A joint response from the Local & Independent News Association (LINA) and the Community Broadcasting Association of Australia (CBAA).

The Government has today opened a short consultation process on the next phase of the News Media Bargaining Code, the News Bargaining Incentive, seeking responses from industry and stakeholders over the next two weeks. The Code, introduced in 2021 is world-leading legislation and, while it has yielded mixed results for industry to date, the intent to correct a power imbalance in the information ecosystem through requiring tech platforms to contribute to the news media industry they have disrupted is commendable.

CBAA and LINA support these actions to hold tech platforms accountable to the communities they profit from and welcomes measures to increase the transparency of deals between platforms and industry. The News Bargaining Incentive is a new attempt to bring platforms to the table to negotiate with news publishers, with the government seeking to return funds to parts of the news media industry as compensation for a loss of advertising income caused by digital disruption.

The proposed News Bargaining Incentive, as currently drafted, does not address the underlying issues in the News Media Bargaining Code on which it is based. Commercially focused eligibility requirements create barriers to participation for small publishers and volunteer-based community media, further entrenching the status quo in a media landscape that is already one of the most concentrated in the world. Funding is needed not only to prop up existing publishers, but to regenerate a battered news industry and better serve Australian communities with relevant and reliable news services.

The Government’s News Media Assistance Policy Framework outlines the role of government policy intervention in news media and journalism as fundamental to democracy, civic society and community wellbeing – balancing the need for industry support with undue editorial influence. Government has a responsibility to enable informed communities, facilitate effective emergency response, community resilience, belonging and cohesion, civic engagement and day to day information that helps people navigate their lives.

While not an inherent feature of the legislation, the News Bargaining Incentive may generate revenue through levies on technology companies. These companies may be more inclined to absorb the higher costs in Australia rather than risk setting a precedent that could influence similar regulatory approaches in other countries. This presents an opportunity for government to resource its own societal objectives through the levy, and to change the news media landscape in the process. The State of Democracy in Australia report shows almost two-thirds of Australians support this idea.

For more information about LINA and its initiatives, visit lina.org.au.

AFTRS students, alumni and industry came together on Tuesday 28 April for the annual AFTRS Radio and Podcasting Showcase, an evening that celebrated the future of audio storytelling and explored the opportunities ahead in radio and podcasting.

It was a full house as industry partners met with radio and podcasting students, graduands and alumni, many of whom had spent the day at AFTRS, hosting judging panels for the Mumbrella and Radio Info/Radio Today Australian Audio Awards, whose winners will be announced on Thursday 28 May.

Designed to foster meaningful connections, the showcase brought together practitioners and executives from across the sector and across Australia, including representatives from the ABC, ACE Radio Network, ARN Media, Community Broadcasting Association of Australia, SEN, Tapt Media, Geelong Broadcasters, and Nova, alongside a wide range of production companies and broadcasters.

AFTRS Graduate Diploma in Radio and Podcasting (GDRP) Program Convenor Natalie Pozdeev welcomed guests, inviting them to get to know the students and graduands who came to AFTRS “to make audio – in all its contemporary forms – across radio, podcasting, social, multiplatform and emerging spaces, including marketing, communications and various industries where audio is a part of the business toolkit.” 

The GDRP flexible delivery has provided opportunities for students across the country to access studies online and part time, extensively opening access to the School and the community of creatives, from students to lecturers, who come together to create, participate and give voice to diverse stories.  

Natalie added: “We know that audio is powerful because it’s personal. It’s tied to place, community and voice, and that’s especially true in regional and hyperlocal contexts, which remain critical to Australia’s media landscape. The geographic spread of our students, and the diversity of their experiences, is not accidental. It is one of our greatest strengths.” 

The evening also celebrated the recent work of graduands, with attendees given a first look at the GDRP reel showcasing the creativity, craft and range of voices emerging from the program. 

