In partnership with The Walkley Foundation, ARN has dedicated its annual scholarship for emerging journalists to Ali Drower, the late respected journalist.

Ali Drower was widely regarded as an accomplished journalist, presenter and news director who worked with ARN and other leading media organisations over the course of her career. She was always passionate about the power of local storytelling and was a strong advocate for regional journalism.

Following her passing in 2025, Ali is remembered across the media industry for her exceptional talent, generosity, and dedication to mentoring the next generation of news superstars.

The ARN Ali Drower Audio Scholarship honours Ali’s legacy by providing support to an emerging journalist seeking to advance their skills in broadcast journalism.

On announcing the dedication to Ali Drower, ARN’s Head of News & Information, Fiona Ellis-Jones said: “Ali Drower was a deeply respected journalist whose curiosity, insight and commitment to local storytelling shaped newsrooms across Australia. She had an exceptional ability to recognise potential – in stories, in communities and in the young journalists she mentored.

“Dedicating this scholarship in Ali’s name is a meaningful way to honour her legacy. It reflects everything she stood for – opening doors, nurturing talent and strengthening the future of audio journalism. We are proud to continue to support emerging reporters in the same spirit of generosity and excellence that defined Ali’s career.”

ARN initially launched the Audio Scholarship in partnership with The Walkley Foundation last year to offer early-career journalists a rare opportunity to gain hands-on experience in a fast-paced commercial newsroom environment, across both radio and podcasting.

The Walkley Foundation is synonymous with the highest standards of journalism in Australia, with ARN’s support the recipient of the scholarship will receive a $10,000 stipend during their 10-week placement and an exceptional opportunity to learn from ARN commercial newsroom leaders and sharpen their journalistic skills.

The 2026 winner will receive:

• 10-week placement in one of ARN’s newsrooms located around Australia, consisting of:
• • Introduction to FM news, including top audio brands KIIS and Gold
  • Introduction to iHeart news podcast “Your News Now”
  • Observe sourcing and reporting of breaking news
  • Learn how local newsrooms connect with communities
  • Write news bulletins in the commercial style
  • Gather interviews and cut audio grabs
  • Develop skills for using social media in a newsroom
  • Record news bulletins for your portfolio
• A stipend of $10,000 to support travel to the ARN location, living expenses and accommodation for the duration of the scholarship.

More details on the ARN Ali Drower Audio Scholarship can be found here, with applications due to open on 2 March.

KIIS and iHeartLIVE have launched their 2026 live events calendar in unforgettable fashion, delivering an exclusive backstage experience with global hitmakers OneRepublic, hosted by the KIIS Network’s Kent ‘Smallzy’ Small.

Ahead of the band’s highly anticipated Australian tour kicking off in Sydney over the weekend, Smallzy welcomed eight lucky KIIS listeners backstage at Qudos Bank Arena for the ultimate iHeartLIVE fan moment.

The intimate experience saw listeners take part in a private Q&A with OneRepublic frontman Ryan Tedder, where he opened up about his career, collaborations and upcoming music. Fans were also treated to an exclusive stripped-back acoustic performance of some of the band’s biggest global hits, performed by Tedder on guitar, before enjoying a personal meet-and-greet and photo opportunity.

During the Q&A, Tedder shared candid insights into his career, revealing the biggest lesson he learnt about fame from Miley Cyrus, admitting his most nerve-racking collaboration was working alongside Beatles legend Sir Paul McCartney, and confirming he is currently working on new music with Australian electronic duo Empire of the Sun. Tedder also revealed OneRepublic recently shifted the release date of their upcoming album to avoid competing with a scheduled Harry Styles album launch.

The experience extended beyond the venue, with Tedder sharing highlights from the event with his near one million Instagram followers, further amplifying the reach of the iHeartLIVE brand and KIIS’ audience engagement.

The OneRepublic event marks the first of many exclusive iHeartLIVE experiences planned for 2026, continuing KIIS’ commitment to delivering once-in-a-lifetime access to global music stars for Australian fans.

The KIIS Network has officially taken iHeartLIVE to the next level – announcing one of the most exclusive and star-studded fan events Australia has ever seen.

