BBC Radio Tees presenter Dave Llewellyn has died aged 57 following a short illness.

Dave spent more than two decades presenting traffic and travel updates across the North East.

Originally from Fishburn in County Durham, Dave lived in Yarm with his wife Ange and daughter Amy.

He began his broadcasting career reporting traffic from a light aircraft above Teesside before moving into studio-based presenting and production roles.

Dave most recently worked as a producer at BBC Radio Tees, including on Gary Philipson’s daytime show. He also co presented a Sunday morning gardening show alongside Brigid Press.

His daughter Amy described him as “incredibly modest and generous” and said he always found time for “friends and strangers alike”.

Away from radio, Dave was involved in the local music scene as both a producer and performer. Amy said his “true talent shone through” while playing keyboards, synthesisers and bass.

BBC Radio Tees breakfast presenter Amy Oakden paid tribute on air on Friday morning and said the station would “never ever forget his iconic voice”.

A tribute to Dave has been published on BBC Sounds by BBC Radio Tees.

KISS has named Three Mobile as headline partner for KISS Ibiza across its summer events and broadcasts.

The partnership arrives as KISS continues its wider rebrand and shift towards a more connected audio and social offering, building on its heritage while targeting how audiences consume music and entertainment today.

Three Mobile will sponsor KISS Pool Party Live events in Ibiza from May to October, including Bank Holiday specials in May and August, alongside live broadcasts, on air takeovers and social content capturing Ibiza energy.

KISS Breakfast presenters Tyler West and Chloe Burrows will head to Ibiza to front promotions, while listeners can win trips to join the station and Three on the island.

Three is also sponsoring Tatum McGreal’s 1pm to 4pm show from April through to December across the KISS network.

Paul Gerrard, Content Director, Hits Radio and KISS Network, said: “This partnership comes at an incredibly exciting time for KISS following the recent rebrand.

“The collaboration reinforces KISS’s position at the forefront of music and entertainment, while showcasing Three Mobile’s commitment to delivering unique, immersive experiences for its customers.”

South Africa’s main commercial radio body has become the first African organisation to join the Radio Ready connected car campaign.

Founded by Bauer Media Group, European Broadcasting Union, BBC and several European broadcasters and radio groups, now the National Association of Broadcasters South Africa has joined the industry initiative.

This extends Radio Ready’s reach beyond Europe and Australia as connected car distribution becomes a bigger priority for broadcasters worldwide.

More than 23 broadcasters, industry groups and associations are now involved in the campaign, which launched in summer last year to support radio’s visibility and accessibility in connected vehicles.

The latest addition follows increased industry attention on in car listening after the Connected Journeys campaign for World Radio Day earlier this year. Connected car strategy was also widely discussed during sessions at Radiodays Europe.

Nadia Bulbulia, Executive Director of NAB South Africa, said: “NAB South Africa is proud to join the Radio Ready campaign as radio remains vital in Africa and the evolving media ecosystem.”

Nadia added that the organisation was encouraged by the opportunity to contribute “an African perspective” to discussions around in car radio, particularly as listening continues across both private vehicles and commuter taxis.

Tobias Nielsen, SVP Digital at Bauer Media Audio, said the campaign was helping bring the industry together to ensure radio remains simple to access in connected cars.

“Welcoming NAB South Africa is a particularly important milestone, marking our first partnership in Africa and reinforcing the global relevance of this work,” he added.

Take That will perform at Capital’s Summertime Ball with Barclaycard at Wembley Stadium on 6th June.

The group has been added to the line-up, joining artists including RAYE, Niall Horan, Calvin Harris, Fatboy Slim and Lola Young for the day long show in London.

Jordan North, Chris Stark and Siân Welby revealed the news on Capital Breakfast this morning, adding Take That ahead of the band’s upcoming stadium tour dates later this year.

The line up also includes Jason Derulo, Bebe Rexha, Robyn, Myles Smith, Stephen Sanchez, XG, Sekou, Sienna Spiro, December 10 and MEEK. Capital has also confirmed a Barclaycard Out of the Blue performance on the day.

Jordan, Chris and Siân said: “We’re thrilled to announce Take That are joining the line-up. We’re absolutely buzzing for this year’s Ball.”

Tickets for the event are available through Global Player. Organisers are urging fans not to purchase anything which they believe to be a ticket on an unauthorised resale site as this will not be valid for entry. Full details and T&Cs are available at capitalfm.com.

