Digging deeper on community radio: Triple R and indispensable airwaves

To get to the venue involves a calming, if early ritual. Uneasy sleep beforehand, given the morning slot. Eagerness to prepare for the topic to be discussed in the global affairs segment, accompanied by that childish sense of worry that approval means something. Then, getting on a tram to the venue which, as luck would have it, is positioned just at the end of the tramline in East Brunswick. This is Melbourne, and the destination is one of the city's most heart throbbing venues of community radio, Triple R.

The trio of radio hosts on the program Breakfasters have already grown callouses of experience, managing multiple tasks as they go through the music listings and guests with placid ease. Before heading to the green room, the scene is welcoming. Wooden floors, slightly worn, charmingly tatty, with brochures prominently displayed as you enter the building, a solid, expansive structure that accommodates generous space for live music and studios.

Triple R or 3RRR, depending on preference, is one of those community radio stations that sports an influence far beyond the plutocrats of the traditional or commercial radio scene. There are no demagogues to be found, no celebrity functionaries to be lauded. You are not handed a list of forbidden topics or words, much as you would be if running a program for the national broadcaster. The programming is also distinctly free of the venom and spite trafficked on the airwaves of the shock jock stations. While the arterial flow of the station is music, the mix of news and discussions on international and local affairs is an addition of rich sauce. Those with omnivorous tastes will be hard to disappoint.

Across the vast expanse of Australia, some 450 community radio stations hum away hoping to offer their listeners alternative platforms with varied content. That very fact is almost singular. The development of such radio, observes David Melzer, himself having had lengthy experience at the helm of Melbourne's polyglot 3ZZZ, had its roots in a number of factors: those dealing in education, activists inspired by anti-Vietnam War protests, increasing numbers of migrants and enthusiasts of classical music. "Each of these four groups had one thing in common. They challenged how broadcasting operated in Australia. They wanted control of the airwaves and they lobbied for it, leading to the establishment of the third tier of broadcasting in Australia." With the advent of community broadcasting came the increasing role of Indigenous communities and those reluctant to use print media.

Globally, such stations face the corrosive effects of not so much digital disruption as digital appropriation, a process that is also shaping listening habits. Be it such internet-based giants as YouTube and Spotify, and the personalised, podcasting format, where tastes become bespoke affairs, the very idea of the radio as an important part of a day's routine is being challenged. Not only does this alter the nature of what content is being offered but it has had behavioural effects. As a co-authored article in the Electronic Journal of Education, Social Economics and Technology published this year contends, "Today's listeners, especially younger generations, prefer interactive, mobile-accessible content and often participate in content production themselves via social media".

That said, there is room for some sunny optimism. Community radio in the United Kingdom, for instance, is burgeoning. In September 2024, the country had over 350 licensed community radio stations, a marked increase from the 200 stations broadcasting in 2014. Data from Radio Joint Audience Research published in July this year also finds that over 50 million adults (86% of the UK population) tune in to radio every week, which augurs well for the more specific programming offered by community radio outlets. The streaming behemoths have created an odd sense of detachment, even estrangement, and certain listeners are seeking grassroot comforts. The significance of this is hard to exaggerate, given the nourishment such radio outlets provide in terms of language, cultural pursuits and the arts.

During those necessary radiothons, when money is sought from the subscribers, the staff place themselves into the hands, ears and pockets of the listeners, trying to sweetly convince them that another year of financial loyalty is needed. The theme this year for Triple R is "Digging Deeper", described by the radio station as representing the labours of volunteer presenters who "work hard to dig deeper every single day, uncovering musical gems and unearthing important issues that often do not find airtime anywhere else." The names of subscribers are read out with hearty enthusiasm and a tease. Renewals are emphasised with pride.

It is almost impossible to believe that an institution such as Triple R has been around for some three decades. The brooding fear is that such a scene will cease before the thieving systems of artificial intelligence or chewed up by the ghastly listening habits of "influencers" and curated streaming services. Let us hope there is still ample time before that ghastly universe triumphs. Till then, best appreciate the admirable exploits of digging deeper by those able staff in community radio.