Off the back of an already explosive start to the iHeartLIVE 2026 lineup, KIIS is upping the ante by securing two of the most in-demand stars on the planet – Margot Robbie and Jacob Elordi – for a one-off, money-can’t-buy event celebrating “Wuthering Heights”, one of the most highly anticipated cinema releases of the year.

Global box office powerhouse. Fashion icon. Academy Award nominee. Margot Robbie is one of the most influential and obsessed-over stars in the world right now. Alongside her is Jacob Elordi—Australia’s own international breakout, whose meteoric rise has made him one of Hollywood’s most sought-after leading men. Together, they are two of the most talked-about names in entertainment—and fans can’t get enough of them.

On Friday, 13 February, just 100 lucky fans will come face-to-face with the Hollywood heavyweights at as KIIS Presents iHeartLIVE with Margot Robbie & Jacob Elordi, in collaboration with Universal Pictures Australia and Warner Bros. Pictures.

Hosted by the KIIS Network’s Kent ‘Smallzy’ Small, the intimate Q&A will strip away the usual fanfare—no red carpets, no flashing cameras, no press barricades. Just real conversation, behind-the-scenes insight, and unprecedented access to two global stars during one of their very few Australian-only appearances.

On the announcement, Kent ‘Smallzy’ Small said, “I am so excited to welcome Margot & Jacob home to my new home at KIIS for this intimate first of its kind event with iHeart. I’ve always been passionate about creating fan first experiences and this one is going to be truly special – we are getting listeners and fans closer to the stars than ever before in new bespoke ways!”

Head of KIIS Network, Derek Bargwanna said, “This is exactly what iHeartLIVE is about, giving fans moments they never thought they’d get. To have Margot and Jacob back home, at KIIS with just 100 fans, is special. These are the kinds of experiences KIIS and iHeart exist to create.”

With fan obsession at an all-time high and access this rare, iHeartLIVE with Margot Robbie & Jacob Elordi is set to become one of the most talked-about entertainment events of 2026, placing Australian fans in the room with Hollywood royalty with no filters, no barriers, and no price tag.

To win their way into the room for the most sought-after event of the year, fans can keep it on KIIS and listen to The Smallzy Show each day across the KIIS Network from 3pm and 7pm each day, or via the KIIS Club by registering online at KIIS.com.au.

For fans who miss out, highlights from the event and Smallzy’s interview with Margot and Jacob can also be heard on The Smallzy Show on February 13.

“Wuthering Heights”, starring Margot Robbie and Jacob Elordi, will arrive in Australian cinemas on 12 February, offering audiences the ultimate romantic cinematic experience just in time for Valentine’s Day.

The Australian Communications and Media Authority (ACMA) has registered updated rules for commercial radio broadcasters that include new requirements for content broadcast around school drop-off and pick-up times, and also for disclosing artificial intelligence use.

Under the Commercial Radio Code of Practice 2026, radio stations will be required to let their audience know when a synthetic voice is being used to host a regularly scheduled program or news broadcast. This is the first time AI has been addressed in a broadcasting code of practice.

Broadcasters will also have to give special care when airing content between 8-9am and 3-4pm on school days, when children are more likely to be listening.

ACMA Chair Nerida O’Loughlin said the new rules would allow audiences to make more informed decisions about their listening habits.

“Broadcasting rules must keep pace with technology and with community expectations. AI is a powerful tool that offers a lot of innovation for broadcasters,” Ms O’Loughlin said.

“However, listeners want greater transparency about when AI is being used. We welcome the commitments by the radio industry to address listener concerns.

“Listeners are also worried about inappropriate content at peak travel times when families listen together. 

“These new rules set clear time windows where broadcasters must consider whether their content is suitable for children, giving parents and carers greater confidence when tuning in,” she said.

The revised code, which was developed by industry group Commercial Radio & Audio (CRA), also includes strengthened provisions around corrections for errors in news coverage and greater transparency in complaints reporting. 

A significant number of submissions to the review called for strengthened rules around the broadcasting of Australian music. The new code includes changes to the station categories that determine how much Australian music must be played to better reflect contemporary broadcasting practices and music genres. 

The ACMA will be working closely with CRA and the commercial radio industry over the coming 12 months to ensure stations are applying the new categories correctly and meet their longstanding Australian music obligations, including in relation to new Australian music.

As with all the provisions in the code, the ACMA expects that licensees with comply with their obligations to broadcast Australian music. 