Radiocentre has promoted Sarah Gregory to lead its PR and communications work.

Sarah moves up from Head of Communications and Membership Marketing, taking responsibility for all PR and communications activity across the organisation.

The remit includes strengthening confidence in commercial radio and audio, using research to support its position as an effective medium among advertisers, policymakers and broadcasters.

Radiocentre broadened its remit in 2023 to cover broadcaster-owned audio, including podcasts and on-demand streaming services, alongside traditional radio.

Since then, it has worked to build awareness of the wider ad-funded audio market, including through initiatives such as its Advertising Amplified campaign.

Client Director Lucy Barrett said: “Our industry has invested, innovated and grown while remaining one of the most reliable and trusted environments for both listeners and brands.”

Lucy added that Sarah’s “knowledge, energy and her attention to detail” make her well placed to develop how the sector communicates externally.

Sarah said: “I’m looking forward to helping amplify our voice further and ensuring the power of audio is even more widely recognised.”

During her time at Radiocentre, Sarah has worked across advertising campaigns, events and awards, as well as brand activity following the merger of the RAB, CRCA and RACC, and most recently on communications and membership marketing.

Wigan One will cease broadcasting at the end of May 2026 after losing its main funding.

The online station says Wigan Council had been its major funder, but the authority now has other priorities.

Wigan One said the change had happened too quickly for it to continue with its plan to become self-funding by 2027.

The station has served Wigan for four years with music, local information and listener interaction, while also working with local advertisers to support the service.

In its closing message, the team thanked Wigan Council for its support over the years, saying it had helped develop Wigan One into the brand it became.

The station also thanked clients, staff, presenters and freelancers, adding its “very, very best of luck” to those who will be losing their jobs.

Listeners were thanked for sending in requests and stories, and for spreading the word about Wigan’s only local radio station.

The team said it hopes Wigan gets its own local station again in future, adding: “Keep fettlin’. We’ll si’thy.”

Wynne Evans will now host weekend morning shows on both Saturdays and Sundays on Dragon Radio.

The presenter expands his current Sunday slot with a new Saturday morning show also airing from 10am to 1pm, after he joined the station at Easter. The new Saturday show will follow a similar format to the Sunday show.

Dragon Radio Programme Director Neil Greenslade said: “Dragon Radio listeners have told us they want to hear more of Wynne, and we are happy to oblige! We look forward to welcoming even more listeners to Dragon Radio to hear their favourite radio presenter.”

Wynne said: “Dragon Radio have been absolute heroes — they’ve just let me loose, which takes a certain kind of confidence and I’m enormously grateful. It’s been a joy to see so many familiar faces come with me.”

He added that audience growth had led to the second show arriving sooner than expected, describing himself as “thrilled” and “having the time of my life.”

Audio Always has appointed Lisa Solman to lead its commercial partnerships as the podcast company expands its slate and network activity.

Lisa Solman joins as Sales Director from WPP Media, where she worked within the Creative Futures team. In the new role, she will oversee the sales operation, focusing on connecting podcast talent with brand partners.

The appointment comes during a period of growth for the company, with recent additions including The Girls Bathroom, The Teen Commandments, Fact Up with Joe and James and The Jack and Ash Show. Audio Always has also taken on commercial responsibility for The Elis James and John Robins Podcast.

The Audio Always Originals network was recently nominated for Audio Brand of the Year at the 2026 ARIAs, reflecting wider activity across its portfolio.

Paul Fernley said: “This is the perfect time to be bringing in someone with Lisa’s commercial instincts. She understands podcasting, she knows what brands are looking for, and she has the track record to prove it.”

Lisa said: “I’ve admired what Audio Always has been building. The talent on this network is extraordinary. My ambition is simple: to connect those shows with brands who understand the value of great content.”

Before joining WPP Media, Lisa worked on partnership campaigns for publisher brands including The Guardian and Future, and previously helped develop media partnerships at Social Chain.

Six new areas across the UK will gain small-scale DAB coverage, expanding capacity for local and specialist radio services.

The licences have been granted to Niocast Digital Limited for Chester, North Wiltshire DAB Limited for Chippenham and Malmesbury, NIDAB Limited for Coleraine, Kennet DAB Limited for Newbury, Maxxwave Limited for Telford and Shrewsbury, and Craoladh Digiteach Iondail Limited for Ullapool.

