Triple J, Australia's iconic youth radio station, turns 50 this Sunday. Founded in 1975 as a platform for unconventional music, the station has faced challenges in the digital age as young Australians shift to streaming services. Despite declining radio ratings, Triple J maintains a strong online presence, leveraging its content across platforms like YouTube, TikTok, and Instagram. The article explores Triple J's legacy, its impact on Australian music and culture, and the ongoing debate about how to measure the success of a station in a changing media landscape.
went to air at 11am on Sunday, January 19, 1975, it was the first time the song was played on radio in Australia. The song that followed, The Rolling Stones’Being good in bed or taking a sympathetic view of the devil were not subjects that had been welcome on Australian radio.Marija Ercegovac
Streaming is the primary method of consuming music now, particularly for Triple J’s young demographic. Eight in 10 Gen Z Australians hold a music subscription service, according to Deloitte, while seven in 10 Millennials do. Wil Anderson and his co-presenter Adam Spencer during their Triple J days. It has been fertile ground for the ABC to foster its own talent.“Ratings were literally invented for advertisers, so then why are you using that methodology?” he says. “Maybe they’re not, maybe that’s external noise. But then they have to be stronger in saying, well, we don’t measure our value like this. We don’t measure value based on how many people listen.
Success on TikTok is judged on viral moments rather than subscribers and Triple J had a big win the week before the Hottest 100 countdown last year. It published a video of Australian duo Royel Otis covering the 2001 Sophie Ellis-Bextor songA clip shared on the band’s TikTok clocked up 14 million views, and millions more on the Triple J page. It was clipped, reclipped and shared countless more times, while the full version has 7.3 million views on Triple J’s YouTube page.
But the days of local acts living out successful careers solely within Australia are largely gone. Kelly recently published a paper on the impact of streaming on Australia’s music industry. His research shows Australian and New Zealand acts in the ARIA singles chart are in steady decline, sitting at just 2.5 per cent in 2023.And as Triple J contends with fewer people listening, its musical selections have become broader and more pop-based, he says.
Anderson says if they have found or are being served an artist elsewhere, it is “dumb” to think Triple J has to play it.
RADIO AUSTRALIAN MUSIC YOUTH CULTURE STREAMING DIGITAL MEDIA
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