The Power of the List

In recent weeks there’s been a flurry of talk about radio station play-lists; how they’re shaped; and the concept of who should drive that “play-list curation”. Historically, the Program Director has held the power, using a bevy of music research tools to manage and define what the average listener expects and wants to hear on their “favorite” radio station. And, to be honest it’s worked pretty well over the last 60 plus years since TODD STORZ first crafted the idea of a selective, rotated music format.

It also made listener capture somewhat of a one-sided music no-brainer in an era when radio was basically the only source to universally find out about and hear music. Lack of ability to really participate translated to inherent trust by the listener that their favorite radio station would not only play the “best” of what was available, but also expose the newest and most exciting songs and artists. In a broad sense, the perfect storm lived in that premise and synergy between artist, record company and radio for several decades, and essentially “curation” of the “play list” and the output.

Even today, the success of reality shows like AMERICAN IDOL are built around curation and the idea of a broader and trusted initial choice; but the success lies in that it comes with a viewer caveat. Show screeners and IDOL judges will carefully whittle-down 10,000 hopefuls in a city to a selection of 20 or so well-balanced prospects for public consumption; but the listener/viewer’s moment to preview, and approve or disapprove the choice does come thereafter. With a clearly pre-determined “IDOL” intent in terms of talent and appeal, those twenty will run the gamut from potentially great to abysmally embarrassing, and be addictive viewing because of it. The occasional instant “pants on the ground” TWITTER/YOUTUBE type moment will be thrown in, creating a global ripple outside-the-box. Again, easy to do in a spontaneous-combustion interactive world of 30 million plus audience who collectively witness the moment, and make it a valuable extension of the brand. It also reinforces the notion that such shows really do give “people a shot they wouldn’t otherwise get”, like all “reality” shows. In terms of the viewer/listener, whether interactive, vicarious or almost voyeuristic, it all means the media experience and consumer proposition has irrevocably changed.

Today, the listener/viewer expects, and gets to be actively and instantly engaged in the "list" curation, in the process at some point, and in the creation of their chosen product.

For radio, giving access to “curation” of content beyond the programmer, or for that matter, even contemplating the idea of relinquishing or handing over levels of curation to a different dynamic, may seem a daunting thought as commercial broadcasters everywhere tackle another year of challenging ROI and new business models.

Fact is, the radio medium is now part of a media plurality that demands participation and an active “say” from those who use it. It is central in the psychology of today’s consumer, and to every business model going forward.

In fact, curation has always been with us. It’s what shapes most everything we hear, see, do, use, need or want throughout our daily lives. From the halls of galleries and museums, to the shelves of supermarkets, and casts of TV reality shows, “choice within a choice” is everywhere. It takes away some of the confusion and chaos of fragmented abundance; and just plain makes life a little easier.

Giving radio’s listeners what they want to hear for their listening enjoyment is what we always aspire to do. Giving all listeners the opportunity to be an instant part of the decision-making process in creating that enjoyment, because now we finally, really technically can, changes radio and gives it a new relevance for every single listener.

The power is truly again in the “list”… just as it was when TODD STORZ first watched kids stacking their songs on a jukebox, and adding to their lists, over 60 years ago… only now it can be much better.
LDR’s “crowd-casting” empowers Program Directors to “listen” too, to the listeners; and implement and manage music lists with a totally informed and decisive ear on their market. The PD can activate the knowledge gathered from those listener lists, when and where it is wanted across their media-cast platforms...and empower their listeners and their brand with new relevance.

For more on creating your “LDR MUSIC LISTS” contact:
LEE CORNELL VP/Affiliate Relations cornell@listenerdrivenradio.com
U.S. +734 2554894