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Marketing Triple J: 21st Century Communication Strategies for Radio


I was in Melanesia last week, chiefly to climb a volcano, but also to have a good long chat about marketing strategy with Stuart Mathison, who is the Head of Operations of the National Bank of Vanuatu. Stuart is a client of ours and he’s got a problem. He is responsible for running an (underfunded) government-owned organisation that is duty bound to provide a loss-making service to a rural nation, but he also has to compete for profit in the cities (where the money is) with a bunch of foreign-owned banks that have a virtually limitless PR budget and advertising spend. Stuart has a brilliant brand with some amazing stories (for example, their mobile banking reps travel on speedboats to reach isolated island villages), but in order to get the message out there he’s got to find some innovative and alternate ways of reaching his audience because he hasn’t got the money to compete with ANZ and Westpac. What he is going to do will make an interesting blog post one day, but it’s too early to say too much just yet.

It got me thinking though. The kinds of innovative marketing strategies the National Bank of Vanuatu are going to have to put in place aren’t that different from the kinds of strategies that can be employed by underfunded government organisations around the world. One of those that is quite dear to my heart is Australia’s national youth broadcaster Triple J. When I started this blog I had a long list of things I was going to write about, one of which was going to be a series of posts on how to use digital strategy to market a range of different organisations circa 2008. ‘Bank’ was on that list, and I’ll get there one day, but I think a more interesting post for the moment would be ‘how to market Triple J’.

Triple J is the youth arm of the Australian Broadcasting Corporation, encompassing a national radio station, some TV shows, a magazine and a number of websites. It has a lot of diehard fans and a national audience numbering in the hundreds of thousands, but in an era where iPods, online file-sharing and YouTube have become the kids’ tools of choice for finding and experiencing music and entertainment, Triple J’s marketing team has its back against the wall. It needs to fight back, and it needs to change the way it operates.

Triple J’s aim is not to win the ratings war, and it shouldn’t be, but the more people it can reach, the better it will achieve its goals under the ABC charter, namely: encouraging and promoting music and the arts, informing and entertaining the youth of the country and contributing to a sense of national identity that reflects Australia’s cultural diversity. The yardstick shouldn’t be ears listening to any particular radio program or eyeballs viewing a show, it should be how well the organisation achieves its goals. It goes without saying that it has a much better chance of achieving those goals successfully if it can win over people who aren’t currently paying attention.

There are a number of groups of people who aren’t currently paying attention and Triple J’s marketing and branding goals should be to wake them up, they are:

  • People who listen to competing stations and consume other competing media
  • People who listen to their iPods (and digital radio) instead of FM radio
  • People who consume online media instead of magazines and TV
  • People who currently listen to Triple J, but not as often as others
  • Bands and solo artists

And of course, that’ s not to mention the need to keep existing listeners and viewers informed.

Here’s what I think Triple J should be doing for each of those groups…

People who Listen to Competing Stations and Consume Other Competing Media

No matter how good Triple J’s bumper stickers are (‘It was either this or a Jesus fish’ was one great example), no matter how much media attention the (brilliant) ‘Beat the Drum’ competition gets and no matter how many promos Triple J runs for itself over the airwaves and on ABC TV, it’s not going to make any significant impact on those who are currently listening to competing stations and consuming competing media. For these people, it’s a matter of programming choice and content. The only way you can make them change the dial is to change their taste.

It’s possible to change people’s taste, but it’s hard.

Fashion changes because Hollywood celebrities are paid to wear the latest trends, and the cool people (the trend-setters in their social group) pick up on them. Eventually the styles find their way in to mainstream department stores like Target when managers are comfortable that a style has become middle-of-the-road enough to sell in large quantities, but by the time they do, the cool people have moved on. Music works in much the same way; a few artists out on the cutting edge set the new trend and eventually, mainstream radio picks up on it, but not before something newer and cooler has come along. It’s Triple J’s job to be at that cutting edge, to find the new music and test the waters, and for that reason you’re never going to hear Triple J playing in Target. However, Triple J should be pushing harder to get played in more clothing stores, more cafes, and more shops where the trend-setters are listening. Triple J should be using use social media to reach people like Cam Hill with more innovative approaches – it should be using the cult of celebrity to use its personalities as brand ambassadors who connect directly with their audience. Zan Rowe is doing a great job with her blog, and Marieke Hardy has only recently shut up shop, but a lot more could be done.

