Attitudes and opinions towards commercial radio in Canada - Final Report

Prepared for the Canadian Radio-television and Telecommunications Commission
Supplier name: Ipsos Public Affairs
Contract Number: 82082-200188/001/CY
Contract value: $123,639.45
Award Date: 2020-02-21
Delivery Date: December 18, 2020

Registration Number: POR 090-19
For more information on this report, please contact the Canadian Radio-television and Telecommunications Commission (CRTC) at: rop-por@crtc.gc.ca

Ce rapport est aussi disponible en français.

Prepared for the Canadian Radio-television and Telecommunications Commission
Supplier name: Ipsos Public Affairs
January 2021

This public opinion research report presents the results of a series of focus groups and an online survey conducted by Ipsos Public Affairs on behalf of the CRTC. The research study was in two phases including a qualitative phase conducted with 88 participants across 13 focus groups (9 in English, 4 in French) between March 19 and 31 2020 and a quantitative phase with 1735 Canadians 18 years of age or older between November 12 and 26 2020.

Cette publication est aussi disponible en français sous le titre : Attitudes et opinions à l’égard de la radio commerciale au Canada

This publication may be reproduced for non-commercial purposes only. Prior written permission must be obtained from the CRTC. For more information on this report, please contact the CRTC at: rop-por@crtc.gc.ca or at:

The CRTC
Ottawa, Ontario, K1A ON2
Tel: 819‑997‑4484
Toll-free: 1‑877‑249‑2782 (in Canada only)
https://applications.crtc.gc.ca/contact/eng/library

Catalogue Number:
PDF : BC92-112/2021E-PDF
Paper: BC92-112/2021E

International Standard Book Number (ISBN):
PDF: 978-0-660-37052-1
Paper: 978-0-660-37053-8

© Her Majesty the Queen in Right of Canada, represented by the Canadian Radio-television and Telecommunications Commission, 2020. All rights reserved.

TABLE OF CONTENTS

LIST OF FIGURES

Political Neutrality Statement

I hereby certify as Senior Officer of Ipsos that the deliverables fully comply with the Government of Canada political neutrality requirements outlined in the Communications Policy of the Government of Canada and Procedures for Planning and Contracting Public Opinion Research. Specifically, the deliverables do not include information on electoral voting intentions, political party preferences, standing with the electorate or ratings of the performance of a political party or its leaders.

Mike Colledge
President
Ipsos Public Affairs

KEY FINDINGS

The purpose of this public opinion research (POR) was to better understand Canadians' attitudes, opinions, and behaviours as they relate to radio habits and listening and satisfaction with the listening experience and commercial radio. The research also measured support for Canadian content and French-language music rule requirements, and views about regulation, ownership, and content requirements more generally.

At seven in ten (68%), the vast majority of Canadians report listening to commercial radio on at least a weekly basis, the most of any broadcast platform, including four in ten (39%) who listen daily.

Commercial radio is considered the most important broadcast platform for Canadians to have access to (45% 8-10 on 10 pt scale), specifically for the music (64%) and local news content (57%).

Commercial radio listeners are generally satisfied with the listening experience (47% 8-10 on 10 pt scale) and impressions are strongest for the availability of programming in the listeners’ preferred language (66%) and the quality (48%) and frequency of information (45%).

Satisfaction with commercial radio is considerably lower for the variety of programming (35% 8-10 on 10 pt scale), diversity of songs, genres or artists (32%) and promotion of Canadian artists (30%) and most believe that commercial radio is too focused on popular music (51% strongly/ somewhat agree).

Canadians exhibit a strong sense of patriotism towards the promotion of Canadian artists and music and feel it is essential to ensuring a strong Canadian culture (62% strongly/ somewhat agree). Sentiment towards promoting French-language music is even stronger among Francophones and the vast majority feel it is essential to ensuring a strong French-language culture in Canada (72%).

Support for current Canadian content and French-language music rules for commercial radio is strong and highest for popular music (60% strongly/ somewhat support) and French-language music (60% among Francophones), followed by special interest music rules (53%). Attitudes are more mixed, however, regarding whether the percentage of required content should increase in the future.

Most agree that streaming music services should be required to support the Canadian broadcast sector (53% strongly/ somewhat agree) but feel that any future regulations should not interfere with consumers' ability to choose the content they want (68%).

Awareness of commercial radio station ownership is relatively low. However some concern exists about concentration of ownership and that it may limit the diversity of opinions and music available or limit Canadians access to different sources of information.

Differences by Demographics

Differences by Official Language

Differences by Radio Listenership

Differences by Source of Content

Panel vs. Voluntary Public Survey Results

INTRODUCTION

Ipsos was commissioned by the Canadian Radio-television and Telecommunications Commission (CRTC) to conduct public opinion research to understand the current habits, impressions and expectations of Canadians towards radio (and specifically the commercial radio sector).

BACKGROUND AND OBJECTIVES

At the core of the CRTC’s mandate is to regulate and supervise broadcasting and telecommunications in the public interest by working to achieve the policy objectives set out in the Broadcasting Act, Telecommunications Act and Canada’s Anti-Spam Legislation (CASL).

In the CRTC Department Plan 2019-2020, the Commission launched a process to modernize its regulatory framework for radio. The policy review will be guided by the objectives of the Broadcasting Policy for Canada and will seek to make adjustments to the Commercial Radio Policy to ensure that programming offered by the commercial radio sector continues to meet Canadian’s needs and interests.

To contribute to the policy review process, the CRTC required Public Opinion Research (POR) to ensure the Commission has the relevant and latest information. Including POR as a component to the policy review will allow the CRTC to understand the current habits, impressions and expectations of Canadians towards radio (and specifically the commercial radio sector) and help to encourage participation among Canadians in the review process. It is essential to the CRTC and the integrity of the review that representative data among Canadians is collected and that a wide-variety of perspectives are included in any such research and on the public record.

The primary objectives of the POR research are to:

It was also anticipated that Canadians may raise issues as part of this review process and the POR should also help the CRTC to confirm or refute these potential issues and identify additional unexpected issues. Potential issues that may arise include programming diversity, programming quality, the loss of Canadian content (music content quotas) and discoverability, loss of French vocal music, local news/information, and loss of diversity of voices from concentration of ownership.

The POR research included a series of in-person and online focus groups held across the country, an online panel survey among a sample of Adult Canadians and an online survey offered online through the CRTC website available to any Canadian wishing and able to participate.

METHODOLOGY

The POR undertaken by the CRTC was conducted in two primary phases including both qualitative and quantitative research as outlined in the table below. Appended to the report is detailed methodological information, as well as a copy of the quantitative survey questionnaire and qualitative discussion guides.

Description

Details

Fieldwork Dates

QUALITATIVE

Focus groups

13 focus groups were conducted online with participants from across Canada (9 in English, 4 in French)

  • 12 focus groups were conducted with those who listen on a regular basis to commercial radio, with at least half of each group who listen at least 5 times per week
  • 1 focus group was conducted with those who do not listen to commercial radio and listen to other audio content and formats such as podcasts and music streaming

Mar 19th - 31st, 2020.

QUANTITATIVE

Online panel survey

n=1735 completed surveys among a sample of Adult Canadians 18 years of age or older. The sample was stratified by age, gender and region to the representative proportions of adult Canadians. Oversample of Quebec (n=500)

Nov 12th – 26th, 2020

Public survey for voluntary participation

Posted on CRTC website and promoted through CRTC social media channels. n=2969 completed surveys

NOTES TO READERS

DETAILED FINDINGS

1. RADIO HABITS and LISTENING

This section addresses attitudes, opinions, and behaviours as they relate to radio habits and listening, including typical usage habits and perceived importance of access to various broadcasting platforms and types of content on commercial radio.

Frequency of Listening to Programming on Broadcast Platforms

Nearly seven in ten (68%) Canadians report listening to commercial AM/FM radio at least weekly, the most of any broadcast platform, including four in ten (39%) who listen daily.

Four in ten (39%) report listening to steaming music services on a weekly basis, one third (32%) CBC Radio and/or ICI Radio-Canada and approximately two in ten report listening to either satellite radio (17%) or podcasts (22%). Most Canadians (68%) report never listening to satellite radio and nearly half (48%) never listen to podcasts.