In Ullapool only one service was listed in the application as a prospective service, and it was assumed by the applicant that BBC Radio Scotland and Radio nan Gàidheal would lease capacity. Coverage proposals means only half of the adult population in the advertised licence area would be able to receive the service.

All the areas mentioned are part of Ofcom’s Round 8 for the small-scale DAB rollout, and each licence award followed assessment against set criteria, although there was only one applicant per area.

Ofcom says 105 small-scale multiplexes are already on air across the UK, supporting a growing number of hyperlocal digital stations serving audiences in all four nations.

LBC will carry overnight election results with a new presenting role for Lewis Goodall, supported by extended programmes across the station’s schedule.

Global has confirmed a full multi-platform plan for the 2026 election results, centred on LBC and The News Agents podcast.

From 10pm on Thursday 7 May, Election Night Live with Lewis Goodall will run through to 6am, covering results from across England, Scotland and Wales.

The programme marks Lewis’s first time leading LBC’s overnight results coverage and will be broadcast from Westminster, as well as streamed on Global Player and YouTube, and simulcast on LBC News.

Nick Ferrari at Breakfast will air an extended edition from 6am to 10am on Friday 8 May, featuring reaction from callers and interviews with political figures. Later that day, an additional hour of Tonight with Andrew Marr will run from 6pm, focusing on analysis and commentary.

Across the day, presenters including James O’Brien, Shelagh Fogarty, Tom Swarbrick and Iain Dale will take listener views on the outcome.

A special episode of The News Agents podcast will also be released on Friday, with Emily Maitlis, Jon Sopel and Lewis Goodall discussing the results and their implications.

Global’s political team and reporters will broadcast from counts across the UK, contributing coverage to stations including LBC, Heart, Capital, Smooth and Classic FM.

Careless Whisper has been named the UK’s favourite song by Smooth Radio listeners in the station’s latest chart.

The track by George Michael and Andrew Ridgeley leads the station’s All Time Top 500, following a public vote marking ten years since George’s death.

George Michael is also the most popular artist in the chart, with 20 entries including six with Wham!. He finishes ahead of Michael Jackson and Sir Elton John, who each have 14 songs featured.

Whitney Houston is the highest placed female artist with 12 songs, while Queen and ABBA share the title of most popular group with 11 entries each.

Kate Bush’s Running Up That Hill climbs to number 10, its highest position to date, boosted by renewed attention following its use in Stranger Things.

Almost 20,000 votes were cast in the annual countdown, broadcast across the May bank holiday weekend, with the top song revealed just before 7pm on Monday.

Smooth presenter Kate Garraway said: “It’s fantastic that George Michael’s music and legacy shine as brightly as ever, with Careless Whisper voted the number one song and George Michael named the most popular artist.”

Smooth’s All Time Top 500 – top 20:

1. Careless Whisper – George Michael
2. A Different Corner  – George Michael
3. Bohemian Rhapsody – Queen
4. Man In The Mirror – Michael Jackson
5. Bridge Over Troubled Water – Simon and Garfunkel
6. Billie Jean – Michael Jackson
7. Don’t Let The Sun Go Down On Me – Elton John and George Michael
8. Human Nature – Michael Jackson
9. Dance With My Father – Luther Vandross
10. Running Up That Hill – Kate Bush
11. Wind Beneath My Wings – Bette Midler
12. Father Figure – George Michael
13. Always On My Mind – Elvis Presley
14. Hotel California – Eagles
15. Jesus To A Child – George Michael
16. Dancing Queen – ABBA
17. (Everything I Do) I Do It For You – Bryan Adams
18. Suspicious Minds – Elvis Presley
19. I Will Always Love You – Whitney Houston
20. Fastlove – George Michael

A £25,000 reward is being offered on-air to help recover a stolen historic trophy linked to Glasgow.

Go Radio has launched a campaign urging listeners to come forward with information after the Lipton Trophy was taken from Glasgow’s Riverside Museum. The station is using its platform to drive awareness and encourage contact with Police Scotland as efforts continue to locate the missing silverware.

The trophy is closely tied to Sir Thomas Lipton, who was born in the Gorbals, the same area where the station is based. The local connection has prompted the station to position the campaign as a community effort to return a piece of Glasgow’s heritage.

Managing Director Rochelle Clemente said: “Sir Thomas Lipton is part of the Gorbals’ story, and this trophy belongs to Glasgow’s heritage. We’re proud to be based here and we want our trophy back.”

Rochelle added that anyone with information that could help recover the item should contact Police Scotland, quoting incident number 0993.

