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Why Zane Lowe and Apple Music are betting on live radio in an on-demand era

BBG News

In 2015, Zane Lowe stepped down from his role as a DJ on BBC Radio 1 in the UK to take up the main position at a brand new digital radio station launched that year by Apple’s music-streaming service. His responsibilities included hosting a one-hour show broadcast live from Los Angeles every weekday, starting at 9 am Pacific Time.

About ten years ago, Lowe has become a universal presence in pop music: an unwaveringly optimistic trendsetter-turned-motivator whose heartfelt conversations with top chart artists attract millions of viewers on Apple Music and YouTube. This popularity might allow him to adjust the timing of his show to a more convenient hour, should he choose to do so.

Lowe wonders if anything is more relaxing than 9 a.m., given his routine of rising from Monday to Friday and commuting to Apple’s Culver City studios to play music and interact with pop stars on Apple Music 1’s main station. Despite not being able to sleep past 6, he’s already active, boxing in the morning and eager for his coffee and airtime.

Despite, or perhaps because of, the era of instant streaming entertainment, Lowe, aged 51, remains optimistic about the potential of live radio. He expresses a unique connection to the music he plays from his position at the console, stating that the sound is distinct in this space compared to any other. He cherishes the concept of being able to shape the moods of people across various time zones simply by selecting one song.

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Apple expresses his excitement. Recently, the tech titan broadened its radio selection beyond Apple Music 1, which it previously offered alongside Apple Music Hits and Apple Music Country. Three fresh stations have been added: Apple Música Uno, a station dedicated to Latin music; Apple Music Club, focusing on dance tunes; and Apple Music Chill, described as “an escape, a haven, a sanctuary in sound” and featuring contributions from ambient-music innovator Brian Eno. These stations operate 24/7 with programming led by a blend of seasoned radio hosts and artists like Becky G and Stephan Moccio.

According to Oliver Schusser, Apple’s vice president of music and sports, the motivation behind starting radio was to create a platform where culture thrives, where new parties kick off, and where artists can openly discuss their creative choices in making specific music. He emphasizes that this has never been more crucial than it is today.

Apple Inc., headquartered in Cupertino, doesn’t disclose the number of listeners for its radio stations. This secretive approach is characteristic of a company often referred to as the globe’s most valuable. As quoted by Schusser, “We’re not a numbers company.

Despite being Apple Music’s analyst at Midia Research, Tatiana Cirisano points out that Apple isn’t casually investing in radio as they can afford to do so because of their status as Apple. Given the deceleration in digital streaming growth, radio stations serve a crucial purpose for Apple Music to stand out among rivals such as Spotify (with 640 million users) and Amazon Music. Unlike Apple, Spotify provides a free ad-supported service.

Speaking about the past ten years of streaming, Cirisano notes that there’s been an absence of distinctiveness as most platforms shared similar interfaces and music catalogs. However, he emphasizes that this uniformity is no longer sufficient to attract new subscribers due to the exhaustion of potential customers. To draw in clients, Spotify has expanded its offerings significantly, focusing on podcasts and audiobooks. Live radio, according to Cirisano, introduces some scarcity into the marketplace. Furthermore, live entertainment experiences, such as the high-profile partnerships Netflix has made with sports organizations like the NFL and WWE, can be seen as the remaining scarce form of entertainment now that everything is readily available on demand.

Natalie Eshaya, in charge of Apple Music Radio, notes that the latest stations represent a more personalized approach to the streaming world as part of their dedication to infusing “a human element” into the platform. This statement appears to highlight a distinction between Spotify, who in 2023 launched an AI-driven feature for their music selection and broadcasting, which recently faced criticism for using AI in their annual Wrapped promotion. In contrast, Eshaya explains that at Apple, “We select the music and we curate the content – this has been our guiding principle from the start.

Beyond Lowe, Apple Music Radio boasts broadcasting experts such as Ebro Darden, known for hosting the morning show on Hot 97 in New York; Nadeska Alexis, who rose through the ranks at MTV and Complex; and Evelyn Sicairos, previously with Univision. Prior to joining Apple in 2015, Eshaya had worked as a producer on Ryan Seacrest’s morning show at L.A.’s KIIS-FM. However, it is Lowe, who additionally serves as global creative director and recently filled in for James Corden as host of a special holiday edition of “Carpool Karaoke,” who undeniably stands out as the primary face of Apple Music.