Figure 1 : Frequency of Listening to Programming on Broadcast Platforms

Frequency of listening to programming on broadcast platforms - Text version below the chart.
Figure 1: Frequency of listening to programming on broadcast platforms

This horizontal bar chart shows responses to a question about the frequency of listening to radio broadcasts across various platforms. All 1735 respondents answered as follows:

Q7. And, how frequently do you listen to programming on each of the following broadcasting platforms? Please select one response per item. Base: Total Respondents (n=1735)

Devices Typically Used to Listen to Broadcast

Car radio is by far the most commonly used device to listen to commercial AM/FM radio (80%) and to a lesser extent satellite radio (63%) or CBC Radio/ ICI Radio-Canada (54%). Nearly four in ten (38%) listen to commercial AM/FM radio or CBC Radio/ ICI Radio-Canada (35%) on a traditional radio.

Smartphones are most frequently used to listen to podcasts (52%) and streaming music services (58%), followed by a desktop computer, laptop or tablet (45% and 43% respectively).

Figure 2 : Devices Typically Used to Listen to Broadcast

Devices Typically Used to Listen to Broadcast - Text version below the chart.
Figure 2: Devices Typically Used to Listen to Broadcast

This horizontal bar chart shows the devices respondents typically listen to broadcasts on. All 1735 respondents answered as follows:

Q8. And on which device(s) do you typically listen to each of the following broadcasting platforms? Please select at least one response per item. Base: Varies

Perceived Importance of Various Broadcasting Platforms

Nearly half of Canadians (45%) think it is particularly important (8-10 on 10 pt scale) for them to have access to commercial AM/FM radio, by far the highest proportion relative to all other broadcast platforms. Three in ten feel it is as important to have access to the CBC Radio/ ICI Radio-Canada (28%) or streaming music services (28%), while fewer say it is important to have access to podcasts (19%) or satellite radio.

Figure 3: Perceived Importance of Various Broadcasting Platforms

Perceived Importance of Various Broadcasting Platforms - Text version below the chart.
Figure 3: Perceived Importance of Various Broadcasting Platforms

This horizontal bar chart shows the perceived importance of having access to the various broadcasting platforms. Respondents were asked to provide ratings on a 10-pt scale. The results have been grouped as follows: not important is a rating of 1 to 3, neutral importance is a rating of 4 to 7, and important is a rating of 8 to 10. All 1735 respondents answered as follows:

Q6. Generally speaking, how important it is for you to have access to each of the following broadcasting platforms? Using a scale from 1 to 10, where 1 is Not at all important and 10 is extremely important. Base: Total Respondents (n=1735)

Importance of Having Access to Content

At nearly six in ten, a strong majority of those who listen to commercial radio feel it is particularly important (8-10 on 10 pt scale) to have access to music (64%) and local news content (57%) on commercial AM/FM radio. Half of listeners feel it’s important to have access to weather (51%) and national news (48%), while slightly fewer feel this way about international news (40%). Around one-third feel it’s important to access to traffic (34%) or current affairs (31%) content, while fewer think having access to talk/radio (22%) or phone-in games or contests (10%) is important.

Figure 4: Importance of Having Access to Content

Importance of Having Access to Content - Text version below the chart.
Figure 4: Importance of Having Access to Content

This horizontal bar chart shows the perceived importance of having access to different types of content on commercial AM/FM radio. Respondents were asked to provide ratings on a 10-pt scale. The results have been grouped as follows: not important is a rating of 1 to 3, neutral importance is a rating of 4 to 7, and important is a rating of 8 to 10. The 1544 respondents who listen to commercial radio at least sometimes answered as follows:

Q10. Thinking specifically about commercial AM/FM radio, how important is it to you to have access to the following types of content? Using a scale from 1 to 10, where 1 is Not at all important and 10 is Extremely important. Base: Listen To Commercial Radio At Least Sometimes (n= 1544)

Qualitative Findings

Occasions, Frequency, Locations and Devices

For commercial radio listeners, their habits varied in terms of when they listen, where they’re listening and which devices they are using. Differences among participants in listening habits were driven by whether the person commutes to work, and whether they are permitted to listen to commercial radio in their workplace.

Because so many participants listen on the way to and from work, and/or at work, many tend to listen to commercial radio more during weekdays than on weekends, especially for those who don’t listen to the radio at home.

Many still listen whenever they are driving on the weekend, and some listen at home on the weekend –  if they have one particular station that they regularly listen to, or they always keep the radio on as background and atmosphere. Mention was made by a few that programs and shows are different on the weekends and are considered less interesting than the ones they listen to during the week.

Some prefer to change formats or content when not in their vehicle, and choose to listen to music streaming, podcasts, or their own downloaded music instead. There are more options in terms of devices and audio content available to them on the weekend, and more time and presence of mind to listen more purposefully and actively. Audio content consumption generally decreases during the weekend.

Content

There are a few main functions or ways that participants use and engage with commercial radio, and variations of the content they are seeking.

Some make a point of noting that commercial radio provides a good variety of music, and does a good job of providing the desired mix between more contemporary and current artists and songs, and older classics and favourites. They know which stations are playing the genre or type of music they like, or switch between stations to get the variety they seek.

Others enjoy both – they listen to commercial radio in certain contexts but then also create their own playlists for other situations. Many enjoy the element of surprise and discovery facilitated by not curating their own playlists, or do not wish to put time and energy into creating their own playlists.

By contrast, those in the non-radio listening group disliked the lack of choice and control, and prefer to curate their own playlists based on personal tastes and preferences, and prefer choosing podcasts to listen to over the talk on commercial radio.

Many like that the music is broken up by news and talk, and feel that this is a welcome break from music. They enjoy the banter between hosts, and the humour and levity created by them.

Listening in Bilingual Markets (Ottawa/Gatineau, Timmins, Montréal)

Levels of bilingualism and facility in the other official language were higher in bilingual markets among French-speaking participants, and lower among English-speaking participants. As such, many English-speaking participants do not listen to music or other content in the other official language simply because they do not speak or understand it.

Among French-speaking participants, there is a greater level of English facility, and so preferences are more mixed. Some prefer to listen to French stations simply for reasons of personal preference or language comprehension.

Some tend to listen to English stations over French ones. The reasons for this vary, including more options in English, belonging to a mixed language household, personal musical preference, or wanting to learn or improve their English language skills. However, when listening to the news, most prefer to listen in French.

There is a strong affinity among Quebec French participants for French language hosts – listeners look forward to hearing them, appreciate the interactive nature of commercial radio and the immediate nature of commercial radio.

Other Audio Content

Many listen to a variety of audio content such as podcasts, music streaming, and audio books.

Podcasts are seen as completely different category than commercial radio to those who listen to them. Consumption is always purposeful, and it is a more active listening experience requiring focused attention, intellectual engagement, and concentration. Those who listen to podcasts are seeking to understand a topic in more depth.

By contrast, commercial radio is perceived by many – particularly those who listen to it as “background” and a more passive listening experience than podcasts. Listening to commercial radio can be “active” to some degree – such as when singing along to music, participating in contests or games, or switching stations.

Music streaming provides freedom to personalize to individual tastes, specific moods, and access to music beyond current top hits which many state are played in continuous rotation on commercial radio. And many who listen to streaming like the commercial-free format.

To some degree, use of other audio formats and content was determined by demographics, as some older participants were unaware of these formats, reluctant to try them, or believed they lacked the technical facility to try them. Or they are reluctant to pay for music.

Changes in Listening Habits

While some listen to audio content in a fairly routine or set way, others are format and device agnostic and listen depending on their mood or a situation in any given moment.

Many have changed their listening habits over the years because of an increase in choice – they are generally welcoming of and open to new formats. Others have had lifestyle changes which have shifted their listening habits to listen to more or less commercial radio accordingly.

Some have not changed their listening habits – this is due to a lack of technical facility in newer formats or because they are currently satisfied with their listening options, and don’t feel the need or desire to change.

Podcasts and streaming typically require a greater level of effort to access content where commercial radio is easier for some to simply turn on and listen to. Or, there might already be an established routine in place with commercial radio.

Many non-radio listeners have stopped listening to commercial radio over time, due to the increase available options, although mention was made about not liking the commercial radio format at any point. For music, they have more choice, control and an increase in the accessibility of alternate formats – particularly with the advent and increased uptake of smartphones. There is also a perception of types of content not available on commercial radio which have now become available, such as podcasts. For news, they turn to other available sources and there was some skepticism expressed about credibility and questions about potential bias of commercial radio news.