“Commercial radio is an integral part of Australia’s media landscape and these rules will help strengthen trust between broadcasters and their audiences.

“We would also like to see broadcasters voluntarily extend the code safeguards to content available on their on-demand streaming services. If they do not, we expect that new regulations may need to be put in place so that listeners know what to expect no matter how they tune in,” Ms O’Loughlin said.

The Commercial Radio Code of Practice 2026 will come into effect from 1 July 2026.

SCA announced the appointment of Matthew O’Reilly as Head of Broadcast Content – Audio, following his successful six month interim tenure. Alongside O’Reilly’s appointment, SCA has confirmed key senior roles reflecting the company’s commitment to strengthen its content leadership team.

In this role, O’Reilly is responsible for defining and delivering SCA’s broadcast content vision, partnering closely with the executive leadership team to align content with broader commercial objectives, and leading the high performing content teams across SCA’s Hit and Triple M Networks in metro and regional markets. 

A highly experienced content leader with a strong track record in driving audience growth and commercial success, O’Reilly has spent more than 15 years building high performing teams and developing top tier talent. He has held a number of senior content leadership roles across the Triple M Network, and was recently appointed into the interim Head of Broadcast Content role following almost three years as Triple M Metro Content and Content Director for Triple M Adelaide, where under his guidance the station has remained a consistent ratings leader, maintaining its position as one of the city’s most trusted and popular stations.

Following O’Reilly’s promotion, Jamie Angel has been appointed Head of Triple M Network in addition to his role as Triple M Brisbane Content Director, responsible for driving the network’s metro content strategy across local and national shows and music programming. With over 35 years’ experience in Australian radio, Angel is one of the industry’s most experienced and respected content leaders, he has held numerous senior content and on-air roles across the country, including at 2DayFM, Fox FM and B105. 

Jay Mueller will take on the role of Head of Development, in addition to his Triple M Melbourne Content Director role. The newly-created position will be responsible for developing programming and talent, both on and off air, leading succession planning across SCA and driving ways of working across SCA’s media content brands including Triple M, Hit, LiSTNR and Seven. Mueller has more than 25 years in broadcast and digital media across Australia and the United States and has held senior editorial and production roles across radio, television, sport and digital platforms, at SCA, the AFL, Seven Network and SEN. 

John Kelly, SCA’s Managing Director – Audio said: “These appointments reflect the strength of SCA’s radio expertise and our commitment to backing the best people in the industry. Matthew’s leadership, together with our senior content leadership team, has already driven significant transformation across the business. With exciting opportunities ahead and strong marketing support behind our brands, this team will be central to delivering creative, audience-focused content and driving sustainable growth for SCA, our audiences, and our partners.”

Matthew O’Reilly said: “I’m proud and humbled to officially lead our broadcast content teams into the next exciting phase at SCA. These appointments reflect the depth of experience and talent across our content teams. It’s fantastic to give opportunities to those within the business.

“With the combined passion of this team and the early momentum of the SCA and Seven merger, we’re well positioned to create, collaborate and grow in new ways. By leveraging our trusted talent, our local content advantage, and newly formed experienced content leadership team, we can deliver compelling shows, expand audiences and drive meaningful commercial outcomes.”

O’Reilly will report to John Kelly, Managing Director – Audio. As part of the senior content leadership team, Amanda Lee (Head of Hit Network – Metro), Jamie Angel, and Jay Mueller will report directly to O’Reilly.

We have kicked off our second ever Community Radio Census, with the first one held back in 2022.

This survey, conducted every few years, aims to understand the people who make up our vibrant sector. We want to hear from everyone – all community radio volunteers and workers! The more people involved means a better understanding of our sector.

This data is important. Our last census helped us to:

• Understand the sheer number and diversity of community radio workers and volunteers – all 18,000 of you!
• Advocate for your station with Government, including a $27 million increase in funding
• Understand why people work in community radio

What to do now:

1. Complete the census survey now – it will only take 10 minutes
2. Forward the survey to all your staff and volunteers – everyone who enters goes in the draw to win one of three $100 gift vouchers!

Don’t be left out. Let’s show just how powerful our sector is.

See terms & conditions.