Karl Svikis’ experience of the course was also showcased, as students and alumni revisited the formative experiences of the GDRP, including real-world projects when students are on air, such as Show Radio, 2NRS, AFTRS FM and Next Podcasting. Karl, who graduates this year, is currently working for Southern Cross Austereo as a ‘street teamer’ and doing casual panelling for Sports Entertainment Network. He has also been invited to be a casual producer on The Hot Hits National evening radio show.  

https://youtube.com/watch?v=ZCw0nF_o_jE%3Ffeature%3Doembed%26enablejsapi%3D1%26origin%3Dhttps%253A%252F%252Fwww.aftrs.edu.au

Fellow graduand Lee Chan spoke at the event, reflecting on her time studying at AFTRS as she returns to the media and broadcast industry after a three-year career break as a television presenter on lifestyle/food shows. She said what brought her to AFTRS was the motivation to “be a better storyteller”. 

She told current students that the course will “push you to your limits”, noting “we created things we didn’t think we had in us, sometimes in record timing and in the end, what I got out of it was a clearer path on where I’d like to go after the course ended”. 

Lee airs a weekly spot on EastsideFM, and her love for storytelling shines brightly through “podcasting, specifically docu-series and human-interest stories”. 

INXS and Amyl and The Sniffers the big winners on the night alongside Emily Wurramara, Guy Sebastian, Sarah Aarons and Sia

Special performances in celebration of 100 years of APRA and in tribute to Rob Hirst by Paul Kelly, Peter Garrett and The Presets

A remarkable number of debut winners collecting their first APRA Music Award

The winners of the 2026 APRA Music Awards have been announced at a star-studded, centenary celebration event at Sydney’s Hordern Pavilion.

The night’s big winners were Amyl and The Sniffers who took home three awards – the coveted Peer-Voted APRA Song of the Year and Most Performed Rock Work for the playfully controversial “Jerkin’”, along with the acclaimed Songwriter of the Year award, appointed by the APRA Board. This marks the second consecutive year the Melbourne four-piece have won the highly contested Song of the Year after taking it home in 2025 for “U Should Not Be Doing That”.

Guy Sebastian and co-writers Ned Houston and Robby De Sa snapped up two accolades – Most Performed Australian Work and Most Performed Pop Work – for their hit “Maybe”. The win marks Houston’s first APRA Award, and the fourth time Sebastian and De Sa have each taken home a trophy.

One of Australia’s most successful musical exports, Sia, took out Most Performed Australian Work Overseas for the third consecutive year with her aptly titled hit “Unstoppable”, making her APRA’s most-awarded writer member of all time with a whopping 14 awards. 

International Recognition Award recipient Sarah Aarons – the songwriter behind some of the biggest global hits of recent years for artists including BTS, Flume, Gracie Abrams, ROSÉ and Tame Impala – was recognised for her remarkable success overseas. This is Aarons’ sixth APRA Award, following her Songwriter of the Year win in 2019.

The final Board-appointed award, Emerging Songwriter of the Year, was given to folk-pop songstress Emily Wurramara for her incredible body of work over the past year. 

Image: Emily Wurramara. Credit: Lucinda Goodwin.


In the statistically determined Most Performed categories, it was a night of firsts with a remarkable number of debut winners collecting their first APRA Music Award. One of those was Ball Park Music’s Sam Cromack, who took home Most Performed Alternative Work for the catchy earworm “Please Don’t Move to Melbourne”. Adam Ventoura and Daniel March won Most Performed Blues & Roots Work for Karen Lee Andrew’s powerful song “Survival” and another first-timer, Rachael Fahim, claimed the Most Performed Country Work for “Who You Are”, co-written with Keenan Te, Liam Quinn, Shawn Mayer and Vlado Saric.

