Why local radio thrived during the COVID-19 pandemic

By Catcher Kemmerer ‘24

As the COVID-19 pandemic began, Americans became increasingly immobile, using cars and public transportation with less frequency and with newfound time at home to read, watch streaming networks, or work remotely. While this occurred, the local radio industry - becoming increasingly more archaic within a climate of rapid, new technological developments - found what some went so far as to describe its “finest hour.” 

When the pandemic forced U.S. governments to shutter many of their businesses and advise Americans to avoid unnecessary contact, local radio, like other artistic and journalistic industries, found a need to shift its methods, experimenting with remote broadcasting and home studios while continually striving to help communities through the pandemic and the resulting economic collapse.

However, it largely adapted to the COVID-19 pandemic successfully. Per an April 2020 MediaTracks Communications summary of radio-related surveys and studies published early in the pandemic, increased media consumption inherently aided radio journalism. Additionally, ongoing increases of interest in radio podcasts and radio received through mobile devices and smart speakers greatly helped arts radio.

The same summary found that though almost 1 in 3 American adults reported less in-car radio listening than prior to the pandemic, over 8 in 10 reported more or equal overall radio listening. 92% said they listened to some type of radio every week.

But local radio has remained cognizant of the needs of local musicians, as well. Catlin Gabel School (CGS) Upper School Dean of Students and avid music enthusiast John Harnetiaux commented on the adaptability of local musicians throughout the pandemic.

“Musicians I follow have stayed afloat by doing virtual concerts, and putting out more music [than usual],” noted Harnetiaux. “They’re even getting a little more creative in the type of music they are doing… A byproduct of just having more time and not being able to tour is that you get to devote some more time to your art and your studio.”

CENTER and PLACE Programs Director and local musician George Zaninovich also highlighted the strategies musicians have used to cope with the effects of the COVID-19 pandemic on arts industries.

“I think a silver lining [of the pandemic] is the use of technology to have home concerts, backyard concerts… that can be streamed,” Zaninovich said. “I participated in some, where you pay or you donate, and you get to experience someone’s concert.”

Zaninovich later added that musicians that did not enter the pandemic with a sizable audience relied on outlets like local radio to gain publicity and financial stability.

Trust in local radio journalists, the draw of music, the evolution of radio to adapt to contemporary technology, and media consumption as a comfort during uncertainty have all been credited as beneficial to local radio growth during the pandemic. Harnetiaux spoke to the value of contemporary technology as a boon for radio consumption.

“I actually don’t listen to the radio anymore… in my car,” added Harnetiaux. “I use apps on my phone, whether that’s the [National Public Radio (NPR)] app, or the KEXP-FM app… I think that when you have those resources available, and also the fact that you can stream them from anywhere… that technological piece is huge.”

Zaninovich also commended the Portland Radio Project for its work adjusting to the pandemic through contemporary technology.

“(Portland Radio Project) used to do this video series of when people come to the studio, like their Tiny Desk Concerts, kind of like what NPR would do,” Zaninovich remarked. “But how they’ve shifted is they allowed local musicians to submit music videos. And so that’s one way they've used technology differently. We can’t be together, but artists are still creating content, so we’re going to use our website to show the content in a different way.”

Early U.K. estimates found corporations that owned local radio stations reported increases in daily reach - or the estimated number of unique radio listeners per day - ranging from 15% to 75%. Increases in listening hours were similar, ranging from 9% to 80%.

In December 2020, science news aggregator Phys.org argued that “radio has proven to be the medium of reference,” adding that “throughout history, at times of major natural disasters and health emergencies, radio has played a leading role thanks to the fact that (it) is the most universal, simplest and most accessible of media.” A U.N. statement recognized that radio provided “solace” during the COVID-19 pandemic.

“One of the aspects of the pandemic is forcing us to be in community, and look at our community in different ways,” said Zaninovich. “So people are searching out ways to connect from the comfort of their home. And in the absence of being able to go to concerts, where you would see local musicians, maybe [radio] is a way to be connected to that type of… scene without being actually able to go do it.”

According to the Sports Business Journal, when sports returned from hiatuses caused by the COVID-19 pandemic to highly controlled environments - such as the National Basketball Association (NBA) and Major League Soccer (MLS) bubbles in Florida, or the return to action for a severely shortened Major League Baseball (MLB) season - local sports radio likewise returned and boomed amid increased fan interest, which was likely exacerbated by the hiatuses.

Per Forbes, radio listening is returning to pre-pandemic levels as U.S. COVID-19 cases continue to decline, and U.S. vaccination levels continue to rise.

The contribution of local radio to communities during the pandemic has recently turned toward promoting the COVID-19 vaccine, particularly in radio journalism. However, local music radio stations have also undergone publicity efforts urging Americans to receive inoculations. Currently running vaccination sites in the Portland metropolitan area include grocery stores, pharmacies, the Oregon Convention Center, Portland Airport (PDX) and Hillsboro Stadium, among others. The Oregon Convention Center began accepting walk-in appointments May 7.

Harnetiaux, too, acknowledged the power of artists and artistic organizations to spread public health, social justice and other messages of relevance to their communities.

“A lot of them are explicitly referencing the need to get vaccinated as a measure of public health,” he said. “I think that they’re doing what artists have the opportunity to do for any issue - and they did this for Black Lives Matter as well - and that is using their platform to amplify an opinion.”

In a nod to collective grassroots efforts and outreach, Zaninovich credited local communities with supporting musicians and music radio throughout the turbulence of the COVID-19 pandemic.

“I think something about the pandemic is people thought a lot about supporting locals,” he noted. “Like seeing local businesses having a hard time and wanting to get takeout from a local business as opposed to a [corporation like] Olive Garden or something. And I think that’s true with music too… I think that there [was] a turning towards local music to really solidify our community.”