New Code includes special care provisions during school commute times and establishes new framework designed to ensure transparency in emerging areas such as the use of synthetic AI voices

Commercial Radio & Audio (CRA) today welcomes the registration by the Australian Communications and Media Authority (ACMA)of a new Commercial Radio Code of Practice that provides appropriate community safeguards for listeners. In addition to existing safeguards, the new Code provides significant additional protections for listeners to align with evolving community expectations and technological changes.

CRA CEO Lizzie Young said: “We’re proud to lead the way with this new Code. The Australian radio industry is pleased to be proactively addressing evolving community standards, positioning the local commercial radio sector to navigate technological and social changes responsibly.”

The new Code, which takes effect from 1 July 2026, applies to all commercial radio broadcasting licensees and introduces substantial enhancements to the existing community safeguards including: 

1. Special Care provision: 
   A new requirement to take special care during school drop-off and pick-up times (8:00am–9:00am and 3:00pm–4:00pm on school days) that children may be listening.  
2. AI Transparency:
   An AI transparency requirement for programs (including news programs) hosted by synthetic voices. This new provision responds to the evolving technology and is the first mandatory AI transparency provision for on-air broadcast content in Australia. 

The Code also includes strengthened correction obligations for news and current affairs programs, and enhanced complaints transparency through publication by CRA of an annual complaints report. In addition to the Australian music quotas commercial radio already operates under, the Code includes refined Australian music format descriptions with further guidance to be developed in consultation with the ACMA.

“Over the course of the review we’ve worked closely with the Australian Communications and Media Authority, our members, and the Australian public who shared their views during consultation. The result is a new Code that reflects what matters most to the communities that commercial radio connects with every day, and we’re committed to continuing our work with the ACMA as it takes effect” concluded Young. 

Print Radio Tasmania
Location: Hobart, Tasmania (flexible/hybrid)
Employment: Permanent Part-time (24 hours per week, 0.6 FTE)
Pay Rates:  $60 an hour + superannuation + paid leave 

About Print Radio Tasmania

Print Radio Tasmania (PRT) is an established community broadcaster providing accessible, inclusive audio content for people who cannot easily access printed material. For more than 40 years, PRT has played a trusted role in enabling access to information, news, storytelling and community connection.

PRT is entering a period of renewal. Building on its strong foundations in radio reading services, the organisation is evolving to serve people with disability more broadly, while continuing to protect and strengthen services for its core audience.

About the roleEmpty heading

The Chief Executive Officer provides hands-on leadership to Print Radio Tasmania, working closely with the Committee of Management to deliver the organisation’s strategy and strengthen its long-term sustainability and impact.

This includes diversifying income, strengthening partnerships, stabilising operations, supporting staff and volunteers, and embedding continual improvement across governance, risk, and people practices appropriate to a small but growing not-for-profit.

The CEO is a visible steward of PRT’s values, modelling inclusive, respectful leadership and supporting the organisation to deepen its contribution across the disability and community media sectors.

This role is ideal for an energetic, adaptable leader who thrives in a small but mighty, mission-driven organisation and enjoys working alongside volunteers. You will value purpose and inclusion, bring creativity to how things are done, and be motivated by building strong community connections and impact.

Key responsibilities

The CEO will be responsible for:

• Leading the implementation of PRT’s strategy and operational pla
• Through effective leadership of the Station Manager, ensuring that day‑to‑day operations and programming are delivered to a high standard and reflect the organisation’s commitment to creativity, storytelling and inclusion
• Supporting and developing staff and volunteers within a values-led culture
• Strengthening financial sustainability through grants, partnerships, sponsorships and diversified income
• Building strong relationships with disability organisations, funders and sector partners
• Representing and advocating for PRT with credibility and integrity
• Supporting good governance, risk management and compliance

About you

You will bring:

• Leadership experience ideally in a not-for-profit, community, disability, media or related sector
• Strong governance capability and experience working constructively with boards or committees
• Financial literacy, including budgeting, commercial management, financial reporting and grant management
• Proven ability to lead small teams and work effectively with volunteers
• Excellent communication and stakeholder engagement skills
• A demonstrated commitment to disability inclusion, accessibility and community impact
• The ability to balance ambition with the realities of a resource-constrained organisation
• Confidence with digital tools such as Microsoft Office, and a willingness to learn

Lived experience of disability, or experience in caring or working closely with disability communities, is highly valued.