In the Most Performed Dance/Electronic Work category, Stuart Crichton, alongside international co-writers Clementine Douglas, Ruth Cunningham and Sonny Fodera, took out the award for Fodera’s summer banger, “Tell Me”. At the other end of the musical spectrum, award debutants Brent “Twiggy” Hunter, Luke Holmes and Sam Bassal’s Ocean Grove hit “RAINDROP” won Most Performed Hard Rock/Heavy Metal Work.

Hip hop drill group ONEFOUR’s writers Hoi Tang, Jerome Misa, Salec Su’a with co-writers Nemiah Simms and Robin Turrini picked up Most Performed Hip Hop/Rap Work for their hit “Spinnin” featuring Nemzzz, and first-time winner Pania Hika with co-writers Chelsea Warner, Jake Amy and Sam Varghese won Most Performed R&B/Soul Work for “Pity Party”.

One of Australia’s most defining rock bands, INXS, were honoured with the Ted Albert Award for Outstanding Services to Australian Music by their long-time friend and APRA Chair, Jenny Morris MNZM OAM. The presentation was followed by an incredible performance by punk powerhouse Ecca Vandal, giving their iconic song “Just Keep Walking” a new twist for a new generation and longtime fans.

Image: INXS and Jenny Morris. Credit: Rick Clifford.


The awards were hosted by Julia Zemiro with guest presenters Bernard Fanning, Jessica Mauboy, Mark Coles Smith and Stella Donnelly, and music curated by François Tétaz. 

The evening was the most elaborate yet, featuring special performances for APRA’s centenary celebrations including an opening performance by Christine Anu, Ngulmiya and Rob Ruha; Paul Kelly‘s rendition of Vanda and Young’s “Walking in the Rain”; and The Presets’ electro-version of “Power and the Passion”, featuring a special guest appearance by Peter Garrett, in tribute to the late Midnight Oil drummer, Rob Hirst.

They bookended incredible re-imaginings of the top five Song of the Year tracks by some of the most exciting performers in Australia today. BARKAA kicked things off with a bang with her electrifying rendition of Amyl and The Sniffers’ “Jerkin’”, BOY SODA brought his sultry soul vibe to Tame Impala’s “Loser”, and seven-piece Playlunch gave Paul and Dan Kelly’s “Rita Wrote a Letter” a fun new flavour. Ninajirachi’s hit for a generation, “iPod Touch”, got a rework by multi-instrumentalist Way Dynamic, and one of last year’s biggest songs “Dancing2” by Keli Holiday (aka Adam Hyde) was performed by awards alum Sarah Blasko.

Dean Ormston, CEO of APRA AMCOS, concludes: “The 2026 APRA Music Awards were a fitting way to celebrate not only 100 years of APRA, but today’s biggest and brightest stars. It’s a privilege to look back at 100 years of service to our members and the incredible breadth and diversity of Australian talent. As a nation we derive so much, socially, culturally and economically, from our music creators, it’s imperative that we recognise and celebrate that contribution.

“We thank the Australian Government and the NSW Government for their partnership in making this event possible. The presence of Federal Minister for the Arts, Tony Burke MP, and NSW Minister for Music, the Arts and Night Time Economy, John Graham MLC, reflect these governments’ understanding of the cultural and economic weight of what Australian songwriters contribute to this nation, and why that contribution deserves to be celebrated.”

The APRA Music Awards celebrate excellence in contemporary music, honouring songwriters and publishers who have achieved artistic excellence and outstanding success in their fields. 18 awards are presented across three distinct selection processes: Board Selected, Most Performed (based on statistical analysis) and Peer Voted.

Click here to see the full list of winners.

Are you obsessed by the world of true crime? Always scouring the internet for the latest stories, constantly bingeing the crime documentary of the moment and of course consuming all of the podcasts? Well, you can now get your fix each and every Sunday evening with TRUE CRIME TONIGHT launching nationwide across the KIIS Network.

