This is a free excerpt from AdNews print magazine October edition. You can download a digital version of AdNews and subscribe to the premium print edition here.
Radio is much more than on-air. It’s increasingly an on-demand medium, converging with podcasts, streaming, local pop-up gigs and major global events.
In the commercial stakes, there’s also stacks more sophisticated integration opportunities. Take Nova Entertainment’s Red Room appearing on Channel Ten’s The Bachelor as a great example. While a pair of puppy-eyed lovers swayed to the tune of James Blunt, Nova’s brand seeped into the eyes and living rooms of a seriously lucrative and engaged TV audience.
Major publishing powerhouse Domain recently tapped Macquarie Media for a ‘talking lifestyle’ live segment. And of course least we forget the now inescapable and fiercely competitive podcast market.
Audio integrations started on radio and continue to shape radio programming and the role of on-air talent. But how have the demands from brands and advertisers changed within radio? AdNews is told that unlike other markets, such as the UK, “where half of the requests here would never happen in London”, Australian advertisers can be far more demanding when it comes to getting the hosts to do things, with some requesting that the hosts and talent ‘must’ read out certain promos as opposed to a generic voicevover.
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It’s commonly thought that integrations with hosts and content generates better results but not all are convinced. Brands in Australia are “always trying it on” when it comes to pushing product into the mouths of hosts, one top radio exec tells AdNews.
We speak with Nova’s Kate, Tim & Marty drive show host Tim Blackwell; head of advertising at HCF Vanessa Veo; head of marketing at Michael Cassel Group Julie Ott and CEO of Iconoclastic Entertainment Ben Parsons. Subscribe here.
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