Is Australian Radio pulling its weight?

Radio in Australia forms a dual passion and frustration for me. Passion in that it continues to fascinate me as to how content is created and presented so seamlessly, and frustration in how it so often misses the mark.

Radio occupies a unique position in the media landscape. It provides something that everyone has ready access to, and despite a changing entertainment landscape under pressure from Spotify, Netflix and other streaming giants, it continues to be successful.

With its continuing success, it could be argued that content directors are feeling untouchable, making content safe and bland enough not to offend anybody. Therefore it should come as no surprise to read that commercial radio are not upholding their local content quota requirements.

The reason these quotas exist in the first place is because commercial radio have never taken Australian music seriously. The quotas were instigated in 1942 for 2.5% locally composed music to be played in all radio programming. It was increased to 20% in 1976, and capped at 25% under the Australia/United States Free Trade Agreement. It has taken the ABC and community radio to pick up the slack, but it's still not an even balance.

Community Radio works hard to extend the music industry by giving airtime to bands that otherwise wouldn't see airplay, and the ABC are doing their best on Triple J and on Digital Radio with Triple J Unearthed and Double J.  These sectors of the industry are not bound by local content quotas, so why are they doing the heavy lifting? The commercials have the money and the coverage. Why do they continue to drag their feet?

It may be that many stations are lost in the fog. Since rebranding a lot of regional stations under the name Triple M, Southern Cross Austereo have spent more money and airtime trying to be everything to everybody and doing very little of it well. The idea of Triple M is different in every market and there seems to be no unity between the music they play. The only constant seems to be an over-dominance of Football content. They seem to have taken up the idea that "you'll never go broke selling sport to Australians", with wall-to-wall rugby league in NSW with the occasional song thrown in the mix. The other way around the local content quota is to be a talk radio station, or to program a "Pure Gold" format, which plays no music newer than 2005.

I have written in these pages before about the cultural cringe and why Australian quotas are necessary. Years later, things haven't changed and I'm wondering if they ever will.

Michael Waugh - "The Asphalt and the Oval"

Image Source: The Groove Merchants

Michael Waugh is a rare artist. One that has a unique gift of compelling listeners with taste outside of his genre to sit up and take notice of his music. One that has the gift to be able to write songs to reduce grown men to tears. One who has the ability to tell stories from his own life we can all relate to.

With the release of his second album “The Asphalt and the Oval”, Michael has created another set of songs that tell the stories of those closest to him and those he's met in his many travels. They're told in a way that is universal; told in a way that feels real to everyone listening. These stories have happened to the people he knows, but they've all happened to us too. Some of us were the footy heroes of the school yard, the awkward kid reading under a tree, the struggling farmer trying to compete against big corporations. And even if you weren't any of these, by the end of it you feel a heavy sense of empathy for the predicaments of the characters in the song.

This is also the second album made with Alt.Country artist Shane Nicholson at his studio on the NSW Central Coast. Michael lays down his dexterous guitar playing and plaintive vocals while Shane provides all the instrumental backing, perfectly complimenting but never dominating the songs. Michael never shies away from his natural accent, adding that extra air of authenticity to the music.

Michael writes songs that are compelling not only because the stories are heartfelt and human, but they carry a sting in the tail - when you think you know the direction of the story by the end of the second verse, in the third verse he throws a curveball and turns it all upside down. The new single “Baling Twine” is a classic example. A small family farm inherited by two brothers, who struggle to hold on against automated production complexes moving in around them, the twist in the third verse packs an emotional punch.

This new set of songs tackles some of the same subjects handled on his debut “What We Might Be” but in many cases, he furthers the narratives on “Asphalt”. On his debut we're introduced to his mother on “Heyfield Girl” and some of her struggle is discussed further here in the eloquently titled “Shit Year”. Where the single from his previous album “Paul” deals with bullying as a result of kids being unable to accept difference, this is furthered with a twist on “They Don't Let Girls In The Game”. “The Asphalt and the Oval” also contains heartfelt reflections on fatherhood in “For a Moment” and “Kindergarten Fete”, and some fun reminiscences of being a country teenager in the 1980s in “Acid Wash” and “Driving With The Windows Down". The title track sees Michael reconciling with his past, laying down his grudges towards his school tormentors and celebrating the survivor with a bright future he’s become, and all with his unique brand of country humility.

Perhaps the most interesting part of the album for me is how Michael shines a cold hard spotlight on the nature of masculinity. While this topic is never far from discussion in country music, this time the behaviour of blokes is boldly analysed and examined - not in a judgmental or demeaning way, but not with rose coloured glasses either. The album’s second single “Footy Trip” paints a dark picture of blokes letting off steam on an end of season trip to the big smoke. “Tapping” is a sadly all too familiar tale of barmaids and the overzealous amorous advances by blokes who've had a few too many…

The jewel in the crown is the album’s first single “Little C Word”. How do you write a song about swearing in a way that will get played on radio? The answer is in this cleverly constructed song. And again, the sting is in the tail - watch that curve ball in the third verse.

Golden Guitar-winning country artist Matt Scullion said “It's easy to make people dance [with your music], but it's a lot harder to make them listen. And [Michael] makes them listen.” Michael Waugh is that rare artist - One with something to say, and one who says something that is worth listening to.

"The Asphalt and the Oval" is available now.