Hosted by Meshel Laurie – a self-described true crime obsessive – TRUE CRIME TONIGHT unpacks the cases everyone’s talking about. From headline making crimes and celebrity scandals to the trials dominating the news, TRUE CRIME TONIGHT cuts through the noise with sharp insights, bold opinions, and a chance to be part of the conversation.

Each episode goes beyond the surface level headlines into the twists, theories and unanswered questions that keep us hooked. Whether it’s forensic deep dives, criminal psychology, or the true crime docs everyone’s binging and debating, TRUE CRIME TONIGHT delivers a smart, fast‑moving and addictive listen.

TRUE CRIME TONIGHT is an expansion of Meshel Laurie’s award-winning, and AACTA nominated podcast Australian True Crime, which joined ARN’s iHeartPodcast Network earlier this year. Australian True Crime, now in its ninth year, explores the darker corners of Australian life through expert interviews with victims, their families, and investigators, and is one of the nation’s top podcasts, ranking as the #1 crime podcast in the latest Australia Podcast Ranker*.

Speaking on the launch of her new show TRUE CRIME TONIGHT, Meshel Laurie said, “I’ve spent years deep in the world of true crime, and I know how hungry people are for smart, thoughtful conversations about the cases everyone’s buzzing about. TRUE CRIME TONIGHT lets us dive into all of it together in real time – the headlines, the theories, the twists, and the stories that won’t let us go. I can’t wait to spend Sunday nights with fellow obsessives across the country.”

Head of KIIS Network Derek Bargwanna added, “People love true crime, they talk about it with their friends, they binge it, and they fall down the rabbit hole online. Meshel knows this world inside out, and we look forward to the kick off on Sunday nights. It’s smart and addictive!”

Originally announced at Upfront26, TRUE CRIME TONIGHT reflects ARN and iHeart’s continued evolution, bringing together podcast, broadcast and video to reach highly engaged audiences at scale. It is one of several initiatives currently in development.

TRUE CRIME TONIGHT launches this Sunday 3 May and will be broadcast from 6-7pm every Sunday across the KIIS and ARN Regional networks. The show will also be available in The Australian True Crime podcast feed in both audio and video via the free iHeart app.

Joint statement — Community Broadcasting Association of Australia and Disability Media Australia

The Community Broadcasting Association of Australia and Disability Media Australia have acknowledged Vision Australia Radio’s decision to cease AM broadcasting in Melbourne, Adelaide, and Perth from 1 July 2026.

Vision Australia Radio has been in discussion with CBAA on this transition for some time. Both organisations recognise the decision as necessary to reduce operating costs and safeguard the long-term viability of the service — without any impact on Vision Australia Radio’s commitment to locally produced content relevant to the blind and low vision community and the wider disability community in each market.

VA Radio has operated DAB+ services in Melbourne, Adelaide, and Perth for more than 16 years, with Darwin added more recently. The service is not being withdrawn — it continues on DAB+ and online streaming, including via the Community Radio Plus app. DAB+ delivers a markedly better listening experience than AM — clearer audio, more reliable reception, and no interference. What changes is the cost base.

Vision Australia Radio serves Australians who are blind, have low vision, or have other print disabilities. For many listeners it is not a discretionary service — it is their primary means of accessing news, information, and community connection. The network reaches around 500,000 listeners a month, supported by dedicated volunteers and staff in each market.

Change like this is never easy — for staff, volunteers, and listeners who have been part of the AM service for years. But the move to a digital-only model means these essential services can continue. That is the right outcome.

Both organisations acknowledge that AM listeners will face disruption and welcome Vision Australia Radio’s commitment to supporting listeners through the transition, recognising that moving to a new way of listening will not be straightforward for everyone.
Accessible communication for all Australians with disability is central to DMA’s mission and an increasingly important part of what the community broadcasting sector delivers. Vision Australia Radio is one example of why that matters.

Jon Bisset,

CEO of CBAA and DMA

The vibrancy of Australian democracy relies on the robust and open exchange of news, views and opinions.