Sponsoring gigs and festivals is excellent brand re-enforcement, but I doubt it’s doing much to win over people who aren’t already listening. You still need to preach at the choir, but you need better evangelism if you’re going to reach the masses.

People who Listen to their iPods (and Digital Radio) Instead of FM Radio

Over 150 million iPods have been sold, white earbuds are ubiquitous on public transport and these days even budget car manufacturers are installing MP3 player docks as standard accessories. Record labels have virtually given up trying to fight P2P file sharing and virtual stations like Last.FM, Yahoo Music and MySpace are increasing listenership at astonishing rates. People who know what they are talking about are claiming that music radio is dead.

As music industry commentator Bob Lefsetz put it:

“Radio listenership has been declining for years.  Is it coming back? You now hear about music from your friends.  Or in chat rooms, blogs or other virtual worlds.  Every band known to man has a MySpace site where you can experience its wares … in an era where you can pull up a station’s playlist on the Net, why do you have to actually listen (to the airwaves)…”

Marketing guru Seth Godin recently spoke with some unique insight on  the future of radio as well and it’s well worth reading.

The fact is, Generation Y doesn’t listen to radio like their parents (or even their older cousins) did. They know how to get (almost) every song in the world online for free and if they want to hear something new radio is the last place they need to look. In our office there are nine people and I usually get to work before all of them. As everyone arrives in the morning I watch everyone over 25 tune in their radio and everyone under 25 either plug in their iPod, or cue up MySpace.

FM radio can’t compete with digital media if it wants to reach Generation Y.

The station is lucky it doesn’t have to try and sell ad slots over airwaves to survive; it can innovate and it can do so quickly, long before competitors Austereo and DGM wake up to the stark reality of the situation. Streaming popular shows online is a good start, as is the excellent Unearthed website. But so much more can be done. I’d like to see an audit of the Unearthed website to see how many people are actually streaming music regularly. I’d then like to see what happened if the site was opened up so that artists with record deals could stream their music too. My guess is that if Triple J got serious about streaming more popular music online it would quickly become a market leader and win back those people who stopped listening to traditional FM radio long ago. If Triple J put all Australian music in one spot people wouldn’t need to use MySpace or Last FM as their radio station.

People who Consume Online Media Instead of Magazines and TV

The same principles apply to this group as they do to those people who’ve stopped listening to traditional FM radio. Triple J needs to become a much better digital content aggregator. Heywire and the Triple J forums are great examples, but I’d be curious to look and learn from some figures and see just how effective and popular they have been.

Triple J has to learn that putting  more content from JMag online won’t cannibalise sales of the printed version, they’ll enhance it and increase the reach of the J brand. People still (for the moment at least) want good-quality hard-copy magazines to read on the train, on the bus, on a plane and at the beach. If they want online entertainment they’ll go to YouTube, they won’t bother reading long articles, and if they do go online to read long articles, giving them more of J Mag online will encourage them to buy the next edition of the paper copy next time they’re waiting for that train/bus/plane. I’m willing to be wrong about this, but I’m pretty certain I’m right. Others agree with me.

People who Currently Listen to Triple J, but not as Often as Others

I’ve been listening to Triple J since 1994 when I was 14 years old and it first came to the small town on the NSW South Coast where I grew up. Not once has the ABC asked why. I can’t remember the last time the station did a survey into what their listeners were doing, what else they were listening to and what would make them listen to Triple J more.

Is Triple J sure the current music selection is hitting its mark (I happen to think it is, but they should be asking)? Is there a more appropriate time for a half-hour youth-orientated current affairs program than 5.30pm when the bulk of the nation’s working population are driving home from their jobs and in the mood to relax? Do people want to play the station at work (or in their café or shop) but can’t because their bosses don’t like the swearing? Are kids listening to Triple J in secret because their parents don’t like the content?

People who listen to Triple J ‘a little bit’ are the low-hanging fruit. They’re the ones who are most easily plucked for the richest rewards. The station needs to find out what it can do to make them listen more.

Bands and Solo Artists

Significant airplay on Triple J can make or break an artist’s career – read Wikipedia’s summary on that if you don’t believe me. Bands that get a break on Triple J praise the station loudly and often: Those that don’t criticize its lack of transparency. Artists are potentially the best and most vocal brand ambassadors the station has. They have the power to tell people to listen, watch, and read, so they need to understand how the station’s programming works. As an organistion with enough influence to make (or perhaps break) their dreams, Triple J has a huge responsibility to treat them with care and respect, it shouldn’t be lefty to a third party website like JPlay to be the information disseminator.

