How have brand and advertiser demands changed in relation to radio?

Pippa Chambers
By Pippa Chambers | 6 November 2017

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.

Only in print

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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