IMRO Fairplay For Airplay Report
Authors: Jackie Hayden & Johnny Lappin
1 INTRODUCTION
The material in this document was compiled over the past twelve months of the Fairplay For Airplay initiative.
The brief was to produce a document based on and reflecting the reality of the myriad views, attitudes, aspirations, working practices and concerns of those people working in and with music radio.
Over the past year, the authors of the document, Jackie Hayden and Johnny Lappin, spoke in confidence to over 140 individuals working with Ireland's radio stations throughout the country, including station bosses, CEO's, Programmers, Managers, Producers, Presenters and Researchers with local, community and national stations. They also spoke to various Musicians, Songwriters, Managers and Publicists.
The Fairplay For Airplay initiative is explained in section 2 which also includes a full list of award winners to date.
Section 3 offers a summary of the main factors influencing the relationship between artists, those working with them and the medium of radio today.
Relevant views expressed by radio practitioners in confidential discussions have been condensed into the section "Advice For Artists And Songwriters" (section 4) and are also clarified in the speech by Willie O'Reilly, CEO of Today FM (section 7).
Section 5 lists all licensed radio stations currently on air, with details including the area to which they broadcast, contact information, general music policy, website details, etc.
Section 6 explains how additional information for individual stations and programmes can be sourced.
Given the similarities between radio stations in all the major music markets, the information and advice contained in this report could be used by anyone working on behalf of songwriters and musicians in virtually any territory.
2 THE FAIRPLAY FOR AIRPLAY INITIATIVE
Despite the criticisms levelled at Irish radio in the past, and the fact that some people in the Irish music industry were dissatisfied with the level of airplay for Irish music and for new artists, it was generally acknowledged that it was time to open up a two-way dialogue with the radio industry. There was also a growing acceptance that previous "discussions" had tended to be one-way, with organisations and individuals criticising radio but with little coming back that would explain the radio perspective on the issues. It was also believed that dissatisfaction with airplay was sometimes based on the fact that the complainants' own records were not receiving airplay.
It had also become increasingly obvious that, irrespective of one's view of the overall situation, there were many people in Irish radio who were being significantly supportive of new artists and Irish music above and beyond their job descriptions. It was also felt that it was time to do something constructive as a way of acknowledging this valuable support.
To that end the Fairplay For Airplay project was devised by Eddie Joyce, Eleanor McEvoy, Johnny Lappin and Jackie Hayden, three of whom had been active in the Jobs In Music campaign, and the other a musician and IMRO board member with a keen interest in the attitude of radio towards Irish artists. It was agreed that Jackie Hayden and Johnny Lappin would carry out the activities of the committee subject to the ongoing approval of the other two, and that a comprehensive report would be submitted to IMRO at the end of the first year.
The Fairplay For Airplay initiative was based on the following beliefs:
1 New music needs to be heard before it can be appreciated.
2 Radio has traditionally been the primary means for new music to reach a mass audience.
3 Popular music and radio developed hand-in-hand from the early days, with each influencing the other.
4 Radio airplay encourages new talent and sells records, while popular music attracts listeners and advertisers.
5 Popular music and radio have more in common than either might think.
It was agreed that the Fairplay For Airplay initiative would set out to achieve two main objectives:
a) to acknowledge the contribution Irish radio, both locally and nationally, makes to the nurturing of new talent,
and b) to forge a closer understanding between radio stations and new talent and those working on behalf of new talent.
It was also decided that, for a twelve-month period from March 2001 to February 2002, the Fairplay For Airplay Committee would present two or three Fairplay Awards every month to those in Irish radio who have been particularly supportive of new talent.
The Awards winners were chosen through inviting suggestions from a significant number of promotions personnel, PR, publicity and marketing people working at various levels in the Irish music industry, from major labels, indigenous Irish labels and freelancers. On receipt of such proposals we then took discreet soundings from local media personnel and a number of musicians in the area relevant to each station. We stressed at all times that the awards were but a modest "thank-you" from those in the industry who appreciated the efforts of those in Irish radio who were generous in their support for new music and Irish artists.