The Unearthed website is a brilliant avenue of communication between the 10,000+ listed unsigned artists and the station, but there are so many more bands, singers and songwriters with minor (and major) record and publishing deals achieving success around the country who aren’t eligible to be on the site that have no idea why their music isn’t on Triple J. It’s not reasonable to expect that station management provide individual feedback to every single one of them, but it seems strange that there can’t be an unearthed-style website available for everyone, whether they have signed a piece of paper or not. Every band under the sun streams their music for free at MySpace, Triple J should be providing the same opportunity under its own banner – I’m certain that Australian artists would embrace the Triple J brand, which has done so much for Australian music in the past, over Rupert Murdoch’s multinational goliath. If you could make Triple J the source for online Australian music you would kick every marketing goal under the sun.

While they’re at it, is there any reason why Triple J can’t offer artists the ability to sell their tracks online and take a small commission from the proceeds? Is there a reason Triple J can’t become the iTunes of Australian music and MAKE some money in the precess? I realize there are commercial regulations at play, but if it can sell Hottest 100 CDs, promote music festivals, support tours, promote gigs, sell ads in their magazine and feature albums each week, all of which lead to considerable commercial gain for the parties involved, surely there’s some sort of workaround to helping Australian artists sell their music online? There’s a desperate need out there for a place where independent artists can sell their music (or give away for a donation like Radiohead and Nine Inch Nails are doing). If you provided that mechanism you’d get every Australian artist on side you’d have a hugely powerful army of brand ambassadors working for you.

Keeping Existing Listeners/Viewers Informed

I won’t go into too much detail about how Triple J can better keep existing listeners and viewers informed because the existing marketing and communication strategies are pretty good. As a media outlet they can do all the internal promotion they like on radio, in print, online and on TV. They could probably do an audit of how many people are reading the emails they send out, what the magazine circulation is, how effective their Facebook and MySpace presence is, what the effective reach of festival and gig sponsorshop is, and what sections of the website are most popular, but I’m presuming all the appropriate tracking mechanisms and metrics are in place and this is a no-brainer.

In Summary

Triple J has done more for the Australian music industry than any other organisation I can think of. Like the National Bank of Vanuatu they have some amazing stories to tell, but they have to compete against some hugely powerful (albeit diminishing) commercial organisations who watch their every move, piggy-back on their successes and then poach their best talent. Triple J should be using its advantage and irreverence to innovate and start staking new ground. I’m not claiming to know the organisation’s needs inside-out, but there’s some little seeds they can start planting now that will in all likelihood grow into much bigger things in years to come.

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16 Responses to Marketing Triple J: 21st Century Communication Strategies for Radio

  1. Christopher says:

    I like most of what you’re saying here but have to question a few points.

    Firstly the targeting social Guru’s like “Cam Hill” as brand ambassadors. In my opinion the success of Triple J in securing new young listeners comes from the fact that it does not appeal to these types and remains somewhat alternative. I know that my sister started listening to it when she was in high school for that exact reason, and it’s why i didn’t find it till i was 20, as i was flowing with the mainstream and hanging around people like Cam Hill (Thank god i saw the light – sorry Cam). Times may have changed somewhat, but I think that is still the case.

    Secondly, i am not sure about unearthed being available to every musician out there.. isn’t it already>?? and just who listens to unearthed anyway? i’d say 99% of those searching for music on unearthed are in the bands on there, friends of the bands on there, or family of the bands on there.

    It’s a pretty crappy alternative to Myspace to be honest, and i can’t see it ever being competitive! Moreover, for most established acts it would almost hurt there image rather than help it. Why go on unearthed when there are internationally recognizable options already available for them to help get there music out there.

    That’s my two bob..

  2. admin says:

    Thanks Christopher, glad to hear you agree, I think you may have misunderstood some points though 🙂

    I don’t think Triple J should be trying to change to appeal to the ‘mainstream’ so much as I think they should be trying to change the mainstream (and no offence to Mr Hill, who I don’t even know). Call it the ‘Daniel Johns’ principle – Triple J fans have always thought Daniel Johns was cool, now, after years in the business, the mainstream does too. It was interesting to see commentators from the tabloid media defend his right to be wasted at the recent APRA awards.