Raised in New Zealand, he started making music himself before transitioning to radio work. He attributes his ability to empathize closely with celebrities like Adele, Billie Eilish, Lady Gaga, and Bad Bunny to his artistic nature. As he puts it in his Culver City office, “I speak the language of artists.” Most artists would likely agree, “Yeah, he gets it.” Relaxed on a sofa tucked into a corner of the dimly lit room, he’s dressed in his usual loose jeans and sweater, completing the look with trendy geometric glasses. He also appreciates working for a company that values this artistic side of him.

Lowe’s perceived understanding with musicians, as described by Eshaya: “The faith artists have in him is almost legendary,” – can be interpreted by others as a degree of respectfulness in his interviews that verges on excessive flattery. “I acknowledge the perception that I might come off as overly optimistic or not critical enough,” he explains. “However, I don’t believe it’s my role to be critical. There are certain topics that artists may consider sensitive – they could pertain to personal matters, past tragedies, or subjects they prefer not to discuss – and I don’t feel it’s my duty to pry for information or expect them to share it with me.

Does he think of himself as a journalist?

Instead, Lowe mentions, he cherishes the chance to invest an hour with a remarkable artist, aiming for it to be a profoundly moving human encounter. During Katy Perry’s appearance on his show in September, promoting her album ‘143’, Lowe praised her new music as a precious gift and affirmed that she had returned as the beloved Katy Perry. Remarkably, he chose not to question Perry about her choice to reconnect with producer Dr. Luke, following their previous split due to accusations from Kesha regarding sexual assault; however, in 2023, Kesha and Dr. Luke reached a settlement.

Given the circumstances I found myself in, I did my utmost to carry on a fruitful chat. It turned out to be an enjoyable interaction for both of us, and it seemed her fans appreciated it too.” Lowe admits, “In the heat of the moment, with the rhythm of the music, our location, and the swift pace of events, it wasn’t something we had specifically planned.

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Schusser contests the notion that Lowe avoids challenging questions, pointing out a 2020 interview with Justin Bieber where the singer openly discussed his past struggles with self-destructive actions. Schusser remarks, “I believe it’s safe to say that Justin’s publicist wouldn’t have wanted the discussion to unfold as it did.” It is widely understood within the music industry that after Lowe conducts a pre-recorded interview instead of a live one, artists or their representatives are allowed to request edits – a practice not typically followed even among the friendly confines of celebrity journalism.

To rephrase, Lowe clarifies that he doesn’t work within a news organization but rather with a streaming service focused on promoting music. In his role, he aims to ensure the business thrives. On Apple Music, Lowe emphasizes creating a more open environment for artists and their work compared to the more demanding world of terrestrial radio.

In a casual tone, he remarks that during his morning show, people are often listening while driving with little spare time. He likens the situation to walking into a busy room where swift action is needed, using the analogy of starting a chainsaw for emphasis.

For musicians preparing for an album release, who often view interviews with traditional journalists as an unnecessary risk given the prevalence of social media, engaging in a casual conversation on Apple Music Radio might offer a safer approach to connect with audiences who are less concerned about the intricate details behind how (and why) popular music is produced.

Lowe explains that he cannot mediate or restore relationships between A and B; his role is limited to fulfilling necessary tasks when they require something from him regarding C. He emphasizes that he won’t take on someone else’s responsibilities simply because they can’t do it, even if he has the opportunity.

What makes artists choose Apple Music for their projects instead of something else? Schusser isn’t far off when he says, “Every artist on Earth with a new project – be it an album, song, tour, or collaboration – they all seem to be coming to us.” The close relationship Apple has nurtured with musicians, in part by offering a higher royalty rate per stream compared to Spotify, has always been a significant factor in its identity. In the beginning, Apple Music secured exclusive rights to albums from artists like Frank Ocean, Drake, and Chance the Rapper. Today, other popular artists such as Summer Walker, Rauw Alejandro, Jamie xx, Hardy, and Elton John (who has been hosting “Rocket Hour” since 2015) also host radio shows on the platform.

In essence, Schusser remarks that most streaming businesses are primarily technology-focused and view music as secondary. For them, it’s all about data (bits and bytes) whether it’s books, podcasts, or other content. Apple Music, however, identifies itself as a music company and has no current plans to incorporate other elements into its musical experience. Notably, Apple is considering enhancing its studios in cities like L.A., Nashville, Berlin, and Paris to facilitate small-scale ticketed events.

In the streaming era, Lowe argues, music isn’t given enough unique moments or events. Instead, it’s primarily released all at once, and then it competes on its own, which is difficult due to the numerous obstacles. To put it simply, music has a unique charm. Crafting an hour or two hours of radio to set a mood sends a message that it’s worth engaging with.

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2025-01-15 23:32

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