Fairplay For Airplay Award winners to date include:
Austin Durack (Clare FM),
Jon Richards (Galway FM),
Chris Carroll (Mid West Radio),
Tom Dunne (Today FM),
Eamon McRory (Radio Kilkenny),
Alan McGuire (South East Radio),
the late Uaneen Fitzsimons (2FM),
Alan Swan (CKR),
Brendan Farrell and Denis O'Brien (Northern Sound and Shannonside),
Michael Gerrard (LMFM),
June Carley (Midlands Radio 3),
PJ Curtis (Lyric FM),
John Keane (Tipp FM),
Sean Crowley (Radio Kerry),
Declan Meehan (East Coast Radio),
Geoff Harris (WLR),
Shaun Doherty (Highland Radio),
Colm O'Sullivan (Cork 96FM),
John Creedon (RTE Radio 1),
The Strawberry Alarm Clock Sessions (FM 104),
Ciaran Carty (North West Radio),
Kieran Hurley (Cork Campus Radio),
Aine Hensey (Raidio na Gaeltachta),
the Noise Annoys programme (Anna Livia)
and Matt Dempsey (Live 95FM Limerick).
Prior to, during and after each presentation the Committee took the time to listen in confidence to as many individuals from each station as were prepared to share their frank views on their role as they saw it in relation to giving exposure to new artists.
We also studied the broadcast schedule for each station and ascertained which programmes were most likely to support new music and Irish artists. That information formed the basis of monthly reports submitted to the IMRO board and the observations, opinions and attitudes of the radio personnel spoken to have been collated into sections 3, 4, 5 and 6 of this document.
3 SUMMARY OF FINDINGS
The main factors that seem to form the basis of the advantages and disadvantages of the relationship between radio and music may be summarised as follows:
1 Radio has become crucial to the marketing of virtually every artist seeking a long-term career.
2 We must learn to differentiate between our expectations of public service radio and commercial radio.
3 The number of records being released by new artists in most markets, including Ireland, has reached saturation levels, making it increasingly difficult for new artists to make an impact.
4 While well-argued pressure on public service stations can sometimes be effective, commercial stations generally resent efforts to bully them into playing records which they feel may adversely affect their commercial viability.
5 According to national surveys, the radio programmes in Ireland with the highest listenerships are those which feature virtually no music at all.
6 Musicians, and those who promote their work, need to become more familiar with the content and programming policy of each radio station they wish to target.
7 In pursuing airplay, recording artists are advised to present themselves and their material in a manner most likely to generate constructive support and exposure.
8 Some radio station personnel object to pressure from local artists, managers, songwriters etc. who themselves do not support the local music industry.
9 An assumption of a right to have one's work used on commercial radio is not helpful and may be counter-productive.
10 Nearly all radio stations have some, often several, individuals who are actively supportive of new music and local artists. Musicians should seek to develop contact with those individuals.
4 ADVICE FOR ARTISTS AND SONGWRITERS
Changing Times Needs Changing Attitudes
It is becoming glaringly obvious that musicians and songwriters who are seriously endeavouring to establish a commercial career in music will have to accept that the days when emotional blackmail could be used to force radio stations to play specific types of music are more or less over. The increase in competition, not just from other radio stations but also from TV and other entertainment sources, means that radio stations are increasingly making decisions based on ensuring their commercial survival.
Fortunately, in most stations there are individuals supportive of new music who will be as genuinely helpful as possible, but this can only be within the parameters of their own commercial circumstances.
But radio stations are increasingly saying, at least privately if not publicly, that they pay, as they see it, for giving exposure to records and artists and songs, and they are becoming increasingly resentful of people then trying to tell them what they must play as well.
So if a musician/songwriter wants his/her record or song played on specific stations it will have to conform to that station's requirements and enable the station to feel that they are making their own decision to play it rather than being bullied into playing it.
The Wrong Approach
As if trying to make that all-important first break into a highly competitive industry wasn't difficult enough, new artists may unfairly suffer because of the behaviour of those who have preceded them.
Over the past year, in meeting and listening to radio station personnel in every part of the country, there has hardly been a station which has not had at least one producer or presenter complaining about the unreliability of artists in some way or other.
At its worst, this lack of professionalism can manifest itself in the way acts turn up late for booked interviews, or even don't turn up at all. It can also be seen in the way many of them promise to send CDs, tapes, biogs or concert tickets and don't follow through. We've been told of specific instances where artists were scheduled for interviews and simply didn't turn up, with no advance warning received and no subsequent apology offered.