Most non-radio listeners felt that it was unlikely they would listen to commercial radio again – because they dislike the current format and feel it is too homogenous across all stations, don’t want to listen to commercials, and feel that the music played is too repetitive. There is a willingness among these participants to pay streaming service fees to mitigate these concerns and issues.

2. SATISFACTION WITH THE LISTENING EXPERIENCE and COMMERCIAL RADIO

This section addresses attitudes and opinions as they relate to satisfaction with the listening experience across all broadcast platforms as well as with specific aspects of commercial radio, including things Canadians think most about and areas for improvement.

Satisfaction with the Listening Experience

Among those who report listening to each platform, satisfaction is highest for streaming music services (54%, 8-10 on 10 pt scale), followed by the CBC Radio/ ICI Radio-Canada (48%), podcasts (47%), and commercial AM/FM radio (47%). Closer to four in ten (42%) are satisfied with the listening experience on satellite radio. Few are dissatisfied with the listening experience across all broadcasting platforms.

Figure 5: Satisfaction with the Listening Experience

Satisfaction with the Listening Experience - Text version below the chart.
Figure 5: Satisfaction with the Listening Experience

This horizontal bar chart shows satisfaction with the listening experience by broadcasting platform. Respondents were asked to provide ratings on a 10-pt scale. The results have been grouped as follows: not satisfied is a rating of 1 to 3, neutral satisfaction is a rating of 4 to 7, and satisfied is a rating of 8 to 10. Sample sizes vary by broadcast platform, only those who listen to each platform at least sometimes were asked the question.

Q9. Overall, how satisfied are you with your listening experience with each of the following broadcasting platforms? Using a scale from 1 to 10, where 1 is ‘very dissatisfied’ and 10 is ‘very satisfied’. Please select on response per item. Base: Varies

What Canadians Like Most About Commercial Radio

By far the most common thing commercial radio listeners like about it is that it is free of charge (60%). Three in ten cite the convenience and simplicity (30%) or the connection it gives them to their local community (30%), followed by the variety of music genres (27%) and a reliable source of information (26%).

Figure 6: What Canadians Like the Most About Commercial Radio

What Canadians Like the Most About Commercial Radio - Text version below the chart.
Figure 6: What Canadians Like the Most About Commercial Radio

This horizontal bar chart shows coded responses to an open-ended question about what respondents like the most about commercial AM/FM radio. The 1544 respondents who listen to commercial radio at least sometimes answered this question as follows:

Q11. What are the things that you like most about commercial radio? Please select up to three of the following. Base: Listen to Commercial Radio At Least Sometimes (n= 1544)

Improving Commercial Radio

At four in ten, the most common area cited by commercial radio listeners for improvement is having fewer commercials (43%). One-third (33%) would like to see more diverse musical content, followed by two in ten who want more local content (20%) or more timely news coverage (18%).

Figure 7: Improving Commercial Radio

Improving Commercial Radio - Text version below the chart.
Figure 7: Improving Commercial Radio

This horizontal bar chart shows coded responses to an open-ended question about what respondents would like to see improved with commercial AM/FM radio. The 1544 respondents who listen to commercial radio at least sometimes answered this question as follows:

Q12. What, if anything, do you feel needs to be improved most about commercial radio? Please select up to three of the following. Base: Listen To Commercial Radio At Least Sometimes (n= 1544)

Commercial Radio Satisfaction

At two-thirds (66%), commercial radio listeners are most satisfied (score of 8-10 out of 10) with the availability of programming in their preferred-language. Nearly half are satisfied with the quality of information (48%), the frequency of information (45%), while slightly fewer are satisfied with the quality of programming (41%), and the availability of local content (39%). Satisfaction is lowest for the variety of programming (35%), diversity of song, genres and artists (32%) and promotion of Canadian artists (30%).

Figure 8: Commercial Radio Satisfaction

Commercial Radio Satisfaction - Text version below the chart.
Figure 8: Commercial Radio Satisfaction

This horizontal bar chart shows commercial AM/FM radio listeners satisfaction with various aspects of commercial AM/FM radio. Respondents were asked to provide ratings on a 10-pt scale. The results have been grouped as follows: not satisfied is a rating of 1 to 3, neutral satisfaction is a rating of 4 to 7, and satisfied is a rating of 8 to 10. The 1544 respondents who listen to commercial radio at least sometimes answered this question as follows:

Q13. How satisfied are you with each of the following aspects of commercial radio? Using a scale from 1 to 10, where 1 is ‘very dissatisfied’ and 10 is ‘very satisfied’. Please select on response per item. Base: Listen To Commercial Radio At Least Sometimes (n= 1544)

Qualitative Findings

Meeting Needs and Interests

Local Content

As noted above, commercial radio mostly acts to provide the main headlines as it relates to local news and the traffic updates. In some more rural communities, it was seen as an important medium to stay informed of what is happening in the community due to a lack of alternatives. Others, however, tended to supplement commercial radio news coverage with other sources such as Twitter, news apps and websites and TV news which provide more in-depth coverage. For online sources, these were deemed as more ‘in the moment’ and do not require listening at a certain time.

3. CONTENT REQUIREMENTS and REGULATIONS

This section addresses attitudes and opinions towards commercial radio content requirements and regulations in Canada including support for Canadian content and French-language music rules. This section also focuses on content rules specific to streaming services in Canada and the extent to which Canadians are aware and concerned about the concentration of ownership of commercial radio stations in Canada.

Support for Canadian Content and French Language Music Rules

A majority of Canadians support the Canadian content and French-language music rules currently in place for commercial radio and relatively few are opposed. Support is highest for Canadian content requirements for popular music (60% strongly/ somewhat support) and French-language music requirements among Francophones (60%), while closer to half of Canadians support special interest music rules (53%).

Figure 9: Support for Canadian Content and French Language Music Rules

Support for Canadian Content and French Language Music Rules - Text version below the chart.
Figure 9: Support for Canadian Content and French Language Music Rules

This horizontal bar chart shows the proportion of respondents that support or oppose for various Canadian content and French language music rules. Sample sizes vary.

Q14. How much do you support or oppose the Canadian content and French-language music rules for commercial radio that are currently in place? Base: Varies

Canadian and French Content Percentage Requirements

When asked whether the percentage of Canadian content or French-language music content should increase, decrease or stay the same in the future, a plurality feel it should stay the same for each of type of content- popular music (44% increase a lot/ increase somewhat), special interest music (41%) or French-language vocal music (35%). Around one third (36%) of Francophones feel the percentage of French-language vocal music should increase, while a similar proportion of Canadians feel the percentage of special interest music (34%) or popular music (31%) should increase.

Figure 10: Canadian and French Content Percentage Requirements

Canadian and French Content Percentage Requirements - Text version below the chart.
Figure 10: Canadian and French Content Percentage Requirements

This horizontal bar chart shows the degree to which respondents would like to see Canadian content and French language music requirements increase, decrease or stay the same, if the rules were to change. Sample sizes vary.

Q15. If these regulations were to be changed in the future, do you feel the percentage of required content that must be played should increase, decrease or stay the same? Base: Varies

Content Rules for Streaming Services

Just over half of Canadians (54% strongly/ somewhat support) support requiring streaming services to contribute financially towards the Canadian broadcasting system, followed closely by requiring streaming services to ensure a minimum amount of Canadian content is included on their playlists on a weekly basis (50%). Relatively few oppose either proposed content rules for streaming services in Canada.

Figure 11: Content Rules for Streaming Services

Content Rules for Streaming Services - Text version below the chart.
Figure 11: Content Rules for Streaming Services

This horizontal bar chart shows the proportion of respondents who support or oppose rules for streaming services. All 1735 respondents answered this question.

Q16. Currently there are no Canadian content rules specific to streaming services in Canada (i.e. Spotify, Apple Music, iHeartRadio, etc.). How much would you support or oppose the CRTC creating the following types of regulations? Base: Total Respondents (n=1735)

Knowledge of Commercial Radio Companies

Just over half (53%) of commercial radio station listeners claim to know the names of at least some the company(ies) that operate the commercial radio station(s) that they listen to- three in ten (31%) are aware for all of the station(s) they listen to, while two in ten (22%) know some, but not for all stations. Conversely, nearly half (47%) do not know the name of the company that operates any of the radio station(s) they listen to.

