable, familiar song like ‘Deacon Blues’ by Steely Dan comes on, for example, it makes me smile. I don’t want to have to use brainpower when I’m in this state. When a song comes on I’ve never heard of in this context, now I’m using parts of my brain to think about whether I know it and what I think of it. That’s not why I’m there.”

Sirius XM Yacht Rock Radio

Rupert Holmes has one hit with staying power. This isn’t it.

Context plays a crucial role. AAA stations often have perception of more depth that may allow them to go deeper than a Hot AC station, for example.

If listeners expect their favorite songs on your radio station, the only way to satisfy them is by playing something familiar. But with deep tracks you can’t do that because the very premise of a “deep track” is that you can’t find one that appeals to everyone.

Here’s another example:

Years ago, I drove across the country listening to Creedence Clearwater Revival. I love CCR. My deep is CCR, so I can listen to songs that are unfamiliar to most. For a Classic Rock fan, someone else’s deep may be The Eagles and another’s may be Aerosmith. For a hit music station, the expectation, of course, is hit music.

Creedence Clearwater Revival

We are in the business of satisfying customers (listeners) that come to our stores (stations).

We know through research that you can’t find any song—even the biggest, most popular hit song—that appeals to all your listeners.

And you certainly can’t find a deep track that appeals to all of them. Why would you minimize the percentage of customers that are likely to be satisfied?

Steve Reynolds makes a living coaching radio personalities, and he sees a parallel between program directors deciding which music to play and air talent deciding which content to feature.

“As you’ve said many times, Jon, every song is a marketing decision. Is that the song you want representing your radio station? Not just some songs. Every song. I tell air talent, every second of time you have on the station is like beachfront property. You’re the developer. What will you erect on the property? Is it the 4-story home with panoramic views of the ocean and a pool or is it an apartment with no views? Are we selecting our very best, most appealing content every time? It’s the same thing with songs. Are we playing our best, most appealing songs every time? If not, why?”

This doesn’t mean that you never take chances and color outside the lines. As referenced in “Should I Play That Song On My Radio Station,” you can be entrepreneurial in your own lane. You can’t be entrepreneurial in your fringe lanes.

As Don Benson, the former CEO of Lincoln Financial Media puts it, your format lane gives you license to introduce your audience to songs and even sounds they haven’t heard. When you play outside your lane, you risk losing listeners and may encourage brand erosion.

So when it comes to deep tracks, determine:

  • Who is the audience?
  • Why are they listening to you?
  • What are their expectations?

If, in this framework, playing deep tracks makes sense, great.

If not (and it most cases it will be “not”), remember you’re in the customer service business. Providing the most appealing product is the key to success.