This kind of behaviour not only reflects badly on all artists but it usually puts the radio programme to considerable inconvenience, as they may have to scramble around at the last minute for replacement material. It also plays into the hands of individuals in stations who may already have a negative attitude towards new artists anyway. So why hand them more ammunition on a plate?
Artists of every hue need to be aware that radio stations no longer have the time nor the patience nor the inclination to deal with inconsiderate artistic foibles and much work needs to be done to restore faith in the reliability of new artists with many people in Irish radio.
The Right Approach
The likelihood of getting radio coverage or not can often depend on the attitude, reputation, reliability, behaviour, knowledge and actions of musicians and those who work for them.
Some of those who are disgruntled about what radio stations play feel that the best approach is to lash out publicly. Since we live in a democracy, any person is free to criticise radio stations for not doing this or that, but there has been a sea change within Irish radio which suggests that the days of trying to bully them into playing records is over.
Most sensible radio people accept that it is an acknowledgement of the importance of radio that makes airplay so coveted. But over the past year we became aware of artists who, perhaps honestly and courageously, publicly criticised radio stations but subsequently lost out by having stations and programmes ignore their records and other activities. News of their comments also spread to other stations and the overall effect was extremely negative and unhelpful. In one instance we were told of an artist who had complained bitterly on air about the fact that a record by him, which the station had just played, had been issued without his permission etc. While one can understand his ire if this were true, it is unreasonable of artists to expect radio stations to have to check out the provenance of every record before they play it, especially as in this case it came from a long-established and reputable label. This matter would have been more effectively dealt with through the artist taking it up with the record company in question.
Of course musicians and others may feel that they should speak their minds as they see fit, but they might like to take into consideration that there may be an unwelcome price to pay for doing so.
It would be far more sensible and more beneficial to decide instead to work with radio rather than against it, bearing in mind that many stations believe that artists wishing to get coverage on stations need to get some of the basics right too.
Demo Recordings
The matter of Demo tapes and CDs is rarely far from the minds of Irish radio stations under pressure to support new talent. Perhaps because of the pioneering work in this area by Dave Fanning and Ian Wilson of 2FM, who had a policy of using demos on the station's Rock Show from the beginning, there is a perception among commercial radio stations that they are expected to follow suit.
But there are two major problems. The increasing number of actual CD releases from new artists has reached a level of saturation where virtually nobody can deal with it, including the media and the public. Many of these records are themselves of unsuitable quality according to many of the stations expected to air them. But those CDs still tend to be generally far superior to the demo recordings submitted.
Demo recordings received on cassette are unlikely to be played at all except under special circumstances, while Demo CDs may be played if they fit the format of specialist programmes only. Stations believe that there is an expectation to play demo recordings in Ireland that does not apply in other countries and we have been challenged to find any major local station in the UK which regularly broadcasts demos. So far, we must confess, we have been unable to find any outlet on UK radio for demos other than John Peel who may occasionally use them on his BBC/World Service programmes.
Radio stations seem in general to feel that they have enough to deal with in the plethora of new releases they receive on a daily basis and have little need for or interest in Demos. If submitted at all, it would seem, Demos should only be sent to specialist programmes which have a stated policy of using them.
Who To Send Them To
It is absolutely essential to ensure that all records, whether demos or actual commercial releases, are sent to the right person or programme. Just because, say, the newscaster might be a station's best-known celebrity, it doesn't mean there's any value in sending him/her copies of records, although that seems to happen far too often. The same argument can be made in relation to someone who might have a relation or a neighbour or some acquaintance in a particular station. If they're not part of the programming team, sending them records is probably a waste of time and money. Instead, artists and those who work with them should either address copies of records to the Music Programmer, if they don't have an actual name, and/or to the producer or presenter of specific programmes which they believe might play the kind of music featured on the disc.
Listen To The Radio
It is often privately irritates radio station personnel that artists or their publicists looking for support and exposure don't even listen to the station. This creates the impression that the station is only there to be used by the artist when they want something and it hardly encourages stations to be more supportive. For that reason, and for other obvious reasons, artists should strive to be as familiar as possible with all radio programmes. In many cases this can be achieved by actually listening to them and developing a good understanding of what they use and don't use. That in turn can often spark ideas for angles which might lead to increased coverage. If listening is not convenient or practical, radio station web sites or direct phone-calls should elicit the required information about targeted programmes.