    I think the problem with Unearthed is that it’s ONLY for unsigned artists and it IS a crappy alternative to MySpace. If you could re-make its image (and perhaps change its name to reflect the new purpose) and turn it into a brilliant alternative to MySpace for ALL bands, artists would make it their medium of choice for showing (or selling) fans music it would be a marketing coup for the J brand. If the station made a point of featuring bands on air that had the most downloads (for example) it would be a pretty big incentive for bands to promote their Unearthed profile more than their MySpace profile. If it could offer unsigned bands a chance to sell their music that would be even better (I haven’t fully explored the regulatory implications of this though, it might not be possible).

  3. Jess says:

    “There’s a desperate need out there for a place where independent artists can sell their music (or give away for a donation like Radiohead and Nine Inch Nails are doing). If you provided that mechanism you’d get every Australian artist on side you’d have a hugely powerful army of brand ambassadors working for you.”

    – I couldn’t agree more. I know plenty of bands that are crying out for a provider that can do this. If JJJ can sell magazine ads and CDs, why can’t they help artists sell tracks?

  4. Graham says:

    I used to work in a cafe and the owner wouldn’t let us have JJJ on because he thought it was offensive to the customers.

  5. Jeffrey says:

    Hi Matt,

    Some very interesting points you have made there. I think you’re on the money in saying that Triple J need to bring a new marketing strategy to the table in what are most certainly new and changing times in the music industry. Looking at the debacle with radio in the United States, Triple J needs to establish itself as a brand and source of music which will last.

    I especially liked your mention of listening to the listeners – ie getting in touch with their audience a bit more.. i have been listening to the station for 15 years and have music on unearthed yet have never had any contact, or been asked for any feedback etc etc..

    Also i agree that they could post more of the content in J Mag onto their website to give people an idea of what the mag is about. i am on the website quite a lot posting on guestbooks etc, and would like insight into what’s in Jmag – then i may just buy the next copy…

    Great remark above re Daniel Johns Principle too.

    Take care

  6. I think the advantage MySpace has here is audience and scale. Triple J could have a world-class offering in the Unearthed website, but it doesn’t have the leverage or reach a News Limited property has, and to try to compete in territories it can’t possibly win (like size of audience, quantity of content) is a waste of energy for it.

    I also feel if Triple J made a move to change the mainstream, it would be an exercise in redundancy. It exists to offer an alternative to the commercial stations and, at the end of the day, is not remunerated for promoting bands, it just plays what it plays. Ultimately if a song is popular enough it will slowly transition onto some Nova stations and then eventually Austereo, such is the progression in this country (and the model plays out the same everywhere else) and we are delivered the notion of a “cross-over” hit.

    What Triple J should be doing, rather than create another walled-garden music site, is looking at initiatives like Google’s Open Social and working more closely with the likes of MySpace. There’s an opportunity for branded content already being leveraged on TV and in print, the interesting part for me is extending this notion of authority into other areas. Whereas online we have so many wannabe thought-leaders (and I’m holding a mirror up as I say that), notions of authenticity can still be leveraged in offline media, and Triple J have that in spades.

    I say:

    – syndicate to overseas stations interested in Australian music; there’s surely heaps of space to fill in digital radio in the US
    – Do content deals with Australian-themed pubs in the UK

    – The Big Day Out is already a Triple-J tour (as are most Australian festivals), why not take the show into other avenues like “South By Southwest: Triple J presents…”

    – A weekly Unearthed new music podcast (forgive me if they already do this, I don’t listen to radio ;]) where artists agree to have their music included for free but are supplied data on the location of people who downloaded it or overseas stations who played it and then are able to use that data to market more of their music to the people who are already listening.

    I’ll keep thinking, but in the meantime my iPod calls and I have lots of work to do =]

  7. admin says:

    Thanks for your comments David – a weekly unearthed podcast does already exist, but you definitely prove the point about no-one listending to radio anymore (although you’ll find most podcasts occur online, not on the FM band :P)

    The point I was trying to make with Unearthed is that it can offer more of an incentive (ie. national radio play to the most popular artists, or cash via a retail system) for bands to list their tracks than MySpace can. If they knew they’d get national airplay if 1,000 people downloaded their MP3 from Unearthed, they’d send fans there rather than to their MySpace. My point is that if Australian bands started choosing Unearthed as the place to showcase their music, the fans would have to follow and MySpace would go back to being just another way for teenagers to perve on each other.