The campaign is being promoted across Go Radio’s output as the station looks to engage listeners and support the investigation.

The BBC Radio Car is being discontinued as an on-demand service, but will still be used on occasions, RadioToday understands.

In reaction to this move, Kevin Stanley, a former BBC Journalist who now works as a freelance communications consultant, teacher and trainer, shares his thoughts.

“There are many things about the modern world of broadcast that make an old hack like me feel even older. Technology changes at such a rapid pace, meaning you either have to adapt to it or risk becoming a dinosaur. But during my 27 year career at the BBC, there was one constant bit of technology; a solid, reliable beast that would never let you down. Well, actually, often it did. I refer of course to the trusty Radio Car.

That fresh faced reporter is me in 1998, when I had hair and always wore a suit for work. The mark in the middle of the photo is a staple, because yes, I was a centrefold… in The Journalist magazine. It doesn’t get more glamorous than that.

This pique of nostalgia has come about because the BBC Radio Car is being retired from daily service. Newer versions, known as the Verv (Versatile Vehicle), are still knocking about, but are quickly becoming obsolete, largely because you can now get a broadcast quality signal from just about any phone.

But for decades, the Radio Car was the way to get on air from location. They consisted of a regular car kitted out with an extendable mast, heavily weighted down in the middle of the vehicle. Around the mast was an array of electronics that seemed like an aircraft cockpit to the untrained eye. Yet the theory behind the Radio Car was that any old fool could operate it without the assistance of an engineer. When it came down to it, it was basically three buttons; one to raise and lower the mast, a second to switch on the UHF transmitter and a third to connect the microphone. A mixing panel was usually added to enable multiple mics to be connected.

But although these were “simple” bits of kit from a technological point of view, they created all kinds of nightmares for colleagues who used them over the years. Before you were even allowed to hold the keys, there was a strict lesson from a senior engineer, warning of how the tip of the mast could electrocute you if you touched it, or it touched an overhead power line. You had to learn and memorise the safe operating distances from wires, recite at least three types of weather where you wouldn’t put the mast up and remember what to do and who to call if something went wrong.

What wasn’t included in the tutorial and the subsequent test was how to drive the thing. Many journalists are used to handling the smallest of cars. An estate or people carrier with bonkers weight distribution, not to mention thousands of pounds worth of equipment on board, was another thing entirely. A light dusting of snow or a muddy field could soon land you in trouble.

And the whole point was that these cars could, in theory, go anywhere. Farms, country shows, canal towpaths, airport runways (well, maybe not), the car took the reporter to the heart of the action.

The more modern Verv model, picture above, dispensed with the clunky extendable mast and replaced it with a satellite dish. Backed up by a 4G multi channel Comrex, it was supposedly easier to operate and more reliable. However, satellites need a specific line of sight, and you could often spend a good 20 minutes waiting for the dish to spin around and align itself.

And that was the biggest challenge – getting to a location in good time to set up and get on the air. A breakfast shift would often include going to more than one place, and producers were notoriously bad at building in enough travel and preparation time. You’d often be ringing the doorbell of a remote house just moments before being on air, trying to simultaneously talk to the producer at base while explaining to a little old lady how live radio worked. More than once I have concluded a broadcast only for the contributor to ask : “When will that be on the radio?” Erm, it just was!

On the road itself could also be a real experience. Some motorists would kindly let you through a traffic jam, others were less impressed by the idiot in the big car labelled BBC who was negotiating a parking place over a high kerb. As a journalist, of course, you were expected to be fearless. I recall one colleague racing back to base with a recording (the Radio Car having failed) and complaining that it would only do 80 miles per hour. Contrary to popular belief, tickets were issued in such circumstances and it was the journalist, not the BBC, who had to pay the fine.

While the Radio Car was sometime a great advert for your station, it also made you a moving target. Not all of the stories you covered were good news. A murder, for instance, is a great juicy story for a journalist, but a nightmare if you wanted to keep things low key. While the local newspaper reporter was discretely knocking on doors for comment, you were being surrounded by local kids who would try and get near the car, have a look inside, or nick a spare microphone. This would frequently happen, of course, while you were in the middle of a live broadcast, meaning you had limited opportunities to deter them. Worse still would be the adults, who might be especially annoyed that you were sniffing around their neighbourhood for the grim facts of what had happened.