This is under threat. 

If digital platforms fail to pay for the use of the news content from which they profit then journalism becomes unsustainable. It is also in the public interest that reliable, professionally created news and information remains accessible and visible on the digital platforms used by millions of Australians.

The government’s News Bargaining Incentive (NBI) draft legislation is a critical step toward securing the future of Australian news. By prioritising commercial deals this legislation protects our democratic way of life.

It has been more than two years since Meta walked away from previous deals and almost 18 months since the government announced the NBI. 

While Google has been positive about doing deals, others need to come to the table, and all platforms need to step up.

We urge all parliamentarians to support safeguarding Australian journalism and the vital role it plays in our democracy, for all Australians.

Hugh Marks, Managing Director, ABC

Tony Kendall, Managing Director, Australian Community Media

Michael Miller, Executive Chairman, News Corp Australasia

Matt Stanton, CEO and Managing Director, Nine Entertainment Co

Beverley McGarvey, President, Network Ten

Jane Palfreyman, Acting Managing Director, SBS

Rohan Lund, CEO and Managing Director, Southern Cross Media Group

Rebecca Costello, Managing Director, The Guardian Australia

IDPwD content creator Brendan Bernier presenting morning radio in Queensland with his mentor Susan Graham-Ryan.

The ABC has awarded its 2026 International Day of People with Disability (IDPwD) Storyteller Scholarship to Brendan Bernier and Julie Dickson.

Run in partnership with the Department of Health, Disability and Ageing, the scholarship supports emerging creators with disability, helping break down barriers and challenge community perceptions. It is open to contributors previously engaged through the ABC’s IDPwD Employment Fund.

ABC Director of News Justin Stevens said this year’s recipients will create content representing diverse communities that can face stigma.

“By producing quality content and letting their skills and talents shine, this year’s winners will help challenge perceptions and broaden understanding of disability in the community,” he said.

Senator the Hon Jenny McAllister, Minister for the National Disability Insurance Scheme, congratulated the recipients, highlighting the importance of authentic representation of disability in media.

“This scholarship helps break down longstanding barriers by providing practical experience, professional networks and confidence within the media industry. It’s a win-win for recipients and the audience.” Minister McAllister said.

Brendan Bernier, from Toowoomba, previously collaborated with ABC Radio North Queensland, co-presenting, producing interviews and contributing to an IDPwD showcase episode.

“I’ve been an avid radio listener for years and now that I’m conducting interviews myself, I’m enjoying experiencing that dynamic from the other side of the microphone,” he said.

“What I love most is hearing people’s stories from all kinds of backgrounds. Short-form interviews are a rewarding challenge, capturing the most interesting moments in a tight window of time. Creating content and listening to how a conversation unfolds continues to be a fascinating process.”

Julie Dickson, based in Melbourne, is an accomplished powerlifter who has won silver medals at the World Dwarf Games in both powerlifting and basketball. She has worked with ABC Lifestyle and ABC News Victoria on content highlighting the rise of women in powerlifting.

“There’s still a lot of stigma surrounding short stature, so recognising IDPwD helps raise awareness, educate the public, and challenge misconceptions,” she said.

“A highlight of my time working on my IDPwD project was having my para powerlifting competition documented. I’m very lucky to have such a special memory captured on camera and in writing that I can look back on in the years to come.”

IDPwD content creator Julie Dickson. 

The CBAA was saddened to hear of the recent passing of Les Heil AM, a long-serving contributor to, and later leader in, the commercial and community radio sectors who had a significant impact in the Australian radio industry as well as overseas. Most recently Les was the Chair of Sunshine Coast community broadcaster 104.9 Sunshine FM. Sunshine FM has supplied the following article to commemorate Les’ life and work.

Sunshine Coast community radio station, 104.9 Sunshine FM has lost a great friend, advocate and leader.  Chair, Les Heil AM, passed away on 26 April after a sudden illness.  Les was 91.