Essential Programme Information
Ideally, each radio programme should be researched in order to find out what type of music it features and whether the format includes interviews, live performances, gossip, gig news, competitions or any other relevant sections that can be exploited by a new artist endeavouring to reach a wider audience. Familiarity with as many programmes as possible will not only give artists and their publicists a clearer picture of the opportunities available for new artists and the often subtle differences between each programme's music policy, but it may even prompt more creative ways of getting one's music onto stations that otherwise might be overlooked. A good example of this occurred on South East Radio when Eleanor McEvoy was promoting her latest album, which is called Yola after a dialect once popular in the area. One of their programmes invited an expert on that dialect to discuss the album and that gave added value, longer time and considerable local interest to their coverage of the album.
Cassettes or CDs?
Few stations have the studio facilities these days to play cassettes. Except in emergency situations, those who have the facilities prefer not to use cassettes for sound quality and convenience reasons. All told, it makes more sense to submit CDs.
How Many Tracks?
It is also worth noting that there's little point in sending in a demo, even on CD, containing more than three or four tracks. People in radio stations are too busy to do much more than listen to a couple of tracks at most on each record they receive, so the best tracks should be at the beginning of the CD.
Track Length/Content/Publishing Details
The length of a particular track, whether on a single or album, may be a crucial factor in it generating airplay or being ignored. Tracks longer that about 3 minutes 30 seconds are likely to lose airtime opportunities, especially in the daytime. The tendency for some artists not to give any timings at all on their CD cover may, if they are an unknown artist, be a complete turn off to busy people in a station.
So the general advice might be summed up as follows:
-Always give timings for all tracks
- Tracks for which you expect to get airplay need to be of an acceptable duration.
- Put your best track/tracks first.
With an official album release if can help if you flag those 2 to 4 tracks which you deem to be particularly suitable for a station to use.
The lack of an intro may also militate against plays if it's a particular DJ's style to talk over the intro to the records he/she plays. Other factors likely to affect plays are the use of foul language, explicit sexual references, potential libel and statements in lyrics that may transgress the station's obligation to be impartial.
It also helps if you ensure that the relevant publishing details can be easily found by the station logger, and that they are legible and unambiguous.
What Else To Send?
Ideally, each record submitted should be accompanied by a one-page biography and a contact name and number in case the station would like to do an interview or requires some additional information. Photos are not essential, although some radio people don't mind getting them as it can provide an additional impression of the artist and their professionalism. Sending long detailed letters is not advised, and attempts at humour may not work.
Sound Quality
Many stations report instances of artists submitting a recording accompanied by an apology for the poor sound quality for reasons of time or budgetary problems. Even if the station is sympathetic towards a musician's penurious plight it is generally believed that the modern music public is now far too sophisticated to accept sub-standard material, no matter what the hard luck excuses might be.
Building Relationships
Musicians would be well advised to follow up efficiently when they make promises to send records, information or competition prizes, and to turn up well in time for interviews with some basic idea as to what they want to get across. Otherwise, as has happened already in several instances, they will find themselves unwelcome in stations at a point in their careers when they badly need the exposure. Similarly, poor radio performances may discourage those stations from being supportive of other new artists.
Station/Programme Deadlines
As more and more stations are tending to plan the content of their programmes well in advance, it is becoming increasingly important to ensure that information, requests for interviews, competition prizes and records get to them well ahead of their deadlines. While one would like to think that the best programmes have a built-in flexibility that allows for essential last-minute changes, the normal run of promotional requests should be made in plenty of time for the station to be able to make an informed decision.
Unfortunately it is apparently not uncommon for artists, their managers, local agents or their publicists to ring stations to inform them that the artist is "heading down your way to-morrow, any chance of an interview?" Such a casual approach is not only evidence of a lack of professionalism but it is likely to be futile, since a professionally run station will have filled all its vacant spots for such interviews perhaps as far back as the beginning of the previous week.