When BBC Local Radio was reconfigured massively cut in 2023, one particular daily shift was conspicuous by its absence. Almost every station had a Radio Car reporter, usually working from 6am, serving the breakfast and mid morning shows. As the NUJ Nations and Regions rep I questioned why this boots on the ground resource – the one reporter rooted in its communities – was being scrapped. A range of excuses was given, none of which made sense. However, we were also told at the time that even the newer Verv cars were reaching the end of their useful lives and would not be replaced. The scene was set for the end of the Radio Car.

Today, almost everything is done via a WhatsApp call, which is not only cheap (or free with WiFi) but can be done by the contributor. There is no longer any need for a reporter to be present. And yes, some may say it doesn’t sound the same (it doesn’t, it’s often better), but it’s hard to think of a justification for a lumpy bit of kit that costs around £70,000 and sits in a car park for much of the time.

Doubtless someone will buy one of these old wrecks and preserve it in working order for purposes of nostalgia. Personally, I loved the variety of the reporting, but I disliked driving them around. Many colleagues would agree.”

Kevin has also recently shared his thoughts on the 2000 jobs cuts announced. See more here.

A new podcast teaching the Cornish language has launched on BBC Sounds, led by presenter Danni Diston.

The Learn Cornish podcast, produced by BBC Radio Cornwall, follows Danni as she explores the language and its cultural roots, supported by language expert Sarah Buck and a range of guests across twelve episodes.

The series features contributors including BAFTA-winning director Mark Jenkin, actor Edward Rowe, and an engineer from Goonhilly Satellite Earth Station, alongside historians, pasty makers and Grand Bard of Cornwall Jenefer Lowe.

Commissioned to mark the government’s decision to grant Cornish the highest level of language protection, the podcast forms part of a wider push by the BBC to increase Cornish content. This includes weekly news bulletins in Cornish on BBC Radio Cornwall and new material for BBC Bitesize aimed at primary school audiences.

Danni Diston said: “Having the opportunity to dive into the Cornish language, it’s history has been wonderful… even if you speak a tiny bit of Kernewek or none at all, this podcast is for you.”

Steph Marshall, BBC Head of Content Production for the West and South West, added: “There is a revival and a passion for Kernewek which runs through the heart of Cornwall… we want to showcase the language and celebrate communities.”

The podcast is available now on BBC Sounds, with new episodes released weekly.

A fresh scheme is offering structured support for experienced audio professionals looking to develop artistic work.

The Audio Artist Pathway will support six UK-based practitioners over a year, focusing on those from backgrounds underrepresented in the industry and aiming to strengthen progression beyond entry-level roles.

Delivered by Multitrack and In The Dark, the programme is designed for mid-career professionals with at least five years’ experience across radio, podcasts, theatre, film and other audio production fields. It will provide financial support, mentoring and industry connections while encouraging participants to explore new creative directions.

Each participant will receive a £3,000 stipend alongside access to masterclasses, one-to-one mentoring, peer sessions and training on funding applications. The scheme will conclude with a public showcase at the XMTR Audio Arts Festival in St Leonards-on-Sea in 2027.

Applications opened on 1 May and close on 31 May, with the programme running from September 2026 to September 2027.

The initiative responds to ongoing concerns about career progression in audio, particularly for those from minority ethnic backgrounds, disabled professionals and those from working-class communities. It also reflects wider industry pressures, including faster production demands and the growing role of AI in workflows.

Multitrack has previously focused on entry-level development through its Fellowship programme, which will not run this year as attention shifts to this new mid-career pathway.

A volunteer presenter at Erewash Sound will help decide how £20m of community funding is spent locally.

Richard Dawson has been appointed to the Cotmanhay Neighbourhood Board, which will oversee distribution of Government regeneration funding across the area over the next decade. He will represent cultural, arts, heritage and sporting organisations as part of the group.

The board will decide how the Pride in Place funding is allocated, following engagement with residents and local organisations. Members have been selected for their backgrounds in areas including community support, social enterprise and the arts.

Richard has been involved with Erewash Sound, based in Cotmanhay since its FM launch in 2010, where he works as a presenter and producer. He said: “I have been given the privilege to serve on the Pride in Place board in Cotmanhay and am really excited to be able to serve the community and help it find its voice.”

Chair Jenni Wright said the group brings together people with strong local connections to ensure decisions are community-led. She added: “Our priority is delivering the £20m funding for the community, and these appointments bring the necessary expertise to make this happen.”

The first board meeting is scheduled for June, with wider community engagement planned for the summer.