Figure 12: Knowledge of Commercial Radio Companies

Knowledge of Commercial Radio Companies - Text version below the chart.
Figure 12: Knowledge of Commercial Radio Companies

This pie chart shows the proportion of respondents who say they are aware of which company or companies operates the radio station(s) they listen to. A total of 1544 respondents who listen to commercial AM/FM radio at least sometimes answered this question as follows:

Q17. Do you know which company operates the commercial radio station(s) that you listen to? Base: Listen To Commercial Radio At Least Sometimes (n= 1544)

Concerns Over Concentration of Ownership

Four in ten (42% very/ somewhat concerned) Canadians express concern about the concentration of ownership of commercial radio stations in Canada of which most are somewhat concerned (31%). Two in ten (19%) feel like they don’t know enough to offer an opinion.

Figure 13: Concerns Over Concentration of Ownership

Concerns Over Concentration of Ownership - Text version below the chart.
Figure 13: Concerns Over Concentration of Ownership

This horizontal bar chart shows respondents level of concern as it relates to the concentration of ownership of commercial AM/FM radio stations in Canada. All 1735 respondents answered this question as follows:

Q18. Commercial radio stations are generally privately owned. The CRTC regulates, among other things, the ownership of various radio stations and the concentration of ownership authorized for a single company. In 2018, the five largest radio ownership groups in Canada garnered over 65% of total commercial radio revenues. How concerned are you about concentration of ownership of commercial radio stations in Canada (i.e. fewer companies owning more radio stations). Base: Total Respondents (n=1735)

Qualitative Findings

Canadian Content Requirements for Popular Music and Special Interest Music

Awareness of Canadian Content Requirements was mixed to low. Where awareness existed, some participants had the accurate impression that it pertained to a certain amount of content played must be Canadian though unsure of the precise percentage. Misperceptions by others centred around the belief that the rules related to appropriate language or content.

When presented with details on the Canadian Content Requirements, reactions skewed mostly positive to neutral. This was underpinned by a combination of:

The specific percentages allocated for Canadian artists – 35% for popular music and 10% for special interest music – stirred some debate though there was no clear consistent pattern in driving impressions. For some, the numbers set were fine and the minimum they would expect. Others felt that these percentages could be higher, especially since some of these participants felt that Canadian artists were not played often enough and 10% seemed low for special interest music. Where there was support for a higher percentage, 50% was often brought up as a potential new threshold.

More interestingly, there was a view that the percentages per se were less of an issue, rather the issue being that a handful of very famous Canadian artists and bands tend to dominate the airwaves. This in turn led to calls for more support for the rest of the Canadian artist industry.

It is worth noting that a minority admitted to caring little about Canadian Content Requirements since their listening preferences are not driven by where the artists are from.

Canadian Content Requirements for French-language Commercial Radio Stations

While there were lower levels of awareness of the French-language Popular Music Requirement, support for the Requirement was near unanimous. This was underpinned by the same sentiments expressed in relation to the Canadian Content Requirement, albeit in the context of supporting Francophone artists and culture vs. English-speaking artists.

Some participants wished to see an increase to the minimum of 65% of popular music selections dedicated to French-language musical selections; indeed, it was pointed out that the reason for turning to French-language stations in the first place is to listen to French music. Few participants also called for more exposure of Francophone artists on English radio stations.

Commercial Radio Ownership

Ownership of commercial radio stations factored little in station choices and listening habits; choices were largely driven by mood and taste as discussed in the preceding sections. For the most part, it was evident that participants had given little prior thought and had low levels of awareness on the ownership of the stations they listened to.

Despite low interest in ownership, there was an underlying assumption that stations are owned by large media groups such as Bell, Rogers and Virgin. Some went further to assume that stations may not even be in Canadian ownership with parallels drawn to iconic Canadian Tim Hortons that is owned by a multinational conglomerate.

Greater deliberation on the issue of ownership led to the identification of potential drawbacks for radio listeners:

That said, a small number remained indifferent to ownership structures so long as they could have access to a variety of stations to suit their musical preferences.

Streaming Services

The proposal on regulation of streaming music services tended to elicit a skeptical knee-jerk reaction, especially among those who use these services. Regulation was seen at odds with the main draw of streaming: the freedom to personalize music playlists. This was compounded by the fact that streaming service subscribers pay for this freedom and an attitude of ‘if it’s not broke, don’t fix it’ noting that there is plenty of Canadian content to select from. The practicalities of operationalizing and enforcing this were questioned, especially in the face of large multinationals like Apple.

Greater financial contribution tended to be less controversial and elicited a more enthusiastic support in some quarters – French-speakers in Gatineau specifically. This was largely underpinned by the perceived importance of supporting homegrown artists and belief that streaming services do not remunerate artists or contribute to the general taxation base enough. That said, there was a minority view, found in Eastern Canada especially, where there was lower support of this in fear that the costs would be passed on to users, or limit access to these services as companies may decide to pull out of Canada because of CRTC regulation.

While some remained decidedly against any regulation or greater financial contribution beyond existing contracts with Canadian artists, others were willing to accept the application of a Canadian Content Rule in a non-intrusive manner e.g., streaming services suggesting Canadian artists or songs based on subscribers’ current listening habits or working with platforms to ensure representation of Canadian artists. The cardinal principle therefore for any future regulation is to not impinge on subscribers’ ability to easily access their preferred content.

4. GENERAL ATTITUDES and OPINIONS

This section addresses Canadians general attitudes and opinions on matters related to commercial radio broadcasting platforms including regulation, ownership, and content requirements.

General Attitudes and Opinions

Agreement is strongest (68% strongly/somewhat agree) that any future regulations placed on steaming music services should not interfere with consumers' ability to choose the content they want. A majority of Canadians also agree that promoting Canadian artists and music is essential to ensuring a strong Canadian culture (62%) and that it is important that we continue to promote Canadian artists through Canadian content rules (60%). Most don't pay a lot of attention to whether the artist is Canadian or not when listening to music (58%).

Just over half of Canadians think streaming music services should be required to support the Canadian broadcast sector (53%), that commercial radio is too focused on popular music (51%) and that more should be done to promote new and emerging Canadian artists on commercial radio (51%).

Nearly half express concern that concentration of ownership of private radio stations will limit the diversity of opinions and music genres available to Canadians (46%) or that it will limit Canadians' access to different sources of information and impact on our ability to remain well informed (45%). Four in ten agree that if a Canadian artist is good enough, they will become discovered without the need for specific Canadian content rules (42%) or that promoting French-language artists is essential to ensuring a strong French-language culture in Canada (39%, however 72% of Francophones agree vs. 33% of Anglophones).

Nearly three in ten (28%) agree there is not enough local content offered on commercial radio where they live, while only fifteen percent (15%) do not think there is enough programming offered in their preferred language (However, twice as many Francophones agree 32%). Few Anglophones (17%) would be interested in seeing more French-language music on commercial radio, while similarly, only about one in four (25%) Francophones would be interested in seeing more English language music on commercial radio.

Figure 14: General Attitudes and Opinions

General Attitudes and Opinions (1) - Text version below the chart. General Attitudes and Opinions (2) - Text version below the chart. General Attitudes and Opinions (3) - Text version below the chart.
Figure 14: General Attitudes and Opinions

This horizontal bar chart shows the extent to which respondents agree or disagree with a variety of attitudinal statements as they relate to commercial content rules and regulations. All 1735 respondents answered as follows:

Q19. Please indicate how much you agree or disagree with the following statements. Please provide one response per item. Base: Total Respondents (n=1735)

Open-ended Feedback

The vast majority (86%) of Canadians do not offer any additional feedback, when asked to comment on their experiences with commercial radio in Canada. The highest proportion of those who do reference content (8%), specifically negative mentions about a lack of variety.

Figure 15: Open-ended Feedback

Open-ended feedback - Text version below the chart.
Figure 15: Open-ended feedback

This horizontal bar chart shows coded responses to an open-ended question which asked respondents to provide any other comments on the topics addressed in the survey. All 1735 respondents answered as follows:

Q20. Are there any other comments about your experience with commercial radio in Canada or any other topics we have discussed in this survey that you would like to share? Base: Total Respondents (n=1735)

5. DIFFERENCES BY DEMOGRAPICS

This section addresses differences by demographic information. The demographic factors which were analyzed include age, gender, region of residence, Indigenous status and whether the respondent was born in Canada.

