UK

Podcasting and audio now have formal representation on the Creative Industries Council following a campaign led by AudioUK.

The move gives the UK podcasting and audio sector a direct voice at the highest level of creative industry policymaking, recognising its growing creative, cultural and economic contribution alongside established sectors such as film, television, music and games.
The decision follows a coordinated lobbying effort by AudioUK, the industry body representing podcasting and audio, which saw more than 400 audio businesses sign an open letter to government calling for formal recognition of the sector as a core part of the UK’s creative industries.
A central aim of the campaign was to secure a seat on the Creative Industries Council, a goal that has now been achieved.
The Creative Industries Council brings together senior industry leaders and government to advise on policy, skills, investment and long-term growth. With podcasting and audio now represented, the sector will be able to contribute directly to discussions that shape funding priorities, workforce development and the future direction of the creative economy.
AudioUK has previously warned that the lack of formal representation risked podcasting and audio being overlooked in decisions affecting data collection, support schemes and growth strategies, despite the sector employing thousands of people and exporting content and expertise globally. The new position is intended to ensure the industry’s needs and opportunities are considered alongside those of other creative fields.
Chloe Straw, Chief Executive of AudioUK, said: “I am beyond delighted to be joining the Creative Industries Council, representing the podcast and audio industry in its first-ever dedicated seat.”
She added: “This is something we’ve been advocating for over many years, and it’s fantastic to see it come to fruition.”
AudioUK also paid tribute to those involved in the campaign, highlighting the role of Hannah Brankin and Katie Banham in building support across the sector and strengthening the case for recognition.
The appointment marks a new phase in the relationship between government and the podcasting and audio industry, with closer engagement expected on how the sector can continue to grow sustainably, develop skills and contribute to the UK’s wider creative ambitions.

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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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