stations

The three stations were part of wider proposals from the BBC, which also included the launch of a Radio 2 spin-off and the extension of the broadcasting hours of 5 Sports Extra. Both the Radio 2 spin-off and the extension of 5 Sports Extra were refused by Ofcom for the negative impact it was deemed they would have on commercial competitors.

Sam Jackson, the controller of Radio 3, says that while he couldn’t be certain that Unwind would get approval, “I wasn’t surprised, because I think we made a very, very strong case. I was very proud of the submission that we made, I felt we did a good job of arguing why this was distinctive and why it would be welcomed.”

He points out that around 8,000 different pieces of music will be played on Unwind each year, from a broad repertoire but with a focus on recordings from the past 10 years – even of Baroque or classical pieces – and a mission to introduce new contemporary works, including from performers or composers who aren’t signed to record labels.

Radio 1 controller Aled Haydn Jones is similarly robust in his defence of why we need two new stations: “It’s all about the audience. Ofcom has pointed out that the BBC needs to be doing better with young audiences. Having services for young people is a public service. Radio 1 is the biggest radio station for youth audiences in the UK, so having stations with the Radio 1 brand offering more is a pretty special thing.”

Both men are keen to stress the differences between what their stations are offering and what can be found on commercial radio, with Haydn Jones claiming that Radio 1 plays more tracks in a week than its nearest commercial competitor does in a year, though he understands the commercial imperative that may account for that disparity.

“Commercial stations are going to pick the songs that work best for their audience and play them as frequently as they want to play them. Whereas Radio 1 are about new artists coming through; over 50 per cent of Radio 1 tracks are within the last six weeks of release and Radio 1 Dance will do the same for UK dance DJs and producers coming through.”

On the back of that he expects Radio 1 Dance to play around 3,000 unique tracks a year – in previous years on BBC Sounds it has averaged around 3,200.

Sam Jackson takes an additional angle in his argument as to how Radio 3 Unwind is distinct from its competitors, saying: “If you compare what we do with Classic FM Calm where, I believe, there are no presenters, we have programmes that are presented by experts in their field.”

He points to mid-morning presenter Sian Williams, who as well as being a respected broadcaster also has now an NHS practice in the field of trauma mental health, working with first responders. “She brings with her this other side to what she does. She’s a broadcaster, she loves classical music but she’s also trained professionally in mental health and wellbeing.”

Continuing in the comparison with Classic FM Calm, he’s at pains to point out he’s highlighting differences not setting out to denigrate the competition: “This isn’t meant to be a slight on what they do. They do what they do, they do that very well, but they have a kind of jukebox of music that is played with no presenters. There’s an audience for that, there’s an audience for a version of that on Spotify as well and I think anything that introduces more people to classical music is a good thing.

“But I think we have to collectively have the confidence to say there’s room for everybody and then let the audience decide what they want to listen to.”

Haydn Jones also points to the breadth of presenting talent on Radio 1 Dance, which includes many big cheeses from the dance music world, from veterans like Pete Tong to newer names such as Charlie Hedges and the Blessed Madonna.

Defending Radio 1 Anthems, which has a stated mission of serving up nostalgia for young people with a playlist of “bangers” from the Noughties to now, against accusations that it’s just like any number of commercial “decades” stations (Absolute 90s, Heart 80s, etc etc) is a bit tougher but Haydn Jones remains staunch.

“The people who are presenting it are in some of the first presenting jobs, they’ve had out of university. We work with the Student Radio Association, where we had a panel of students playlist our shows, but also inform the Radio 1 team about songs they grew up with or remember.

“But then also we add our curation with our knowledge of young people under 24 to find out which pockets of eras or genres we could delve a bit deeper into to give them ‘new to me’ music; things that they might not have discovered as they were growing up. For us, it’s about the target audience and trying to ensure that they have a service that’s dedicated to them.”

He also points to the fact that getting Ofcom approval is recognition from the broadcast industry that there needs to be a focus on young audiences, and that the BBC is better placed than any to serve that audience.

“It may not be where the easiest money is for our commercial friends, there are going to be more affluent age demographics that can pay bills. The fact that we are able to say we want to make sure that young audiences do not move away from DAB or from broadcast media and drift to streaming, I think is an important one.

“So, I think the fact that we were successful with these is great. It won’t be the full answer to our problems of ensuring that young audiences get what they need from broadcast media and BBC specifically but it’s a brilliant step.”

Asked whether there could be any more spin-offs from their stations, Sam Jackson is cautiously optimistic, saying: “Could there be a Radio 3 jazz station, a Radio 3 live music station? I love the idea of launching some new services that introduce Radio 3 to even more people so long as we keep the main network as healthy and as strong as ever.”

Everything would, of course, be subject to the same lengthy Ofcom approvals process that the new stations have already gone through and it’s this that makes Haydn Jones more reluctant to say yes to more Radio 1 stations: “No one is asking for that right now. And I’m imagining at the pace these things take, if there ever is in the future, I’ll be long gone by then.”

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