Region of residence

Behaviours, attitudes, and opinions towards commercial radio vary based on where in the country the individual resides and the most common differences are observed between those who reside in Quebec and those who reside in the rest of Canada (ROC).

Those who reside in Quebec are more likely to agree that promoting French-language artists on commercial radio is essential to ensuring a strong French-language culture in Canada and that it is important to continue promoting Canadian content on commercial radio through Canadian content rules. Those who reside in Quebec are far more likely to pay attention to whether the artist is Canadian or not when listening to music, are less satisfied with the availability of commercial radio programming in their preferred language and are more likely to feel the percentage of Canadian content required should increase in the future. They are also more likely to support requiring streaming services to ensure a minimum amount of Canadian content is included in their playlists on a weekly basis.

The primary differences by region of residence are as follows:

Age cohort

Satisfaction with commercial radio increases with age and those over 40 are more likely to report being highly satisfied (8-10 on 10 pt scale) with the commercial radio listening experience and are twice as likely compared to those under 40 to feel no improvements/changes to commercial radio are necessary.

The youngest generation, Gen Z (18-23 year olds), is less likely to listen to commercial radio on a regular basis, feel it is important to have access to it and express satisfaction with most aspects of the listening experience. They are less likely to feel it is important to have access to local, national or international news, weather or traffic on commercial radio and more likely to mention diversity, exposure to new artists, or more Canadian music as aspects of commercial radio that need to be improved most. Gen Z is also most likely to believe that promoting French-language artists is essential to ensuring a strong French-language culture in Canada.

Boomers are less likely to feel as though there is not enough programming offered on commercial radio in their preferred language. Support for the CRTC requiring streaming services to contribute financially towards the Canadian broadcasting system and ensuring a minimum amount of Canadian content is included is highest among Boomers.

The primary differences by age of respondents are as follows:

Indigenous status

Indigenous respondents are more likely to feel there is not enough commercial radio programming being offered in their preferred language and that they want more Canadian music and content in their preferred language on commercial radio. They are less likely, however, to agree that it is important to promote Canadian artists specifically through Canadian content rules. They are also more familiar with the company(ies) that are responsible for operating the commercial radio station(s) they listen to and to have an opinion regarding concentration of ownership.

Key statistical differences between Indigenous and non-Indigenous respondents include:

Born in Canada

Those born in Canada are more likely to listen to commercial radio on a frequent basis, to feel having access to commercial AM/FM radio is important (8-10 on 10 pt scale) and to be satisfied with the listening experience. They are more likely to be satisfied with the availability of programming in their preferred language, the availability of local content from where they live, the frequency of information, and the quality of programming.

Those born outside Canada are more likely to feel having access to international news on commercial radio is important and that they would like more access to content in their preferred language on commercial radio. They are also less likely to agree that promoting Canadian artists and music is essential to ensuring a strong Canadian culture and to feel that streaming music services should be required to support the Canadian broadcast sector.

The key statistical differences are as follows:

6. DIFFERENCES BY OFFICIAL LANGUAGE

This section addresses differences by official language and data has been analyzed by those whose preferred language is English (n=1381) or French (n=354). Behaviours, attitudes, and opinions towards commercial radio vary considerably by Official Language.

Francophones are more likely than Anglophones to believe promoting Canadian artists is essential to ensuring a strong Canadian culture and promoting French-language artists is essential to ensuring a strong French-language culture in Canada. They are more likely to agree that it is important to continue to promote Canadian artists through Canadian content rules, to support current rules and to want to see the percentage of required content increase in the future. They are also more likely to think streaming music services should be required to support the Canadian broadcasting sector.

They are more likely to feel as though more should be done to promote new Canadian artists on commercial radio, don’t feel there is enough local content offered on commercial radio, or available in their preferred language and think commercial radio is too focused on popular music. They are also more likely to express concerns about the concentration of private radio station ownership. Anglophones are more likely to admit they don’t pay a whole lot of attention to whether the artist is Canadian or not when listening to music.

The primary differences by Official Language are as follows:

7. DIFFERENCES BY RADIO LISTENERSHIP

This section addresses differences in responses between those who listen to commercial AM/FM radio (n=1544) and those who never listen to commercial AM/FM radio (n=191).

Commercial radio listeners are more likely than non-listeners to believe that promoting Canadian artists and music is essential to ensuring a strong Canadian culture, to feel it is important to continue promoting Canadian artists through content rules and to want the percentage of Canadian content required to increase in the future. They also express stronger support requiring steaming music services to support the Canadian broadcast sector. They are also much more likely than non-listeners to think there is not enough local content on commercial radio and that more should be done to promote emerging Canadian artists on commercial radio.

The primary differences are as follows:

8. DIFFERENCES BY COMMERCIAL RADIO DEVICE USAGE

This section addresses differences in responses between those who listen to commercial radio sources online (n=343) and offline (n=1437). Online is defined as using smartphone, smart speakers, desktop computer, laptop or tablet at listen to commercial radio, while offline is defined as using car radio, traditional AM / FM radio or home sound system. Those who use online sources are more likely to be under 40.

Online commercial radio listeners are more likely than those who listen offline to feel having access to commercial AM/FM radio is important to them and specifically access to talk radio, phone-in games, current affairs or international news content. Support for Canadian content requirements for popular music is higher among those who listen to commercial radio online than offline. They are also more likely to feel there is not enough programming offered in their preferred language on commercial radio and to want greater exposure to new artists and more programming variety.

The primary differences between online vs. offline commercial radio listeners are as follows:

9. COMPARISON TO VOLUNTARY SURVEY RESULTS

In order to allow the Canadian public to participate in the consultation process a separate voluntary version of the survey was executed and promoted through the CRTC’s website and social media channels. In total, the voluntary public survey garnered 2,969 responses. Responses from the voluntary public survey were compared to the panel survey to identify statistically significant differences across measures.

Those who responded to the voluntary public survey are more likely to be male (65%), Francophone (61%), 40 years of age or older (68%), and living in Quebec (60%), compared to the actual proportions of the Canadian population. A full detailed profile of respondents to the voluntary public survey can be found in the appendix of this report.

Those who took the voluntary public survey are more likely than those who responded to the panel survey to report listening to commercial AM/FM radio at least weekly and are far more likely to think it is important to have access to commercial AM/FM radio, as well as access to most types of content via commercial radio.

Voluntary public survey participants are more likely to agree that it is important to continue to promote Canadian artists through Canadian content rules and that promoting Canadian and French-language artists is essential to ensuring a strong Canadian and French-language culture in Canada. They are also more likely to support all current Canadian content rules, and to want to see French-language music requirements increase in the future, as well as requiring streaming music services to support the Canadian broadcast sector (but not in a way that interferes with consumers' ability to choose the content they want).

However, satisfaction with the commercial AM/FM radio listening experience is significantly lower among voluntary public survey participants including satisfaction with the quality of programming, programming diversity, promotion of Canadian artists, and the availability of programming in their preferred language. They are also more concerned about the concentration of ownership of private radio stations limiting the diversity of opinions and music genres available to Canadians or Canadians’ access to different sources of information.

The primary differences are as follows:

The demographic characteristics of the surveyed populations from the panel and voluntary surveys are presented below. Data presented in the tables below for the panel survey are weighted proportions.

Figure 16 : Profile of Respondents

Age

Panel survey

Voluntary survey

Gen Z (18-23)

7%

3%

Millennials (24-39)

28%

28%

Gen X (40-55)

28%

36%

Boomers (56+)

37%

32%

Gender

Male

49%

65%

Female

51%

34%

Region

British Columbia

14%

5%

Alberta

11%

5%

Saskatchewan

3%

1%

Manitoba

4%

1%

Ontario

38%

25%

Quebec

23%

60%

New Brunswick

2%

1%

Nova Scotia

3%

1%

Prince Edward Island

1%

>0%

Newfoundland and Labrador

2%

>0%

Income

<$40,000

21%

14%

$40,000- <$60,000

14%

15%

$60,000 - <$100,000

24%

23%

$100,000+

24%

31%

Prefer not to say

17%

17%

Born in Canada

Yes

83%

93%

No

17%

7%

Indigenous Status

Indigenous

3%

2%

Non Indigenous

97%

98%

Presence of Children Under 18 in Household

Yes

21%

29%

No

79%

71%

APPENDIX

DETAILED METHODOLOGICAL NOTE

Quantitative Panel Survey

1. Survey Methods

Ipsos conducted a ~10-minute online survey among a sample of n=1735 Canadians aged 18 years and older (including a small oversample in Quebec to achieve a minimum of n=500 Quebec residents) stratified to the actual proportion of the Canadian population based on the 2016 Census by age, gender and region. Fieldwork for the rep survey was conducted between Thursday, November 12th and Thursday, November 26, 2020).

