The world of radio play can be elusive and exclusive with artists and labels spending anywhere from $7 to thousands just to get their music heard by radio stations in the hopes that they’ll add it to rotation.

Stations can receive 100s of submissions a day. Your job is to make it as easy as possible for them to access and add your music to their rotation. Is your recording quality good enough for radio? Does the station you’re reaching out to only play certain languages? Make sure not to waste your time or theirs by identifying stations that align with your genre and artistry. Many stations also request very specific supporting resources (artist’s photo, bio, certain song formats)… remember, a little bit of research goes a long way.

Radio play goes beyond the spinning of tracks. Many stations are heavily involved in performance opportunities such as showcases, emerging artist competitions, and festivals. Additionally, programmers often leave space for artist interviews and on-air performances, which can be invaluable content and experience.

Streaming is undoubtedly great. It’s accessible, can be great for discovery, and it’s pretty easy to get your music live on DSPs (see the previous edition of into the mic). However, the value of radio play cannot be overlooked. Radio is consistent; it’s a stamp of approval by someone who gives your music a chance, and it can open doors for both grants and live performance opportunities.

There are a few different options for airplay:

This article gets pretty acronym-heavy. We’ll start off with a few key definitions to make it a more digestible read.

National Campus and Community Radio Association (NCRA/ANREC): A non-profit organization representing and advocating for 125 campus and community radio stations across Canada. Member stations have access to a variety of supports and education resources.

Canadian Radio-Television and Telecommunications Commission (CRTC): An independent Canadian agency that regulates telecommunications, broadcasting, and digital music sectors across the country. The CRTC covers a broad range of regulatory oversight, everything from the volume of TV commercials to the affordability of diverse content.

!earshot Distro: A system developed by the NCRA/ANREC in tandem with radio stations and the Canadian music industry that allows artists to upload musical recordings to be searched, reviewed, downloaded, and tracked by campus and community radio stations across Canada.

The Foundation Assisting Canadian Talent on Recordings (FACTOR): A private, non-profit funding body providing investment support to the Canadian-owned music industry.

Canadian Content (CANCON): To qualify as CANCON, a musical piece must meet at least two MAPL criteria (Music - composed by, Artist - performed by, Production - recorded in, Lyrics - written by). The CRTC requires that at least 35% of the music played on the radio be produced by Canadians (50-55% for TV).

Campus and Community radio stations are generally the most accessible avenues to radio for independent Canadian artists. These stations have a mandate, and often a genuine interest, to play music not readily available on ‘commercial’ radio. (Many programmers are also volunteers, thanks to the folks across Canada donating their time to listen and uplift local voices <3)

Why it matters: Campus and Community radio stations are not typically driven by ratings or the search for an instant hit. Curators can play a wider, more diverse or even experimental range of music. These same curators are often deeply connected with the local music scene, creating an opportunity for a localized fan base and visibility to show bookers or promoters.

About 20 of these stations also submit weekly charts to !earshot Distro, creating a national top 50. This collective listener data is used by FACTOR to gauge success. Getting ‘charted’ (typically 5+ stations/week) allows artists to increase their FACTOR ratings, opening up new opportunities for grants and support.

CBC operates different from Campus and Community radio; instead of 35%, at least 50% of their Popular Music Selections broadcast each week must be Canadian Content (CANCON). Translation: They need Canadian music, and that works in your favour.

Why it matters: CBC offers higher visibility and higher revenue opportunities to artists. A higher CANCON requirement and specific, specialized shows are a good way for artists to be discovered by their target audience, as well as by grant assessors with whom public radio carries a lot of weight.

I’m sure we all have that song from childhood—the one that played every single morning on the drive to soccer practice, and that we later learned was… mostly a Canadian phenomenon.

Commercial radio is the big leagues, competitive but hugely valuable for emerging artists. It also tends to require a full campaign strategy, with as much as 8-12 weeks spent working on a song. Plan your airplay strategy like your TikTok, show promo, or merch launch… it doesn’t happen overnight.

This world of airplay can be heavily gatekept and driven by longstanding relationships between industry members. Radio station music directors, labels, and record companies hold the keys to the programming, making it very challenging for independent artists to get a foot in the door.

Why it matters: Commercial radio offers broad exposure with increased likelihood to reach new listeners through passive discovery (e.g. commuters on their way to work). Due to larger audiences, per-spin royalties are larger than campus and commercial stations. Commercial airplay can establish emerging artists as household names and, in an ideal world, translates to higher ticket sales and regional popularity.

Satellite radio is similar to commercial radio in that it has the ability to foster passive discovery and requires the same amount of pre-planning and campaign strategizing. It is different in the sense that it is less localized and can be an artist’s main access point to US listeners and across North America.

SiriusXM can be a career changer for musicians, sometimes even acting as the main source of income. It is also highly competitive.

Why it matters: Satellite is where the big bucks are, and as mentioned above, it can be the first introduction to the US market. A song in steady rotation can earn thousands annually. In some genres, getting on rotation on a SiriusXM channel is a stamp of approval and even a sign to the industry that you’re ready for the next level.

We’ve mentioned a few times in this article how airplay can contribute to an artist’s income. Let’s be more explicit… the royalty payment/spin on each medium can vary significantly, from cents/spin on local stations to upwards of $40 USD on SiriusXM. Common variables include:

Thanks for your attention! I know it’s a big ask these days.

If I missed something important, or if you have a recommendation on what I should cover next, just hit reply ⌯⌲

-Lauren (saying it into the mic 🎤 )