UK

Commercial audio listening in the UK has reached a record high, with RAJAR MIDAS data showing strong growth driven by radio and digital listening.

The latest Autumn report shows commercial audio now delivers around 707 million listening hours each week, up from 581 million in 2019, representing a rise of 21 per cent over the period.
Commercial audio covers commercial radio on broadcast and IP, non-BBC podcasts and ad-supported music streaming services.
Broadcast radio continues to account for the largest share of listening, but the growth has been fuelled by increased use of connected devices. Listening via radio streams, podcasts and music streaming, grouped together as Digital Audio, has almost doubled since 2019, underlining how audiences are spreading their audio time across platforms while still relying heavily on radio.
The findings reinforce the scale delivered by commercial broadcasters, who provide access to both broadcast and digital audio in a single ecosystem. Earlier this year, Radiocentre’s Speed of Sound report showed commercial broadcasters account for around 90 per cent of all commercial audio listening, giving advertisers consistent reach regardless of how audiences choose to listen.
The MIDAS results also align with conclusions from High Gain Audio, a study carried out with WPP, which assessed the short and long-term return on investment from broadcast radio and digital audio separately. The research found that both formats outperform the all-media average, demonstrating the value of maintaining a balanced audio strategy rather than focusing on a single channel.
For advertisers, the research points to the importance of ambition in audio planning. The guidance highlights the benefit of supplementing broadcast radio with digital audio rather than replacing one with the other, and of using strong data inputs to understand how each element contributes to overall campaign performance.
RAJAR MIDAS, which measures internet-delivered audio services, returned with an Autumn release for the first time since 2023, providing a refreshed benchmark against pre-pandemic listening patterns and confirming the continued resilience and growth of commercial audio in the UK.

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PRS for Music has paid out a record £274.9 million in royalties, including millions generated from radio airplay across the UK and beyond.

The final royalty distributions of this year underline the continuing role of radio in supporting songwriters and composers, with £13.5 million paid from radio use including plays across the BBC network, alongside income from commercial and other licensed broadcasters.
More than 51,500 PRS members will receive a payment in December, marking the largest distribution in the organisation’s history and a four per cent increase on last year. Nearly 400 music creators are receiving a royalty payment for the first time, highlighting how broadcast exposure, including radio, continues to help new writers generate earnings from their work.
International income also played a major role, with £98 million paid out from overseas, reflecting the global reach of music written by PRS members and the continued demand for British songwriters on international radio, television and digital platforms.
Streaming and broadcast royalties remained strong overall, with £12.8 million generated from video on demand services such as Apple, Disney Plus and Netflix, while £18.1 million was paid for music used in video games. Live performance royalties also contributed, with £8.9 million paid from concerts and gigs to more than 14,000 creators.
Crispin Hunt, President of the PRS Members’ Council, said: “Record royalty distributions mean more than just big numbers. They represent rent paid, instruments bought, studio time covered and careers sustained for thousands of music creators.”
He added that first payments are particularly important for emerging writers, saying the society is focused on “making sure hard working and emerging songwriters and composers are earning whenever their music is played”.
One final payment is scheduled for 22 December, including £22.2 million from multi-territory online streaming services such as Spotify and YouTube. Across the year as a whole, PRS for Music will have paid royalties to more than 88,000 members, reflecting a broad mix of income sources, with radio remaining a consistent and reliable contributor.

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Commercial radio groups say the BBC Charter Review must rule out advertising as a future funding option for BBC radio services.

The industry response follows the launch of the BBC Charter Review, which will examine the broadcaster’s future funding and regulatory framework as part of the process to renew its Royal Charter.
The Department for Culture, Media and Sport has published a Green Paper titled Britain’s Story: The Next Chapter, setting out the government’s thinking on how the BBC should be funded and regulated in the years ahead.
Radiocentre has welcomed the review but reiterated its position that BBC radio should not be funded by advertising. The organisation has previously published an economic study showing that introducing advertising on BBC radio would have a damaging effect on both the BBC and the wider market, with commercial radio revenues estimated to fall by 36 per cent under such a model.
The industry body says advertiser funding would undermine the sustainability of BBC services while significantly weakening commercial broadcasters, reducing overall investment in UK radio and audio. It argues this would ultimately limit listener choice rather than expand it.
Radiocentre plans to work closely with government throughout the Charter Review process and will submit a formal response to the consultation. As well as funding, it intends to highlight areas where external regulation of the BBC could be strengthened, particularly in radio, where the BBC remains a dominant domestic player and competition with commercial services is most acute.
Matt Payton, Chief Executive of Radiocentre, said: “The BBC holds a unique and privileged position in the UK media sector. We welcome the opportunity to work with government to help shape the right framework for the future.”
He added: “Ad funding of BBC services is a fundamentally flawed approach. It could devastate commercial media businesses, undermine the viability of BBC services and leave audiences with a narrower choice of UK content.”
The consultation is expected to attract significant engagement from across the radio and audio industry, with commercial broadcasters keen to ensure that future funding decisions protect a balanced and sustainable audio landscape across the UK.

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Frisk Radio has appointed Danny Coucill as its new Station Manager and Executive Producer, strengthening the station’s leadership as it continues to grow across the North.The appointment brings day-to-day responsibility for programming and production under a single role, supporting Frisk’s ongoing expansion on DAB and online platforms.
Danny joins Frisk Radio following three years at Bauer Media, where he worked as producer of Steve and Karen’s Breakfast Show on Hits Radio North East, previously Metro Radio and TFM.
Before Bauer, Danny held a number of roles at Global, spanning both sales and programming. His early programming experience included working on The Chris Moyles Show on Radio X, giving him exposure to national radio production alongside commercial and audience-focused broadcasting.
Frisk Radio’s Operations Director Mick Winter said the appointment reflected the station’s ambitions as it continues to build its presence across northern England. He said Danny’s background and approach aligned well with Frisk’s plans for engaging listeners through high-energy programming.
Danny said he was looking forward to the challenge of the new role and to shaping the station’s sound. He said he was pleased to be joining a growing radio brand and welcomed the opportunity to develop an authentic product for audiences across the North.