At the age of 17, Les followed his dream to become a radio announcer.  His first job was Announcer/Copywriter at 3SR Shepparton in 1952.  Four years later, he moved to 3BA Ballarat as an Announcer/Newsreader/Copywriter, then cracked the big smoke with a job at 3UZ Melbourne in 1958 where he moved into management and stayed for seven years.

Les did two tours of duty at 3KZ Melbourne, steering the station to the top of audience surveys, not once but twice.

When first appointed General Manager of 3KZ in 1965, Les was the youngest person to become GM of an Australian metropolitan radio station, an accomplishment even more noteworthy because of his programming background, rather than the traditional sales background.  He was General Manger for the next 13 years.

In 1979 Les returned to 3KZ as GM and then Managing Director.  A year later, he led 3KZ’s transition to become the first commercial FM radio station in Australia.  He remained at 3KZ/GOLD 104.3 for 11 years.

Les Heil believed, passionately, that you can never give back as much as you receive.  It was a guiding principle that he lived by and put into practice, every day.  Les contributed a great deal to the communities he lived in.  He was president of the Kiwanis Club of Melbourne, an organisation that mentors young Australians to help them strive to be the best they can be.  He served on numerous community service committees, harnessing impeccable stakeholder relationships to support those who needed a hand up.  Through the substantial audience reach of 3KZ/GOLD, Les was instrumental in fundraising efforts that collectively donated millions of dollars to the Children’s Wing of Melbourne’s Austin Hospital.

Les served on boards and in advisory roles that saw him involved in the acquisition and management of numerous radio stations in New South Wales, South Australia, Tasmania, and Queensland where he led the successful application for the first FM licence on the Gold Coast which was to become SEA-FM, launch pad for multiple SEA-branded music stations around Australia.  Les also led the migration of a Sunshine Coast AM station to FM In 1988, successfully launching the MIX and SEA brands in that market.

In the 1970s, he helped establish broadcasting services in developing countries, including the Solomon Islands.  Les also helped establish the first commercial radio station in New Zealand, Radio Hauraki.

In 2023, Les was enjoying retirement on the Sunshine Coast when he was persuaded to return to radio and chair community radio station, 104.9 Sunshine FM.  Under Les’ leadership, Sunshine FM maintained the highest audience reach of any station in the market, maximising the effectiveness of Sunshine FM’s support for more than 600 community organisations and events, each year.

Les is a former President and director of the Federation Of Australian Radio Broadcasters and was, for many years, a guest lecturer at the Australian Film, Television and Radio School.

In 1978, Les was recognised by peers as Radio Executive Of The Year.  In 1985, he was presented with commercial radio’s highest honour, the Radio Achievement Award and became only the eighth person in Australia to receive that honour.  In 1988, Les was made a Member of the Order of Australia (AM) in recognition of his service to Australian media and in 2002, Les was inducted into the Radio Broadcast Industry Hall Of Fame.

His ‘first’ broadcasting career spanned 50 years and Les maintained his connection to radio during his retirement.  Taking into account his leadership of 104.9 Sunshine FM, Les’ contribution to Australian radio spanned a staggering 74 years.

Les Heil AM is remembered as generous, humble, courageous, and a brilliant radio innovator. He is sadly missed.

Les Heil AM with his Australian Commercial Radio Hall of Fame Award.

International public service media organisations from Australia, Canada, France, Germany, Switzerland, the United Kingdom and Japan met in Tokyo from 13 to 14 April 2026 for their annual DG8 meeting, hosted by NHK WORLD-JAPAN. 

Participants reaffirmed the crucial role of public service media at a time of increasing global uncertainty, rapid changes in the media landscape and rising financial and structural pressures. In light of these common challenges, the international broadcasters have agreed to collaborate even more closely at all levels, to exchange ideas, and to leverage synergies.