The survey was administered among a general public audience using panel-based resources for data collection. Respondents for this survey were selected from among those who have volunteered to participate in online surveys. The panel provides a number of innovative incentive programs to participants tailored to the specific requirements of each survey, depending on the length of the survey, the subject matter of the study, and the time required to complete a minimum number of interviews. A point-based system is used where participants can redeem points for various items.

Weighting has been applied to ensure that the sample proportions match the characteristics of the population according to the 2016 Census, by age, gender, and region. Ipsos does not calculate a margin of error for online surveys because online surveys are considered non-probabilistic. A credibility interval is used instead. The credibility interval for a sample of this size of ± 2.7% in 19 cases out of 20.

The table below compares the unweighted sample to the 2016 Census results by region, age, and gender, as well as the weighted geographical and demographic distribution of the sample.

Figure 17: Sample frame

Definition

Unweighted Sample size

Sample proportions

Census 2016 Proportions

Age

18 – 24

183

10%

11%

25 – 34

304

17%

16%

35 – 44

272

16%

16%

45 – 54

311

18%

18%

55 – 64

297

17%

17%

65+

368

21%

21%

Gender

Male

844

49%

49%

Female

891

51%

51%

Region

Prince Edward Island

10

1%

>1%

Nova Scotia

43

3%

3%

New Brunswick

26

2%

2%

Quebec

500

23%

23%

Ontario

612

38%

38%

Manitoba

64

4%

4%

Saskatchewan

49

3%

3%

Alberta

176

11%

11%

British Columbia

225

14%

14%

Newfoundland and Labrador

30

2%

2%

2. Response Rate

The following table provides the response dispositions and response rate calculation for the online rep survey.

Figure 18: Response Rate Calculation

Calculation for Panel Survey

#

Total Email Invitations Issued  

6290

Unresolved (U) (no response)

3450

In-scope - non-responding (IS)

224

Qualified respondent break-off (incomplete)

224

In-scope - Responding units (R)

2955

Over quota

1107

Other disqualified

113

Completed Interviews

1735

Response Rate = R/(U+IS+R)

45%

3. Non-Response Analysis

There exists within the current sample the possibility of non-response bias. In particular, this survey would not include members of the population who do not have access to the Internet (either via a personal computer or mobile device) or who are not capable of responding to a survey in either English or French. In addition, some groups within the population are systemically less likely to answer surveys. Variations in proportions have been corrected in the weighting to reflect 2016 Canadian Census values.

Quantitative Voluntary Public Survey

Ipsos conducted a ~10-minute online survey among a sample of n=2969 respondents. Fieldwork was conducted between Thursday, November 12 and Thursday, November 26, 2020. The survey was voluntary and made public through the CRTC’s website and social media channels. The survey was executed through Ipsos’ online survey platform and no restrictions were placed on participating aside from ensuring participants were 18 years of age or older and standard industry screening. The voluntary public survey is not intended to be representative of the broader Canadian population. A response rate and analysis of non-response bias cannot be completed due to the voluntary nature of the survey.

Qualitative Research

Thirteen focus groups were conducted online with participants from across Canada between March 19th and 31st, 2020. Nine groups were conducted in English, and four groups were conducted in French.

Twelve focus groups were conducted with those who listen on a regular basis to commercial radio, with at least half of each group who listen at least 5 times per week. One focus group was conducted with those who do not listen to commercial radio and listen to other audio content and formats such as podcasts and music streaming.

Figure 19: Qualitative Fieldwork details

Variable

Number of participants

Location

Ottawa, ON

7

Timmins English, ON

4

Timmins French, ON

6

Toronto, ON

8

Western Canada

7

Montréal English, QC

8

Montréal French, QC

8

Vancouver, BC

7

Halifax, NS

5

Eastern Canada

6

National Non-Listeners

7

Gatineau French, QC

8

Province of Quebec French

7

How often do you listen to commercial radio?

5 times per week

55

2-4 times per week

26

Once per week

0

Once per month or less

0

Never

7

Age

34 years and younger

30

35-44 years old

25

45-54 years old

17

55 years old or older

16

Household income

Under $20,000

1

$20K to $40K

13

$40K to $60K

11

$60K to $80K

22

$80K to $100K

19

$100K to $150K

14

$150K or more

6

Refused

2

Language

English-speakers

59

French-speakers

29

It should be noted that the qualitative findings are not generalizable to a larger population, and that they should be considered directional only.

QUESTIONNAIRE

CRTC Radio- Public Opinion Research

Quantitative Survey (Panel)

SCREENING QUESTIONS

1a. Do you prefer to continue in English or French?

  1. What is your date of birth?

    YEAR

    _1915

    _2018

    MONTH

    [TERMINATE IF UNDER 18 YEARS OLD]

  2. What is your gender?
  3. What are the first three digits of your postal code? (example: A8A 8A8)

    [Record X#X X#X]

    Prefer not to answer

    [HIDDEN VARIABLE]

    REGION:

    [if q3=prefer not to answer ask q3a]

    3a. Where do you live?

    [if q3a=prefer not to answer thank and terminate]

  4. In which industries or professions do you, or any member of your immediate household, work? Please select all that apply

    [IF 1, 15, 22, 23, 29 TERMINATE, OTHERWISE CONTINUE]

    [IF YES TO CODE 9 AT Q4 ASK Q5]

  5. Do you, or any member of your immediate household, work for any of the following organizations? Please select all that apply

    [IF NONE OF THE ABOVE CONTINUE, OTHERWISE TERMINATE]

    RADIO HABITS AND LISTENING

    We’d like to start by asking a series of questions about your listening habits and impressions of a variety of broadcast programming. When responding to the following questions, please consider your typical listening habits before the current situation with COVID-19 began.

  6. Generally speaking, how important it is for you to have access to each of the following broadcasting platforms? Using a scale from 1 to 10, where 1 is Not at all important and 10 is Extremely important

    [ROWS][RANDOMIZE]

    [COLUMNS]

    SCALE 1-10, 1 “Not at all important”, 10 “Extremely important”

  7. How frequently do you listen to programming on each of the following broadcasting platforms? Please select one response per item

    [ROWS][RANDOMIZE]

    [COLUMNS]

  8. And on which device(s) do you typically listen to each of the following broadcasting platforms? Please select at least one response per item

    [ROWS]

    [INSERT ITEMS FROM Q7 WHERE RESPONSE IS NOT ‘NEVER’]

    [COLUMNS]

  9. Overall, how satisfied are you with your listening experience with each of the following broadcasting platforms? Using a scale from 1 to 10, where 1 is ‘very dissatisfied’ and 10 is ‘very satisfied’. Please select one response per item

    [ROWS]

    [INSERT ITEMS FROM Q7 WHERE RESPONSE IS NOT ‘NEVER’]

    [COLUMNS]

    SCALE 1-10: 1 ‘Very dissatisfied’ 10 ‘Very satisfied’

    [IF SELECTED NEVER FOR COMMERCIAL RADIO AT Q7 SKIP Q10, Q11, Q12, Q13]

  10. Thinking specifically about commercial AM/FM radio, how important is it to you to have access to the following types of content? Using a scale from 1 to 10, where 1 is Not at all important and 10 is Extremely important

    [ROWS][RANDOMIZE]

    [COLUMNS]

    SCALE 1-10, 1 Not at all important, 10 Extremely important

  11. What are the things that you like most about commercial radio? Please select up to three of the following

    [RANDOMIZE]

  12. What, if anything, do you feel needs to be improved most about commercial radio? Please select up to three of the following

    [RANDOMIZE]

  13. How satisfied are you with each of the following aspects of commercial radio? Using a scale from 1 to 10, where 1 is ‘very dissatisfied’ and 10 is ‘very satisfied’. Please select one response per item

    [ROWS][RANDOMIZE]

    [COLUMNS]

    SCALE 1-10: 1 ‘Very dissatisfied’ 10 ‘Very satisfied’

    Don’t know enough to provide an opinion

    CANADIAN CONTENT AND FRENCH-LANGUAGE MUSIC

    We would now like to explore Canadian content and French-language music.

