Fair play on NZ music

With the introduction of voluntary quotas for local music on radio the sonic landscape will change. GRAHAM REID tunes in.

Don't dream. It's over. The debate about how much New Zealand music should be played on local radio has been concluded.

Or at least a consensus has been reached between the Government, radio stations and music industry organisations.

But with the introduction this week of voluntary music quotas - an average of 20 per cent New Zealand music to be played by 2006 - many will miss the grim humour that has sometimes accompanied the debate.

Like when tracks from the Workshop album by guitarist Tama Renata, who played the theme to Once Were Warriors, were rejected by local stations who said they were poorly produced.

Programmers noted that the album cover said they were recorded on "3 1/2 track". There's no such thing; that was just Renata's self-effacing little joke. But it backfired.

And when Crowded House's Don't Dream It's Over was ignored by local radio, which then scrambled to play it when it reached No 2 on the United States charts.

But those days may be behind us. Since announcing its quota intentions the Government has adopted a carrot-and-stick approach - the carrot being negotiations with broadcasters about the certainty of tenure for licences; the stick that regulations are still an option if the voluntary code is not observed.

An agreement has been reached which allows some stations, such as those playing classic hits, a slightly lower percentage than others because there is less Kiwi music in those formats. But everyone agrees to up their game.

David Innes, executive director of the Radio Broadcasters Association, says his organisation made clear to Broadcasting Minister Marian Hobbs that radio was simply one part of an integrated economic system in the music industry. If the record companies don't make it, there is nothing for radio to play.

For rock and contemporary music stations there has been considerable local product recently, with major record companies investing in acts such as the feelers, Stellar and Bic Runga.

In this financial year, NZ on Air will allocate $300,000 to its new recording artist fund, $700,000 for album projects, $200,000 to the international marketing of New Zealand music and $500,000 for videos.

NZ on Air also sends to every radio station Kiwi Hits discs (compilations of local rock and pop), and separate discs of Maori music, alternative rock and adult contemporary music.

However, most of this is of no use if you run Concert FM, now playing 14 per cent New Zealand content.

Miles Rogers, group manager, music, for Radio New Zealand, whose position straddles Concert FM and National Radio, says: "With classical music it's taking time to build up a resource of recordings, so a lot of Concert FM's funding goes to recording concerts for live broadcast and replay.

"We're trying to gently up [local content] but New Zealand music is not popular with Concert FM's core audience.

"As opposed to the European tradition, where you get hundreds of years of music-making, in New Zealand you start with Douglas Lilburn and work forward.

"So much of New Zealand music is contemporary, and by and large our listeners want more approachable music, they don't want too much challenge. It's the familiar they're more content with."

However, Rogers notes that five years ago, Concert FM was playing only around 10 per cent local content, so it has moved considerably.

National Radio, which plays up to 35 per cent, has also been recording more live music.

Manu Taylor, programme director at Mai FM, says his station, now playing around 14 per cent Kiwi music, has been recording Maori and Polynesian artists because they see so little of them from record companies.

One Deceptikonz hip-hop album can't stretch to fill hours of air-time.

"Record companies don't do this as a philanthropic enterprise. Financial return is their bottom line but reflecting your culture and community is not a financial exercise," he says.

"If I'm going to reflect my community I'm not going to wait for international or local record companies.

"We're putting people into studios and recording, planning with them from their first single to an album. We're doing it with, and for, our audience."

Taylor says Mai will increase its local content in line with quota requirements. Many stations are already reaching their targets.

Thane Kirby, programme director of 4-year-old George FM in Auckland, says they already play around 25 per cent.

Andrew Szusterman, programme director at Channel Z: "We're sitting on about 23 per cent. We've shown there's no stigma attached to New Zealand product.

"We're behind New Zealand artists and breaking New Zealand talent, and it's a positive thing for us. It's what we're known for and the audience expects to hear New Zealand music on Channel Z."

David Brice, director of programming and marketing for the Radio Network, which incorporates ZB, ZM, Classic Hits, i98FM, Hauraki, Radio Sport and "half the whole bloody lot", says they are positive about the new regime and that each station will meet its target.

"There's no advantage in playing silly number games because people are watching and we're going to deliver. The proviso is we have suitable material coming from record companies for us to consider."

The network's i98FM, which plays soft adult contemporary music, and only around 6 per cent New Zealand music, will have the most difficulty because there is little of that style produced locally.

"But we're going to have a broader approach to what we add to play-lists to make sure we're where we need to be.

"This initiative is about developing new talent and we need the record industry to help us to identify a New Zealand Celine Dion.

"Is it Hayley Westenra in five years? I don't know, that's not my job. But we'll need more material like that."