Trust and Media Freedom

As media freedom is being undermined and unverified information spreads, DG8 members agreed that accurate, impartial journalism and closer cooperation among international public broadcasters are essential to supporting democratic values and global stability. Members also noted the increasing threats faced by journalists worldwide and stressed the importance of safeguarding their safety to ensure continued access to reliable information.

Platforms

Members underlined the need to broaden audience reach as media consumption habits diversify, ensuring that public service media can continue to deliver essential, reliable information needed to navigate an ever more uncertain world. They also acknowledged evolving international discussions on digital platform frameworks, underlining the critical importance of access to, and prominence on, key global digital platforms to ensure that news and emergency coverage reach as many people as possible. Reflecting the views raised during the meeting, members recognised the need to continue and further deepen their discussions, including on the relationship between public service media and digital platforms.

Artificial Intelligence

Facing the rapid expansion of AI, members discussed how AI may contribute to spreading disinformation and rendering professional media invisible, even as AI systems already make extensive use of their content. At the same time, members also reiterated that, while such new technologies enable greater efficiency and innovation, their use must be guided by clear standards that secure transparency and trust.

Crisis Response

DG8 reaffirmed the vital role of international public broadcasters in providing accurate and timely information that protects public safety, particularly during large-scale disasters and conflicts in which local media or communications infrastructure may fail.

The meeting concluded with a renewed commitment to strengthening cooperation so that public service media — professional organisations trusted worldwide for fact-based reporting — can continue to operate sustainably even in challenging times.

The Presidency was handed over from NHK WORLD-JAPAN to the BBC World Service.

DG8（Director-Generals of Eight）TOKYO 2026 was attended by: ABC International (Australia), BBC World Service (United Kingdom), CBC/Radio-Canada (Canada), Deutsche Welle (Germany), France Médias Monde (France), NHK WORLD-JAPAN (Japan) and SWI swissinfo.ch (Switzerland). These organisations provide professional, impartial, and verified news and information worldwide via television, radio and digital platforms. Regrettably, the U.S. Agency for Global Media, which oversees U.S. international public service media networks, was not represented due to ongoing organisational circumstances.

Southern Cross Austereo (SCA) continues to dominate the ‘Audience That Matters’ (P25–54), securing its 38th consecutive survey win* and reinforcing its market-leadership in GfK Radio Survey 2, 2026.

The power of SCA’s combined networks, with SCA and ACE, has again delivered a clear market-leading 37.1% commercial share in the 25-54 ‘Audience That Matters.’* This lead is strengthened by a 17% average audience growth (25-54) across SCA’s networks**.

The strength of SCA’s duopoly was again on display, with key demographic wins, including:

• Triple M remaining the Number 1 network for Men 25–54 (22.3% share, up 1.3 points) – 26 consecutive surveys,
• The Hit Network securing the Number 1 position for Women 25–54 (21.3% share) – second consecutive survey.

Triple M has continued to deliver strong results nationally, with Brisbane (13.3% share) and Adelaide (12.2% share) retaining their positions as the Number 1 stations in market. Headlined by two number one Breakfast shows – Marto, Margaux & Dan(14.0%) and Roo, Ditts & Loz (13.9%) in Brisbane and Adelaide, respectively – this result reinforces Triple M’s connection with audiences.

Triple M’s The Rush Hour with Dobbo & Elliott has continued Triple M’s winning form as Brisbane’s Number 1 Drive show (13.7% share points), while The Rush Hour with JB & Billy have won their key demographic – Men 25-54 – for a seventh consecutive survey in Adelaide and a 22nd consecutive survey in Melbourne. With AFL and NRL results to be fully reflected in the next survey, Triple M has built the foundations needed for its biggest year yet.

SCA’s consistent live and local approach is reflected in share growth for Perth’s Mix94.5 and Adelaide’s SAFM across both stations and Breakfast shows, as well as solid growth in Sydney and Melbourne.