The small-scale DAB+ multiplex covering Craven, Wharfedale and the Worth Valley has launched with two brands on board.

Drystone Radio, which owns 90% of the mux, is now broadcasting in DAB+ in addition to its two FM frequencies, whilst Sunrise, which holds the remaining shares, has launched Sunrise Radio and Sunrise Gold.

The owner says it will encourage a wide mix of broadcasters to join the platform in the future.

David Adams, founder of Drystone Radio, said: “Becoming the DAB+ licence holder for our key broadcast areas allows us to future-proof our service and reach new audiences.”

Nick Hancock, who was most recently on-air at YO1 Radio and Your Harrogate, is now lunchtime host on the station and said: “For the last 6 months we’ve led up to this point by putting together a consistent & confident daytime line up with a focus on the right music mix combined with local news & event information whilst embracing involvement from the local population.”

Drystone Radio launched in 2008 and has recently extended its reach via DAB in West Yorkshire and East Lancashire.

Takeover Radio will again run its Joke of the Fringe Award at the Edinburgh Festival Fringe.

The Nottinghamshire youth station is returning to Edinburgh in partnership with the ISH Edinburgh Comedy Awards, continuing its role broadcasting shows, interviews and festival coverage.

The award offers a £500.01 prize, with jokes nominated by members of the ISH judging panel from live performances across the Fringe.

A longlist will be revealed in week three, before staff and listeners help decide the winner ahead of the final announcement at the awards ceremony.

Takeover Radio 106.9FM, based in Ashfield, has broadcast from the festival for the past two years and previously introduced the award in 2025, when Jo Caulfield won. The station also ran a separate Joke of the Nottingham Comedy Festival later that year, won by Alex Mitchell.

Nick Mellors, a volunteer at the station, said: “We’re delighted to be back in Edinburgh again for the Takeover Radio 106.9/ISH Joke of the Fringe Award.”

He added the initiative helps showcase the station’s community and highlights opportunities for young people through arts and media.

The station broadcasts on 106.9FM locally and online, with plans to deliver further coverage from the Fringe this summer.

Photo: 2025 Awards Night – Patrick Monahan & Nick Mellors

Kirsten O’Brien has left her weekday mid-morning show on BBC Radio Berkshire to take up a new role on BBC Radio 2.

She will begin reading afternoon travel reports on the station from Monday, following eight years at BBC Radio Berkshire.

On her final 10am to 2pm show on Friday, Kirsten thanked listeners and colleagues, reflecting on her time at the station and the variety of stories she has covered.

She said: “It’s eight years I’ve been here… I’ve really, really enjoyed it.” She also thanked the production team and contributors behind the scenes, describing her time as “absolutely brilliant”.

Her departure was marked by a surprise appearance from former CBBC colleagues Dick and Dom, who joined the programme live and joked about taking over her slot.

Kirsten also confirmed that Brigitte Tetteh will take over the mid-morning programme on the station.

A nationwide radio quiz has set a Guinness World Records title while raising funds for Cash for Kids.

The event, led by Ant and Dec, brought together online players and radio listeners across multiple Bauer Media Audio stations in a simultaneous broadcast centred around PopMaster.

The quiz was carried live on Absolute Radio, Greatest Hits Radio, Hits Radio, Jazz FM, KISSTORY, Magic Radio, Kerrang! Radio, Planet Rock and Downtown Radio, creating a shared experience across the network as participants joined in from around the UK.

Rounds were hosted by presenters including Gok Wan, Fleur East, Marvin Humes, Joe Elliott, Dave Berry, YolanDa Brown, Simon Mayo, Tyler West, Chloe Burrows, Boogie and Arlene, before Ken Bruce led the final PopMaster round.

Guinness World Records adjudicators confirmed the show achieved the highest number of simultaneous participants in an online music quiz.

Ant said: “We’re absolutely blown away by the response we’ve had from radio listeners across the UK today!”

Dec added: “This record belongs to everyone who took part and we want to thank them all.”

The programme also included celebrity appearances and interactive elements, alongside fundraising activity for Cash for Kids, which supports children affected by poverty, illness and neglect.

Managing Director Sally Aitchison said: “This has been an extraordinary achievement. Ant and Dec helped set a world record, they’ve also helped shine a spotlight on the work Cash for Kids do to support disadvantaged children in the UK.

“The funds raised will make a real difference and we will be opening grant rounds soon to distribute those funds.”.