While it is impossible to establish a general deadline policy to cover all programmes on all stations, professional music PR persons and local booking agents should be fully familiar with all relevant station and programme deadlines. If not, they should ask. If in doubt, it would seem far better to put one's request in too early rather than risk being too late.
Interviews
New artists across all genres are increasingly tending to contact radio stations asking for interviews, often requesting space on programmes which have a policy of not doing interviews at all and sometimes when the act doesn't even have their first record or demo done. Station personnel themselves feel it would be more useful if those artists sought plays for their records or mentions of their tour or gig details rather than interviews for which they may be ill prepared.
Some stations see this development as more to do with the artist wanting to sound important by pontificating about their worldviews rather than a desire to expose their music. They also feel that new artists are rarely very good interview subjects anyway, because they often become inarticulate as soon as the red light goes on.
By all means artists should seek interviews on programmes where there is a policy of using them, but the interview becomes counter-productive if the interviewee is insufficiently articulate to communicate information and views, or has little to say anyway. Publicists and managers have a key advisory role to play here in ensuring that musicians are well briefed before each and every interview, as a bad interview is a lost opportunity that may not only lose fans but is unlikely to encourage a repeat invitation from the station.
Smart artists usually make a short list of information they want to get across, but it's not unusual to hear artists being interviewed and forgetting to mention the new album or to-morrow night's gig.
Summary Of Advice
a) Become as familiar as possible with the content and policy of all radio programmes.
b) Send records to the right person at the right address.
c) Only send records to programmes known to use the type of music featured on the record, unless there's a very good reason to do otherwise.
d) Include clearly legible contact name and numbers.
e) Where possible give timings for all tracks.
f) Keep airplay tracks to a playable length.
g) Keep biographies and press releases to a single page where possible .
h) Avoid making excuses for poor quality.
i) Put the best track/tracks first.
j) Make a polite follow-up call.
k) Ensure information re gigs and tours is received before deadlines.
l) If further information or materials are promised, make sure they are sent and received.
m) Turn up in time for studio interviews.
n) Ensure that correct publishing details can be clearly read on the record sleeve.
o) Try to develop positive relationships rather than antagonising those whose support is sought.
5 LIST OF RADIO STATIONS IN IRELAND
NB. The key personnel in radio stations are subject to change on a regular basis. If Artists and those who work with them do not have up-to-date accurate information they should address copies of records/press releases to the Music Programmer at the appropriate stations.
NATIONAL RADIO STATIONS
RTE RADIO 1
RTE Donnybrook, Dublin 4.
Ph:01 2083111
Fax: 01 2083080
Web Site: www.radio1.ie
Plays mainstream pop, classic hits, easy listening, world music, folk, trad, country etc.
2FM
RTE, Donnybrook, Dublin 4.
Ph:
Web Site: www.2fm.ie
Plays mainstream pop, classic hits, rock and dance.
RAIDIO NA GAELTACHTA
Casla, Connemara, Co. Galway.
Ph:
Web Site: www.rnag.ie
Plays mainly Irish trad and any music not in the English language.
LYRIC FM
Cornmarket Square, Limerick.
Ph:
Web Site: www.lyricfm.ie
Mainly classical, but with some jazz and world music.
TODAY FM
124 Upper Abbey St., Dublin 1.
Ph:
Web Site: www.todayfm.com
Plays mainstream pop, classic hits, rock and dance.
REGIONAL RADIO STATIONS
CKR FM (Carlow & Kildare)
Lismard House, Tullow, Co. Carlow.
Ph: 0503 41044 Fax: 0503 41047
Web Site: www.ckrfm.com
Mainstream pop, rock and classic hits with some specialist programmes.
EAST COAST FM (Co. Wicklow)
Quinnsboro Road, Bray, Co. Wicklow.
Ph:
Web Site: www.eastcoastradio.fm
Mainstream pop, rock and classic hits with some specialist programmes.
RADIO KILKENNY (Co. Kilkenny)
32 Hebron Road, Kilkenny.
Ph: 056 61577 Fax: 056 63586
Web Site: www.radiokilkenny.com
Mainstream pop, rock and classic hits with some specialist programmes.
SOUTH EAST RADIO (Co. Wexford)
Custom House Quay, Wexford.
Ph: 053 45200 Fax: 053 45295
Web Site: www.southeastradio.ie
Mainstream pop, rock and classic hits with some specialist programmes.