    [SHOW ON SEPARATE SCREEN BEFORE PROCEEDING TO NEXT QUESTION]

    The following are rules regarding Canadian content currently in place for broadcast radio in Canada. These regulations are overseen by the Canadian Radio-Television and Telecommunications Commission (CRTC). The Commission is an administrative tribunal that regulates and supervises broadcasting and telecommunications in the public interest. Please review before proceeding to the next screen.

    Canadian content requirements for Popular Music (e.g. pop, rock, dance, country)

    Commercial, community, campus and Indigenous radio: English-language and French-language stations must ensure that at least 35% of the Popular Music they broadcast each week is Canadian.

    To ensure that Canadian selections are not relegated to times when relatively small audiences are tuned to radio, such as on weekday late evenings and on weekends, English-language and French-language stations must ensure that at least 35% of the Popular Music broadcast between 6:00 a.m. and 6:00 p.m. Monday to Friday is Canadian.

    Canadian content requirements for Special Interest Music (e.g. Folk, Jazz and Blues, International music)

    Commercial radio: English-language and French-language commercial radio stations must ensure that at least 10% of all Special Interest Music broadcast is devoted to Canadian selections.

    [ONLY SHOW FOR FRENCH-SPEAKING RESPONDENTS] Rules regarding French-language vocal music: French-language commercial radio stations must devote each week at least 65% of Popular music selections (such as pop, rock, dance, country) to French-language musical selections.

    To ensure that French-language selections are not consigned to periods with relatively small audiences, they must also ensure that at least 55% of Popular music selections aired each week between 6 a.m. and 6 p.m., Monday through Friday, be French-language selections.

  14. How much do you support or oppose the Canadian content rules for commercial radio that are currently in place?

    [ROWS]

    Canadian content – Rules applicable to English and French- language commercial stations [HEADER]

    [ONLY SHOW FOR FRENCH-SPEAKING RESPONDENTS] French-language vocal music – Rules applicable only to French-language commercial stations [HEADER]

    Popular Music (at least 65% must be French-language music; 55 % during peak listening hours)

    [COLUMNS]

  15. If these regulations were to be changed in the future, do you feel the percentage of required content that must be played should increase, decrease or stay the same?

    [ROWS][RANDOMIZE]

    Canadian content requirements for Popular Music (currently at least 35% must be Canadian content during broadcast week and peak listening hours)

    Canadian content requirements for Special Interest Music (currently at least 10% must be Canadian content during broadcast week)

    [ONLY SHOW FOR FRENCH-SPEAKING RESPONDENTS] French-language vocal music (currently at least 65% must be French-language music; 55 % during peak listening hours)

    [COLUMNS]

    FUTURE ROLE OF REGULATION

    We’d now like to discuss the future of radio regulation in Canada by the CRTC.

  16. Currently there are no Canadian content rules specific to streaming services in Canada (i.e. Spotify, Apple Music, iHeartRadio, etc.). How much would you support or oppose the CRTC creating the following types of regulations?

    [ROWS][RANDOMIZE]

    [COLUMNS]

    [IF SELECTED NEVER FOR COMMERCIAL RADIO AT Q7 SKIP Q17]

  17. Do you know which company operates the commercial radio station(s) that you listen to?
  18. Commercial radio stations are generally privately owned. The CRTC regulates, among other things, the ownership of various radio stations and the concentration of ownership authorized for a single company. In 2018, the five largest radio ownership groups in Canada garnered over 65% of total commercial radio revenues. How concerned are you about concentration of ownership of commercial radio stations in Canada (i.e. fewer companies owning more radio stations)

    GENERAL ATTITUDES

    We would now like to better understand your consumption habits and opinions towards a variety of aspects of commercial radio.

  19. Please indicate how much you agree or disagree with the following statements. Please provide one response per item

    [ROWS][RANDOMIZE]

    [IF RESPONDING TO THE SURVEY IN ENGLISH] I would be interested in hearing more French-language music on commercial radio.

    [IF RESPONDING TO THE SURVEY IN FRENCH] I would be interested in hearing more English-language music on commercial radio.

    [COLUMNS]

  20. Are there any other comments about your experience with commercial radio in Canada or any other topics we have discussed in this survey that you would like to share?

    [TEXT BOX]

    No comment

    DEMOGRAPHIC QUESTIONS

    We have a couple final questions for statistical classification purposes. Please indicate the answer that best describes you. Be assured that your responses will be held in strict confidence.

  21. What was your total household income, before taxes, in 2019?
  22. Are there any children 18 years or younger living in your household?
  23. Were you born in Canada?
  24. Do you self-identify as an Indigenous person?
  25. What is the language you use most often at home? If you use more than one language at home, please select the two most used languages.

    [INSERT LIST AND ALLOW TWO RESPONSES ONLY]

Thank you. Those are all the questions we have for your today. We greatly appreciate your participation in this research.

DISCUSSION GUIDE

FOCUS GROUPS

DISCUSSION GUIDE FOR COMMERCIAL RADIO LISTENERS
FOCUS GROUPS  – ONLINE/TELECONFERENCE
SESSION BREAKDOWN

Welcome and Introduction

5 Minutes

Section 1: Radio Habits and Listening

30 Minutes

Section 2: Canadian Content and Culture

30 Minutes

Section 3: Future Role of Regulation

20 Minutes

Wrap-up and Final Questions

5 Minutes

SESSION TOTAL

90 Minutes

DETAILED SESSION AGENDA

MODERATOR WELCOME (5 MINUTES)

SECTION 1: RADIO HABITS AND LISTENING (30 MINUTES)

We are here today to have a discussion on commercial radio services in Canada.

Q1. I would like to start by understanding your current listening habits when it comes to commercial radio – that is, local AM and FM radio stations. Please tell me about:

PROBES:

Q2. How different are your commercial radio listening habits to other audio content such as podcasts and music streaming? Has this changed or evolved at all over the years?

PROBES:

Q3. Overall, to what extent is commercial radio meeting your needs and interests? I’m going to READ/SHOW you a list and for each, please tell me what’s working and/or what’s missing for each.

Q4. As I mentioned at the beginning, our focus is on commercial radio stations but there are public stations in Canada – i.e. CBC and ICI Radio-Canada. Do any of you listen to public radio? If so, what is the difference between the two – in terms of role and meeting your needs as a listener? How would you characterize commercial vs. public

SECTION 2: CANADIAN CONTENT AND CULTURE (30 MINUTES)

Now I’d like to discuss Canadian Content and its role in our culture.

Q5. How much local content are you consuming on commercial radio, especially as it relates to local news and information? Is this important to you as a radio listener?

PROBES:

Q6. Were you aware that there are specific Canadian content rules in Canada (CLOSED END POLL). If yes, please tell me in your own words what you believe these might be.

Q7A & Q7B. I’m going to show you a set of Canadian content rules that are overseen by the CRTC. The CRTC is an administrative tribunal that regulates and supervises broadcasting and telecommunications in the public interest.

MODERATOR TO SHOW ONLINE

Canadian content requirements for Popular Music (e.g. pop, rock, dance, country)

Commercial, community, campus and Indigenous radio

English-language and French-language stations must ensure that at least 35% of the Popular Music they broadcast each week is Canadian content.

To ensure that Canadian selections are not relegated to times when relatively small audiences are tuned to radio, such as on weekday evenings and on weekends, English-language and French-language stations must ensure that at least 35% of the Popular Music broadcast between 6:00 a.m. and 6:00 p.m. Monday to Friday is Canadian content.

Canadian content requirements for Special Interest Music (e.g. Folk, Jazz and Blues, International music)

Commercial radio

English-language and French-language commercial radio stations must ensure that at least 10% of all Special Interest Music broadcast is devoted to Canadian selections.

As well, commercial radio stations have to ensure that Special Interest Music selections, including Canadian content, are scheduled in a reasonable manner throughout the broadcast day.