Media and marketing professionals from across the North gathered at Manchester’s Stoller Hall last week for Radiocentre’s latest event, Tuning In North.

The morning showcased powerful partnerships, new effectiveness research and the latest in digital innovation, underlining how audio’s potential is getting bigger for advertisers.

Region on the rise

Opening the event, Radiocentre CEO Matt Payton set the tone, noting audio’s position of strength in 2026 with commercial radio delivering record revenues and a record share of listening.

In the North West audiences have grown even faster than average – up by a remarkable 24% in the past 4 years and now reaching 4.7 million weekly listeners across the region. “An incredible achievement that reflects the fantastic choice and quality available” he remarked.

Matt also pointed to wider industry shifts. Increasing scrutiny on social media platforms could present a clear opportunity for brands to rebalance budgets towards more trusted, effective media. He also reiterated the industry’s call for the BBC to rule out advertising as a future funding model.

Watch here.

Powerful partnerships

The long-running Mission Christmas collaboration between B&M, Cash for Kids and Bauer demonstrated the impact of audio-led partnerships. Over 12 years, the initiative has raised £100 million and supported more than two million children.

For B&M’s Shelley Robinson, audio plays a crucial role: “audio is an incredibly effective channel for us to connect locally at scale….and it builds that emotional connection and adds the urgency”.

Watch here.

A second partnership case study showcased the award-winning collaboration between Team GB and Global. From Paris 2024 through to the Milan Winter Olympics and the upcoming LA28 Games, the partnership uses audio to build national connection and share athletes’ stories with the nation before, during and long after the events themselves.

Looking ahead, Team GB’s Tim Ellerton described LA28 as “potentially the biggest Olympic Games we’ve ever seen” and emphasised how “the world of entertainment and music will be there”.

Watch here.

Innovation in action

Innovation was another key theme, with Bauer’s AudioXi demonstrating how digital developments are reshaping the audio landscape. Combining scale, high-quality environments and data-led targeting, the platform highlights how audiences can be reached more effectively than ever.

In the North, for example, data shows that listeners are 5.4 times more likely to engage with locally relevant content, a powerful signal for advertisers looking to connect more meaningfully.

The session also featured the announcement of two new podcasts: re:Working with Tim Campbell and The Prenup with Molly and Tyler.

Watch here.

High Gain Audio

The second half of the morning turned to effectiveness. Radiocentre’s Mark Barber and Ffion Turner from WPP Media Analytics unveiled full findings from the new High Gain Audio study, which provides clear guidance on how to maximise campaign ROI.

The study reveals the ROI advantage of Multiplatform Audio, with advertisers encouraged to allocate 25% of media budget to maximise Multiplatform Audio’s uplift effect on total campaign ROI. At this point overall campaign ROI is 9% higher than the same campaign spend with audio not included in the mix.

Watch here.

Building anticipation

PHD’s Louise Twycross-Lewis and Sophia Field then explored the role of anticipation in driving consumer behaviour. Their latest Culture Currents study highlights how “anticipation stimulates spending” and how brands can tap into these emotional moments.

A standout example was the award winning Global and Netflix partnership around Stranger Things, which used a pop-up radio station to generate anticipation ahead of the final season.

Watch here.

Local perspectives

The event closed with a panel featuring leaders from Dentsu, Wavemaker North and Bauer, reflecting on the year ahead. The discussion focused on the continued growth of digital audio, the increasing importance of trusted environments, and the ongoing pressure on marketing budgets from the wider macroeconomic climate.

To sum up, from building emotional connections and cultural relevance to delivering measurable ROI, Tuning In North demonstrated how audio is playing a powerful role in amplifying advertising impact for brands in the north and beyond.

Watch here.

Niall Gray is taking over Friday and Saturday evening shows on Hits Radio from this Friday, 1st May.

He replaces Owen Warner, who is stepping back from his shows over the summer while appearing in the West End production of Agatha Christie’s Witness for the Prosecution.

Niall joins the station following previous roles at Capital and the BBC, alongside building an online following through parody videos based on television formats and cultural trends. His comedy show Let the Best Man Win debuted at the Edinburgh Fringe last year.

Niall said: “I’m so excited to be joining Hits Radio and working alongside such a brilliant lineup of presenters. I can’t wait to get started and have some fun with the listeners every weekend!”

Paul Gerrard, Content Director at Hits Radio, said: “We’re really excited to welcome Niall to the Hits Radio family; he’s a fantastic talent and we can’t wait for listeners to hear what he’s got lined for them on a Friday and Saturday night.”