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The Government has launched a review of the BBC’s Royal Charter, beginning a public consultation on how the broadcaster should be governed, funded and regulated in the future.

The once-in-a-decade process aims to ensure the BBC remains trusted, independent and financially sustainable as audience habits continue to change.
The review is being led by the Culture Secretary and marks the formal start of the process to renew the BBC’s Royal Charter, which sets out its public purpose, governance and funding model.
A Green Paper published today sets out options for reform and invites views from people across the UK. It focuses on three linked areas: public trust and accountability, long-term funding, and the BBC’s role in supporting growth and jobs across the nations and regions.
The Government says the BBC remains a major part of the UK’s creative economy, generating around £5 billion a year, employing more than 20,000 people and investing heavily in UK-made content, while reaching hundreds of millions of people worldwide each week.
One area under consideration is strengthening independence and transparency, including the way board appointments are made and how editorial decisions are explained, particularly during major news events. Proposals also include giving accuracy equal weight alongside impartiality in the BBC’s public mission.
The Green Paper also raises the possibility of new responsibilities for the BBC in tackling misinformation and supporting media literacy, alongside clearer duties around workplace conduct and staff protection. On funding, the Government is seeking views on reform of the licence fee, potential changes to concessions, and ways the BBC could generate more commercial income. Options for funding the World Service and supporting minority language broadcasting, including S4C, are also included.
Another focus is the BBC’s economic impact beyond London. Ideas include new obligations to support skills, spread commissioning power across the UK, invest in research and development, and work more closely with partners, including local news organisations.
Culture Secretary Lisa Nandy said: “The BBC must remain fiercely independent, accountable and be able to command public trust. It must reflect the whole of the UK and be funded in a way that is sustainable and fair for audiences.”
Responses to the consultation will help shape a White Paper, expected to be published in 2026.

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Gaydio has confirmed a new on-air schedule starting next year, bringing new daytime, evening and late-night programmes across its UK network.

The refreshed line-up launches on Monday 5 January and sits alongside the station’s existing Breakfast and Drive output.
Weekday programming begins with Nat Evans on Early Breakfast, followed by Dave Cooper continuing on Gaydio Breakfast from 7am. From 10am, Chris Blackmore moves into mid-mornings, opening each day with an hour of Gaydio Anthems in a new slot.
From 1pm, Helen Scott takes over Gaydio Afternoons, bringing her weekday show to the schedule after previously hosting on Saturdays. At 4pm, Brett Harris remains on the Home Straight, before Kriss Herbert launches a new evening show at 7pm focused on new music alongside familiar Gaydio tracks.
A new late show launches across the network from Monday to Thursday at 11pm, hosted by presenters from around the UK. Jsky presents Mondays, Alfie B Tuesdays, Ashley Conrad Wednesdays and Tom Barber Thursdays, with each programme reflecting different local perspectives.
Weekend changes include a new Saturday afternoon show with Luis Wyatt, Gaydio Chilled on Sundays from 5am with Ellie Talebian, a new Sunday Breakfast hosted by Andy Quick and the introduction of Gaydio Gold on Sunday nights, playing classic dancefloor tracks.
Presenters will continue using split-link technology to reflect local audiences nationally and to showcase work from Gaydio Academy contributors across the UK.
Network Content Director Kriss Herbert-Noble said the schedule reflects the station’s plans for the year ahead and its move into new Manchester studios. Helen said she was looking forward to bringing weekday afternoons to life, calling the role “a dream” and promising a show rooted in shared experiences.
The schedule launches alongside Gaydio’s move into new studios overlooking Manchester’s Gay Village in January this year.
Full Gaydio schedule from January:
Monday – Thursday04:00 – 07:00: Early Breakfast with Nat Evans07:00 – 10:00: Gaydio Breakfast with Dave Cooper10:00 – 13:00: Chris Blackmore (with an hour of Gaydio Anthems from 10am)13:00 – 16:00: Helen Scott16:00 – 19:00: Brett Harris19:00 – 21:00: Kriss Herbert21:00 – 23:00: Gaydio Late Show23:00 – 02:00: Gaydio in the Mix
Friday:04:00 – 07:00: Early Breakfast with Nat Evans07:00 – 10:00: Gaydio Breakfast with Dave Cooper10:00 – 13:00: Chris Blackmore (with an hour of Gaydio Anthems from 10am)13:00 – 16:00: Helen Scott16:00 – 19:00: Brett Harris19:00 – 03:00: The Gaydio Weekend in the mix
Saturday:07:00 – 10:00: John Ryan (Nigel May in Brighton)10:00 – 13:00: Neil & Debbie13:00 – 16:00: All Request Saturday with Anthony Murphy16:00 – 18:00: Luis Wyatt18:00 – 19:00: Craig Law’s Saturday Anthems in the mix19:00 – 03:00: The Gaydio Weekend in the mix
Sunday:05:00 – 07:00: Gaydio Chilled with Ellie Talebian07:00 – 09:00: Andy Quick (Patrick Cawley in Brighton & Andrew Edwards in Manchester)09:00 – 11:00: Nick McCluskey11:00 – 13:00: Darren Milby13:00 – 16:00: Lee Barnes16:00 – 18:00: Bally Singh18:00 – 20:00: Nigel May20:00 – 00:00: Gaydio Gold

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