    And I’m not suggesting for a second that Triple J change and become mainstream, I’m suggesting that Triple J start finding ways of making the mainstream change their views of what music is worthy of attention. It’s about time the tail started trying to wag the dog.

  8. admin says:

    By the way, I stumbled upon this evening: it’s a brilliant example of the type of appalling walled-garden music web presence my good friend David Gillespie was suggesting should be avoided like the plague, and something I will talk about in a near-future blog. Major label record companies are completely fucked. Read this for amusement:

  9. Matt, just looked at the Hypebot story, hilarious!

    Back to the Unearthed/MySpace thing, totally take the point on incentivising Unearthed listens and plays, I guess my feeling there is that’s a hard strategy to build upon. 1000 downloads, played on radio. OK now what? 2000 downloads and…get played again? Competing on scale is a short term strategy, and there are more ears available for your music on MySpace than there are on Unearthed.

    What it needs are regular incentives that are compelling enough for bands to continually promote themselves through Unearthed and for that site itself to be seen as a viable option for career progression.

    Here’s an idea – what if every tour that was “Proudly supported by Triple J” had an Unearthed act either on the road or at least opening for the band when it was in a town? OK, odds are pretty good that band would already have something on the Unearthed site, some extra attention in the podcast, on the Unearthed site and on the radio in the week leading up to it would be great, and cost Triple J very little in terms of monetary outlay.

    For anyone on the Unearthed site, getting heard is absolutely paramount, their initiatives should focus on that.

  10. Magda says:

    Great to read someone going through the Triple J future (marketing) point-by-point. Can’t wait to see some of these ideas brought to life. I’m keeping an eye on this blog.

  11. Sam says:

    I’ve recently moved from Queensland to Melbourne and have encountered a whole new perspective on Triple J.

    In Queensland, if you’re a fan of local music it’s a badge of honour to list Triple J as your favourite radio station and have a drum sticker on the back of your car. Australia Day Hottest 100 parties are important traditions.

    However, I’ve quickly come to realise that in Melbourne most serious music lovers wouldn’t be caught dead doing those things. In fact, they consider Triple J to be daggy and often cite the fact they have a rotation system as reason to tune out.

    I recently filled out an application to go into the Meredith Musical Festival ticketing ballot. They asked you to tick your favourite radio station and Triple J wasn’t even listed as an option. The default option was RRR, which does seem to be what the cool kids down here listen to.

    It seems odd that music lovers in Brisbane have such different taste to music lovers in Melbourne and makes me assume it comes down to brand marketing. What do you think they’re doing differently across the states?

  12. admin says:

    Meredith Music Festival is sponsored by Triple R and not Triple J, that’s one highly plausible reason for the latter not being on the application form. Triple R also do a great job of appealing to people who would be listening to Triple J if there wasn’t a better, more ‘alternative’ choice. In Queensland (and I’m sorry to say it) Triple Z don’t do a very good job at all. FBi in Sydney is somewhere between the two and local attitudes to Triple J in that city follow the same formula. The bottom line is, if you’re pitching yourself as an irreverent, alternative station, but someone is being more irreverent and alternative than you, they’ll get more listeners.

  13. Claire says:

    Hey guys

    I work in triple j’s marketing department and have been reading all your comments with interest.

    The blogger has idenitifed all the major challenges that we face, and we are in fact working on solutions for each and every one of them.

    We would love to have a triple j-style Myspace! It’s a question of resources though. The station (unfortunately) can’t be everything to everyone and that includes being a retailer (which is precluded by our editorial policies in any event). Our platform for supporting unsigned Australian artists is enormously successful (I will post the latest stats here once I have compiled them), mostly becuase the incentives we offer (airplay, spots on festival bills/tours etc) are very attractive. We do have countless other measures for supporting new local talent.

    In the next six months we’ll be launching some really exciting new initiatives that will enable greater interaction with our audience via social networking platforms and the like.

    Stay tuned, thanks for your feedback, and if you have any other suggestions, feel free to drop me a line at



  14. admin says:

    Thanks Claire, good to hear you guys are hard at it! Feel free to comment with any stats or further info. We’d love to hear your perspective on things.

    Matt (‘The Blogger’)

  15. admin says:

    P.S. Anyone interested in radio marketing should read Mark Ramsey’s Open Letter to Satellite Radio on his Hear 2.0 blog.

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