Paul also wished Owen well for his stage role and confirmed he will return to the station later this year.

PRS for Music paid royalties on 7.8 million works in 2025, extending payments to more creators than ever before.

The society distributed £1.07 billion to songwriters, composers and publishers, up 4.9 percent year on year, as total collections reached £1.24 billion, an increase of 7.7 percent.

Growth was driven by a rising number of works generating income, with 2.3 million more pieces earning royalties than in 2020. A total of 4,541 writers received payments for the first time, sharing £1.96 million.

Streaming remained the largest contributor, generating £351.4 million, while total online income reached £447.2 million. Video on demand also increased, alongside continued expansion across international markets, where revenues climbed to £367.3 million.

Live music delivered record returns, exceeding £100 million for the first time, with more than 37,600 members receiving payments from performances. Increased reporting, including over 231,000 submitted setlists, helped capture more activity.

Broadcast income from radio and television remained broadly stable at £111.8 million.

Andrea Czapary Martin said: “We’ve delivered another year of strong growth, with revenues up 7 percent and for the second consecutive year paying over £1 billion to songwriters, composers and publishers.”

She added that improvements to payment systems aim to ensure creators receive royalties more quickly and accurately.

BBC Radio 2’s flagship live music event in Stirling will now take place later in the year after concerns from the festivals sector.

Organisers have moved the three-day Radio 2 in the Park from August to September following discussions with local stakeholders, including the Scottish Independent Festival Association, about the impact on other events in the area.

The actual dates have not been announced, but will be one of the weekends in September 2026 rather than the previously announced 7 to 9 August.

Party at the Palace is taking place near Edinburgh that weekend already.

The BBC says the change is intended to support the wider summer schedule of independent festivals across Scotland, while still bringing the event to City Park in Stirling for the first time.

Helen Thomas said: “Our aim has always been to bring a brilliant event to Stirling, providing value for Scottish audiences and making a positive impact on the local community.”

Helen added the decision followed close work with the Scottish Independent Festival Association to find a suitable timing, and said the BBC wanted to confirm the change early for those planning to attend.

A spokesperson for the association said it was “grateful to the BBC for the thoughtful way they’ve engaged to consider the right timing”.

New dates, artist announcements and ticket details are due to be confirmed, with coverage planned across BBC television, BBC iPlayer, BBC Sounds and Radio 2.

Audio is moving firmly into core media plans, with most advertisers planning to maintain or increase spending according to a new report from Bauer.

The Sound Check Europe 2026 study from Bauer Media Audio, with Elevate Consultancy, surveyed more than 1,000 senior decision-makers across nine markets. It shows 86% of advertisers now see audio as central to strategy, while 96% expect budgets to hold or grow.

In the UK, confidence is already established. 91% say audio is important to their plans, although agencies are more likely than brands to increase spend. This points to a market focused less on proving effectiveness and more on activating it.

Digital audio is gaining ground as a flexible, brand-safe environment. Advertisers value its combination of broadcast reach and targeting, with most UK respondents saying broadcast and digital audio work best together.

Podcasting continues to develop, with strong awareness but lower perceived importance in the UK. The gap suggests room for growth as advertisers look to engage audiences more deeply.

Measurement remains a barrier. Few advertisers use attribution tools confidently, yet many say stronger evidence would unlock further investment. At the same time, AI is being adopted for efficiency, though concerns about trust and brand risk persist.

Simon Kilby, MD, Bauer Media Advertising (UK), says: “In the UK, we’re seeing growing demand for channels that deliver both scale and accountability – and audio has proven it can do both.

“In a media landscape where advertisers need digital first solutions and trusted, brand-safe environments, audio is increasingly standing out.”

Simon Myciunka, President Audio, Bauer Media, comments: “Advertisers are no longer testing audio, they’re scaling it.

“When nearly half of the market is either increasing or maintaining audio spend, that signals a fundamental shift. But the bigger story is the opportunity. Audiences are already there, effectiveness is proven, and now is the time for investment to grow.

“The direction of travel is clear. Advertisers aren’t asking whether audio works anymore – they’re deciding how fast to scale it. Those that do will see the advantage first.

“For us at Bauer Media Audio, this is about turning that momentum into something actionable. We are working with customers on strategic partnerships that bring clearer impact, stronger cross-channel planning, better data integration, and measurable outcomes for advertisers across all our markets.”