In Sydney, SCA’s investment in consistent lineups in an evolving market is showing momentum, with both 2DayFM and Triple M delivering growth in audience and share. 2DayFM’s Nath & Emma are engaging Sydneysiders by inviting them to play an active role in their show while Triple M’s Beau, Cat & Woodsy lean into their irreverence style and unique position as Sydney’s longest running breakfast team.

Melbourne’s biggest mover is The Fox’s Fifi, Fev & Nick, with the biggest share (up 0.8 points to 9.6% share) and audience increase (up 46,000 listeners to 657,000) locally. Also in Melbourne, Triple M’s Mick in the Morning has achieved the station’s highest Breakfast audience since Survey 8, 2016 (up 25,000 listeners to 359,000), amidst growth in every daypart for the station.

Matthew O’Reilly, SCA’s Head of Broadcast Content, said: “SCA’s live and local approach has delivered great results in survey 2, marked by cume increases across nine stations and major network wins for both Hit and Triple M.

“Triple M continues to perform strongly, with station and breakfast wins in Adelaide and Brisbane. A renewed focus on the Hit Network has seen strong increases in share for SAFM Adelaide and Mix94.5 Perth. In Melbourne, The Fox was the city’s biggest mover in share and audience, and Triple M hit its highest breakfast audience since 2016.

“In Sydney’s shifting landscape 2Day FM and Triple M continues to build momentum with share and audience growth overall and in Breakfast. These results across the country reflect the hard work, creativity and commitment of our teams, and our consistent approach to our brands and shows.”

John Kelly, Southern Cross Media Group’s Interim Chief Executive Officer – TV & Audio, added: “Our live and local approach, combined with a consistent national lineup, has delivered strong outcomes across all markets in this survey. The power of SCA’s combined networks, with SCA and ACE, has again delivered a market-leading 37.1% commercial share amongst the 25–54 ‘Audience That Matters.’

“Importantly, we’ve seen a 17% increase in our 25-54 average audience since the start of the year, driving meaningful growth in the ‘Audience That Matters’ and creating greater scale and effectiveness for our advertising partners. Building on our Survey 1 results, this momentum positions us to deliver even greater value for clients and continued commercial growth across the calendar year.

“These results reflect the consistency and commitment of our Hit and Triple teams across the country. We’ve remained focused, been patient, and continued to invest in our shows. SCA remains unmatched in its ability to reach the Audience That Matters, and this momentum, and combined with the promotional support of the Seven assets, uniquely positions us for a successful year ahead.”

Source:  GfK R360 Metro Survey #2 2026, P10+/P25-54/M25-54/F25-54, Mon-Sun ROS/Mon-Fri 05.30-09.00/Mon-Fri 06.00-09.00/Mon-Fri 15.00-18.00/Mon-Fri 16.00-18.00/Mon-Fri 16.00-19.00, Market Share % / Commercial Share % / Cume Reach.  *#1 P25-54 since S5 2021. ** Ave Aud Survey #8 2025 v Survey #2 2026.

About Southern Cross Media Group

Southern Cross Media Group (ASX:SXL) (Southern Cross) is one of Australia’s most prominent media companies, with a market-leading presence across broadcast television, audio, publishing and digital.

SCA audio assets include the LiSTNR digital audio app, offering free and compelling digital audio content including SCA’s FM, AM, and DAB+ radio stations, live AFL, NRL, and international cricket coverage, over 50 music playlists, local news and over 800 podcast titles from leading Australian and global creators. With more than 2.5 million signed-in users on the LiSTNR app and with a total LiSTNR Audience Network that reaches an estimated ten million* people each month.

SCA owns 104 radio stations across FM, AM, and DAB+ radio under the Triple M and Hit network brands and provides national sales representation for 56 regional radio stations, with more than 8.7 million listeners across the Hit and Triple M networks nationally.