Antiochus
Member
Or, why the modern radio stations have continued to be reviled and despised for their ever declining quality. At this point, it appears to be a case of tail wagging the dog.
http://online.wsj.com/news/articles/SB10001424052702303754404579313150485141672?mod=trending_now_5
http://online.wsj.com/news/articles/SB10001424052702303754404579313150485141672?mod=trending_now_5
Synth-pop band Capital Cities has plenty of songs on its debut album that it wants to promote as singlesif only radio programmers would allow it.
The band's hit, "Safe and Sound," is the only song most fans have heard: it has been playing on the radio for more than two years. And because so many listeners now know the song, which peaked last year at No. 2 on radio's Top 40 chart, stations are afraid to take it out of rotation.
"'Safe and Sound' just wasn't going away," said Capital Cities' manager, Dan Weisman, who postponed plans last fall to promote the band's second single until later this year. "You don't want to shove it down people's throats if they're not ready to move on."
Faced with growing competition from digital alternatives, traditional broadcasters have managed to expand their listenership with an unlikely tactic: offering less variety than ever.
The strategy is based on a growing amount of research that shows in increasingly granular detail what radio programmers have long believedlisteners tend to stay tuned when they hear a familiar song, and tune out when they hear music they don't recognize.
The data, coupled with the ballooning number of music sources competing for listeners' attention, are making radio stations more reluctant than ever to pull well-known hits from their rotations, extending the time artists must wait to introduce new songs.
The intensifying repetition is largely a response to the way radio stations now measure listenership. Six years ago the industry began tracking listeners in many radio markets with pager-like devices called Portable People Meters, which monitor all the stations that selected listeners hear throughout the dayin their homes, cars or public spaces. Radio programmers can watch how many of these people tune in and out when they play a given song. In the past, the same listeners recounted their listening habits in handwritten diaries that were far less detailed or accurate.
Veteran radio promoter Richard Palmese said he tells programmers they should spin a new song at least 150 times during peak listening hoursbasically rush hoursbefore they draw any conclusions about whether fans like it or not, since many songs take time to grow on people.
But that can be a hard sell. When Mr. Palmese first asked Top-40 stations to play The Lumineers' acoustic-guitar-driven single "Ho Hey" in 2012, for example, many responded incredulously, making jokes along the lines of: "What are you giving me, a Peter, Paul and Mary record?"
Mr. Palmese gave up and set out to land the record on adult-alternative stations instead; six months later it peaked at No. 2 on the Top 40 chart.
Sometimes there is simply no room for new tunes, despite a programmer's wishes. Ebro Darden, vice president of programming at New York's Hot 97, said he didn't have the space to immediately add a single from Wiz Khalifa's album "O.N.I.F.C." when it came out last winter, even though he liked it, the record label had bought ad time, and Mr. Khalifawho would come in to do promotional interviewsis one of hip-hop's biggest stars.
In the new intensely scrutinized world of radio, said Mr. Darden, "taking risks is not rewarded, so we have to be more careful than ever before."