WLR FM (Waterford City & County)
The Radio Centre, George's St., Waterford.
Ph:
Web Site: www.wlrfm.com
Mainstream pop, rock and classic hits with some specialist programmes.
RADIO KERRY (Co. Kerry)
Main St., Tralee, Co. Kerry.
Ph:
Web Site: www.radiokerry.ie
Mainstream pop, and classic hits and a lot of Irish trad and folk.
GALWAY BAY FM (Galway City & County)
Sandy Road, Galway.
Ph:
Web Site: www.96fm.galway.net
Mainstream pop, rock and classic hits with some specialist programmes.
LITE FM (Dublin City & County)
Glenageary Office Park, Glenageary, Co. Dublin.
Ph:
Web Site: www@litefm.ie
Mainly light familiar hits.
CLARE FM (Co. Clare)
Abbeyfeale Centre, Francis St., Ennis, Co. Clare.
Ph:
Web Site: www.clarefm.ie
Mainstream pop, and classic hits and a lot of Irish trad and folk.
FM 104 (Dublin City & County)
3rd Floor, Hume House, Pembroke Rd, Ballsbridge, D.4.
Ph:
Web Site: www.fm104.ie
Mainstream pop, classic hits and rock.
LMFM (Co. Louth & Co. Meath)
Broadcasting House, Rathmullen Rd., Drogheda, Co. Louth.
Ph:
Web Site: www.lmfm.ie
Mainstream pop, classic hits, rock, Irish trad and folk.
TIPP FM (Co. Tipperary)
Davis Road, Clonmel, Co. Tipperary.
Ph:
Web Site: www.tippfm.com
Mainstream pop, classic hits and a lot of Irish trad and folk.
SHANNONSIDE 104FM (Co. Longford, Roscommon & Sth Leitrim)
Minnard House, Sligo Road, Longford.
Ph:
Web Site: n/a
Mainstream pop, rock, classic hits, country, Irish trad and folk.
HIGHLAND RADIO (Co. Donegal)
Pine Hill, Letterkenny, Co. Donegal.
Ph: 074 25000 Fax: 074 25344
Web Site: www.highlandradio.com
Mainstream pop, and classic hits and a lot of Irish trad and folk.
CORK 96FM/103FM COUNTY SOUND (Cork City & County)
Broadcasting House, Patrick's Place, Cork.
Ph:
Web Site: www.96fm.ie
Mainstream pop, rock, classic , Irish trad and folk.
98 FM (Dublin City & County)
South Block, The Malt House, Grand Canal Quay, D.2.
Ph:
Web Site: www.98fm.ie
Classsic pop records and current hits.
NORTH WEST RADIO (Co. Sligo, Nth Leitrim & Sth Donegal)
The Market Yard, Sligo.
Ph: 071 60108 Fax: 071 60889
Web Site: www.mnwrfm.com
Mainstream pop, classic hits and a lot of Irish trad and folk.
MIDLANDS RADIO 3 (Co. Laois, Offaly & Westmeath)
The Mall, William St., Tullamore, Co. Offaly.
Ph: 0506 51333 Fax: 0506 52546
Web Site: www.midlandsradio.fm
Mainstream pop, classic hits and a lot of Irish trad and folk.
NORTHERN SOUND (Co. Cavan & Monaghan)
Dawson St, Monaghan.
Ph:
Web Site: n/a
Mainstream pop, classic hits, Irish trad and folk.
LIVE 95FM (Limerick City & County)
Radio House, Dock Rd, Limerick.
Ph:
Web Site: www.live95fm.ie
Mainstream pop, classic hits, rock, Irish trad and folk.
MIDWEST RADIO (Co. Mayo)
Abbey St., Ballyhaunis, Co. Mayo.
Ph: 0907 30553 Fax: 0907 30285
Web Site: www.mnwrfm.com
Mainstream pop, classic hits, country, Irish trad and folk.
TIPPERARY MIDWEST RADIO (Co. Tipperary)
St. Michael's St., Tipperary Town.
Ph:
Web Site: www.tipperarymidwestradio.com
Mainstream pop, classic hits country, Irish trad and folk.
