The term speciality music show in the context of radio broadcasting usually refers to a time slot segmented to playlist a specific genre of music. And that show is also branded through its name, and backing music among other things, to clearly identify as a specialty music show.
This kind of segmenting of a radio broadcasting time slot is psychographic segmentation of an audience. Psychographic segmentation essentially uses interests, values, lifestyle etc. as tools to target audiences. In the context of radio broadcasting, specialty music shows are set aside to target those listeners who will tune into their preferred radio show to enjoy music and content specific to their interests.
While also actively participating in show features and during the show expressing their personality traits, interests and values through studio calls and social media posts.
Across public broadcasting service radio (PBS) and commercial radio stations in South Africa speciality music shows are a standard feature to a line up. This means radio stations are likely to have specialty music shows that playlist for example music genres such as gospel, jazz and reggae among many other others. These types of shows are also associated significantly with appointment listening as listeners tune in habitually to access precisely music and content that relates to their interests.
There are many varied examples one can reference when it comes to long standing specialty music shows in the South African radio space. Examples include The Urban Jazz Experience with Nothemba Madumo on Metro FM a three hour show that spotlights jazz, artists and vocalists. LelikaYehova Ihlabathi Nenzaliseko Yalo hosted by Mama ka Ma-Asie on Umhlobo Wenene FM, a three-hour gospel show that also encompasses other faith based Christian content. Raggattack hosted by duo The Admiral and JahSeed on FM as an hour reggae show. Needless to say the list is endless leading up to the newest notable music specialty shows like The Ultimix by The Weekender5 (DJ Loyd, Kyle Cassim, Ms Cosmo, Das Kapital) on 5FM, an hour long show weekly that showcases music and the art of mixing and deejaying.
There is clear evidence in the RAM that music specialty shows captivate audiences and contribute significantly to the overall audience numbers of radio stations. For example LelikaYehova Ihlabathi Nenzaliseko Yalo hosted by Mama ka Ma-Asie on Umhlobo Wenene FM in the December 2017 data released by the Broadcast Research Council of South Africa (BRC) recorded an audience of 2.1 million listeners on their Thursday mid-morning time slot. While The Ultimix by The Weekender5 (DJ Loyd, Kyle Cassim, Ms Cosmo, Das Kapital) on 5FM showed significant growth in its first six months on air, with the September 2017 RAM released by the Broadcast Research Council of South Africa (BRC) showing the hour long midweek feature show grow to 106 000 listeners from 103 000 listeners.
These examples show that radio still has an ally in music as we live in a digital world. That introduced new forms of technology and consumption of music, which abdicated the role of radio as the medium of introducing new music to mass audiences. And it is wise for radio stations to not prioritise this role. And simply focus their efforts to maximise music through intently utilising it as tool for appointment listening and creating communities of listeners that converge to their chosen music specialty shows weekly.
The maximisation of music as an ally for radio is impossible without the personalities who anchor music specialty shows. These being individuals characterised by their knowledge of the music genre are skilled presenters and interviewers. These personalities are responsible weekly for sharing their own affinity for the music and therefore lifestyle unique to their show with listeners, artists and other key contributors.
This all culminating to community and moments that are memorable and uniquely possible through the platform of radio. Proving that indeed there is still something captivating about specialty music shows in radio broadcasting.