If anyone asks, “Are there any exceptions?” MODERATOR TO READ:

Exceptions to Popular Music Canadian content

Radio stations program a wide variety of popular music radio formats to meet the needs of their listeners. While most popular music formats tend to feature contemporary vocal music, other music formats – such as nostalgia, oldies, adult standards and middle of the road – program "older" popular music styles that may include vocal and instrumental music.

The availability of older Canadian popular music within this group may be limited compared to contemporary music genres. With this in mind, the CRTC provides some flexibility in terms of Canadian content requirements (through either regulation or condition of licence). 

What are your reactions to and your thoughts on Canadian content rules? Is this something that is important to you as a Canadian? If so, why is it important? If it’s not important, is there a reason why it isn’t?

PROBE:

Q8. Given the Federal government’s responsibility to consult Indigenous peoples on broadcasting issues and the fact that there are currently no specific rules for Indigenous content on Commercial Radio stations:

SECTION 3: FUTURE ROLE OF REGULATION (20 MINUTES)

I’d like to discuss the future of radio regulation in Canada by the CRTC and what your needs and preferences might be. As a reminder, the CRTC regulates and supervises broadcasting and telecommunications in the public interest.

Q9. One area that the CRTC regulates is the ownership of various radio stations. Commercial radio stations are privately owned – how aware are you of who owns the radio stations you listen to? Is this a factor or important for you to know? If yes, why is that? If not, why is it is it not a factor or important?

PROBE:

Q10. Do you feel there is a role for the CRTC in regulating streaming services (such as Spotify) in a similar manner it does with traditional radio stations? For example, financial contributions towards the Canadian broadcasting system, meeting Canadian content and French-language music quotas?

Q11. Could the way you listen to commercial radio be better aligned with how you consume audio content?

FINAL QUESTIONS AND ADVICE (5 MINUTES)

Final Thoughts. Do you have any other comments or something to add on the topic of commercial radio?

THANK and WRAP

DISCUSSION GUIDE FOR NON COMMERCIAL RADIO LISTENERS
FOCUS GROUPS – IN PERSON AND ONLINE/TELECONFERENCE
SESSION BREAKDOWN

Welcome and Introduction

5 Minutes

Section 1: Radio Habits and Listening

30 Minutes

Section 2: Canadian Content and Culture

30 Minutes

Section 3: Future Role of Regulation

20 Minutes

Wrap-up and Final Questions

5 Minutes

SESSION TOTAL

90 Minutes

DETAILED SESSION AGENDA

MODERATOR WELCOME (5 MINUTES)

Unless otherwise noted, all questions are open-ended.

SECTION 1: RADIO HABITS AND LISTENING (30 MINUTES)

We are here today to have a discussion on commercial radio services in Canada.

Q1. I would like to start by understanding your current listening habits when it comes audio content such as music streaming or podcasts.

PROBES:

Q2. Why do you listen to audio content such as podcasts and music streaming, but not to the radio? Has this changed or evolved at all over the years?

Q3. What need does listening to audio content fulfill for you? What would you miss most if you didn’t have the opportunity to listen to audio content? What would replace it?

PROBE

Q4. Although you said that you are not listening to commercial radio, are there things in it that you think are working? Things that could be improved for it to meet your needs and interests?? I’m going to READ/SHOW you a list and for each, please tell me what’s working and/or what’s missing for each.

Q5. Do any of you listen to CBC Radio? If so, what is the difference CBC Radio and commercial stations in terms of role and meeting your needs as a listener?

MODERATOR TO CHECK WITH BACKROOM FOR QUESTIONS AND FOLLOW-UPS

SECTION 2: CANADIAN CONTENT AND CULTURE (30 MINUTES)

Now I’d like to discuss Canadian Content and its role in our culture.

Q6. IF NOT COVERED IN THE INITIAL DISCUSSION: How much local content are you consuming on commercial radio, especially as it relates to local news and information? Is this important to you as a radio listener?

PROBES:

Q7. Were you aware that there are specific Canadian content rules in Canada (IN-PERSON SHOW OF HANDS / ONLINE CLOSED END POLL). If yes, please tell me in your own words what you believe these might be.

I’m going to show you a set of Canadian content rules that are overseen by the CRTC. The CRTC is an administrative tribunal that regulates and supervises broadcasting and telecommunications in the public interest.

MODERATOR TO PROVIDE THE FOLLOWING HANDOUT ON CANADIAN CONTENT RULES (IN PERSON) OR SHOW (ONLINE)

Canadian content requirements for Popular Music (e.g. pop, rock, dance, country)

Commercial, community, campus and Indigenous radio

English-language and French-language stations must ensure that at least 35% of the Popular Music they broadcast each week is Canadian content.

To ensure that Canadian selections are not relegated to times when relatively small audiences are tuned to radio, such as on weekday evenings and on weekends, English-language and French-language stations must ensure that at least 35% of the Popular Music broadcast between 6:00 a.m. and 6:00 p.m. Monday to Friday is Canadian content.

Canadian content requirements for Special Interest Music (e.g. Folk, Jazz and Blues, International music)

Commercial radio

English-language and French-language commercial radio stations must ensure that at least 10% of all Special Interest Music broadcast is devoted to Canadian selections.

As well, commercial radio stations have to ensure that Special Interest Music selections, including Canadian content, are scheduled in a reasonable manner throughout the broadcast day.

If anyone asks, “Are there any exceptions?” MODERATOR TO READ:

Exceptions to Popular Music Canadian content

Radio stations program a wide variety of popular music radio formats to meet the needs of their listeners. While most popular music formats tend to feature contemporary vocal music, other music formats – such as nostalgia, oldies, adult standards and middle of the road – program "older" popular music styles that may include vocal and instrumental music.

The availability of older Canadian popular music within this group may be limited compared to contemporary music genres. With this in mind, the CRTC provides some flexibility in terms of Canadian content requirements (through either regulation or condition of licence). 

Q8. What are your reactions to and your thoughts on Canadian content rules? Is this something that is important to you as a Canadian? If so, why is it important? If it’s not important, is there a reason why it isn’t?

Q9. When you are listening to the audio content, are you conscious at all of who you’re listening to and whether or not they are Canadian? Does it matter to you as a Canadian listener?

Q10. Although Indigenous content is considered Canadian content, we rarely hear Indigenous content on commercial radio stations. Do you think the CRTC should require Commercial stations to play a certain amount of Indigenous music and/or contribute financially to the support of the creation of Indigenous music?

PROBE

MODERATOR TO CHECK WITH BACKROOM FOR QUESTIONS AND FOLLOW-UPS

SECTION 3: FUTURE ROLE OF REGULATION (20 MINUTES)

I’d like to discuss the future of radio regulation in Canada by the CRTC and what your needs and preferences might be. As a reminder, the CRTC regulates and supervises broadcasting and telecommunications in the public interest.

Q13. One area that the CRTC regulates is the ownership of various radio stations. Commercial radio stations are privately owned – how aware are you of who owns the radio stations in your town? Is this a factor or important for you to know? If yes, why is that? If not, why is it is it not a factor or important?

Q14. Would you have any concerns if there was a greater concentration of ownership in commercial radio stations? That is, if there were fewer overall owners of local commercial radio stations? Please tell me the reason(s) for your response.

Q15. The CRTC requires commercial radio stations to play Canadian content and to contribute financially to support the Canadian music industry.

Commercial radio stations have to contribute to the Canadian music industry both financially and through exposure. To that end they have to abide by certain rules established by the CRTC. These rules can take the form of quotas, such as the minimal amount of Canadian content that they must air during a certain period, but also a percentage of revenue they must contribute to the development of this content. Financial contributions are also encouraged for all new licensees or when a station changes ownership. The funds collected from stations are distributed to established Funds that cater to artists, such as Factor or Musicaction, or community radio. Station owners can also decide where they want part of the money to go, following established guidelines. While some of these rules could be difficult to impose on streaming services, others, such as the obligation to contribute a certain percentage of their Canadian revenues to Canadian Funds or initiatives, would be possible.

MODERATOR TO CHECK WITH BACKROOM FOR QUESTIONS AND FOLLOW-UPS

FINAL QUESTIONS AND ADVICE (5 MINUTES)

Q17. Do you have any other comments or something to add on the topic of commercial radio?

THANK and WRAP