COUNTRY 106 FM
Unit 58 Spruce Ave Stillorgan Ind Pk Stillorgan Co Dublin
Ph:
Web Site: n/a
Dublin's mainly country music.
RED FM
No1 University Technology Centre Bishopstown Co Cork
Ph:
Web Site: n/a
Mainstream pop, rock and most other genres.
COMMUNITY/SPECIAL INTEREST RADIO STATIONS
ANNA LIVIA FM (Dublin City & County)
Griffin College, Sth Circular Rd., Dublin 8.
Ph:
Web Site: www.annalivia@ireland.com
COMMUNITY RADIO CASTLEBAR (Castlebar Town & Environs)
Market Sq., Castlebar, Co. Mayo.
Ph: 094 25555 Fax: 094 25989
Web Site: n/a
DUBLIN SOUTH COMMUNITY RADIO (Dublin South)
The Old School, Loreto Ave., Rathfarnham, D.14.
Ph: 
01 4930377 Fax: 01 4930520
Web Site: n/a
WEST DUBLIN COMMUNITY RADIO (Dublin West)
Ballyfermot Road, D.10.
Ph: 01 6261160 Fax: 01 6261167
Web Site: n/a
FLIRT FM (Galway University)
C/o Aras na MacLeinn, National University, Galway.
Ph: 091 750445 Fax: 091 525700
Web Site: www.flirtfm.nuigalway.ie
PHOENIX FM (Nth West Dublin)
Unit 333, Services, Blanchardstown S.C., D 15.
Ph: 01 8227222 Fax: 01 8227209
Web Site: n/a
RADIO CORCA BAISCINN (West Clare)
Community Centre, Circular Row, Kilkee, Co. Clare.
Ph: 065 9083200 Fax: 065 9056600
Web Site: n/a
CORK CAMPUS RADIO (Cork University)
Level 3, Aras na MacLeinn, University College, Cork.
Ph: 021 902008 Fax: 021 902170
Web Site: n/a
CONNEMARA COMMUNITY RADIO (Nth West Connemara)
Letterfrack, Connemara, Co. Galway.
Ph: 095 41616 Fax: 095 41628
Web Site: n/a
NEAR FM (Dublin North)
Coolock Development Centre, Bunratty Drive, D.17.
Ph: 01 8485211 Fax: 01 8486111
Web Site: n/a
COMMUNITY RADIO YOUGHAL (Youghal Town)
League of the Cross Hall, Catherine St., Youghal, Co. Cork.
Ph: 024 91199 Fax: 024 91199
Web Site: www.iol.ie/~ylradio
TALLAGHT COMMUNITY RADIO (Tallaght)
3rd Floor, The Square, Tallaght, Dublin 24.
Ph: 01 4624333 Fax: 01 4623444
Web Site: www.
RADIO NA LIFE (Greater Dublin)
7 Cearnog Mhuirfean, Baile Atha Cliath 2.
Ph: 01 6616333 Fax: 01 6763966
Web Site: www.iol.ie/~rnl102
HOSPITAL RADIO STATIONS
CORK HOSPITAL RADIO
Cork Regional Hospital, Wilton, Cork.
Ph: 021 342117 Fax: 021 343307
Web Site: n/a
THE MATER HOSPITAL, DUBLIN
Mater Radio, Eccles St., Dublin 7.
Ph: 01 8032300 Fax: 01 8032300
Web Site: n/a
ST. ITA'S RADIO
St. Ita's Hospital, Portrane, Co. Dublin.
Ph: 01 8436633 Fax: 01 8436633
Web Site: n/a
BEAUMONT HOSPITAL RADIO
Beaumont Hospital, P.O. Box 1297, Beaumont Road, D.9.
Ph: 01 8092486 Fax: 01 8376982
Web Site: n/a
SAINT JOSEPH'S HOSPITAL RADIO CLONMEL
St Josephs Hospital Clonmel Co Tipperary
Ph: 052 77104 Fax: 052 77105
Web Site: n/a
6 SOURCES OF ADDITIONAL INFORMATION
Radio stations, their personnel, programmes and policies are subject to change at any time.
However it is possible to keep in touch with the changing nature of Irish radio through a variety of sources:
a) Nearly all Irish radio stations now have their own websites which give full programme listings plus details of key personnel. Details of station websites are contained in the previous section.