Why join Print Radio Tasmania?Empty heading

This is an opportunity to:

• Lead a trusted Tasmanian community organisation as it enters its next phase of service and impact
• Make a tangible contribution to disability inclusion and accessible media
• Work flexibly in a purpose-driven, values-led environment
• Shape the future of a trusted community service with deep local roots

How to applyEmpty heading

For further information and to apply, please submit your resume to Kathleen Mackay at kathleen@nfpsuccess.com.au ideally by 24th February.  Be quick, we may close applications earlier if the right person is found.

Q&A is always welcome and feel free to call Kathleen anytime including evenings and weekends on 0418 878 492

PRT is committed to accessibility and inclusion and welcomes applications from people with disability. We are happy to discuss flexible arrangements and reasonable adjustments to support you in participating fully in the recruitment process and in the role.

APPLY HERE

ICTV is seeking a new CEO and are taking a creative approach to the recruitment process – an established CEO or emerging leader plus mentors.

ICTV seeking new leadership

We are taking a slightly different approach to this recruitment and are fully committed to securing a new First Nations CEO for ICTV. We are now welcoming expression of interest with a new format and open minds. We are excited to open applications for the following categories:

A. First Nations CEO – experienced First Nations leaders with experience running small to medium organisations in community, arts and culture, media and screen contexts.

B. First Nations Emerging Leader – First Nations candidates who do not have CEO or executive level experience but have demonstrated a readiness for a role like this and with the right support, can step into the CEO role over a 12 month period.

C. Co-pilots: Mentor/Coach/Leadership Trainer – experienced leaders who can support an emerging First Nations leader into the CEO role at ICTV. You might be a consultant, a coach, someone who would be up for a 6-month secondment to be a supportive, encouraging and effective co-pilot to the CEO.

Read more about the opportunities here: https://www.corporate.ictv.com.au/jobs/

NOVA Entertainment has unveiled the next phase of their bold Nova FM brand positioning campaign Don’t Think, Just Nova, featuring key Nova on-air talent.

The campaign builds on the success of the 2025 Don’t Think, Just Nova campaign and is designed to amplify Nova Network’s 2026 programming lineup, including the launch of two new shows today on the network: Nova 96.9’s Sydney Breakfast show, Ricki-Lee & Tim and Nova Network’s national Drive show, Fitzy, Wippa & Kate.

Rolling out nationally from today across Sydney, Melbourne, Adelaide, Perth and Brisbane and featuring key Nova talent from each market, the campaign builds on Nova’s new brand platform, Don’t Think, Just Nova. For this phase, the creative has evolved to hero the Nova Network’s show lineup and position both the brands and the network’s presenters as the antidote to the daily overwhelm and overthinking audiences experience.

As Australia’s favourite radio brand, Nova is using its new positioning to build the live radio category and celebrate its unique ability to provide moments of unprompted joy. Developed in partnership with creative innovation company R/GA, Don’t Think, Just Nova is a reminder that we can take at least one of life’s decisions – namely what to listen to – off your to-do list.

Adam Johnson, NOVA Entertainment’s Chief Growth Officer said, “Our new show lineups gave us a really exciting opportunity to build on the 2025 success of the Don’t Think, Just Nova campaign. The success of the campaign, which saw a marked increase in brand awareness, consideration and – most importantly – audiences, gave us the confidence to use this brand platform in this next phase, bringing our talent together in a bold, fun and visually arresting way.”

NOVA’s Marketing Director Troy Pearce added, “Building on the strong momentum of last year’s Don’t Think, Just Nova campaign, which really cemented spontaneity as the heart of our brand, this next phase demonstrates it in an even more playful and prominent way. Working in partnership with R/GA, we’ve created a campaign that puts our talent front and centre as the antidote to overwhelm. The campaign translates an emotive brand proposition into something tangible at a show level.”

Rachel Blacklaws, Creative Director at R/GA said, “Because brands are built over time, we relished the opportunity to tackle our second campaign for the Don’t Think, Just Nova platform with a truly ‘product’ centric interpretation of the brand campaign. Uniquely, this isn’t a campaign about telling people what to think. It’s about reminding them how good it feels not to.”

Nova will be going to market with a phased, multi-channel campaign across a three-month period. Out of Home investment includes digital large format, transit, street furniture and rail replacements. Paid media will be supported by Nova’s owned and social channels, ensuring existing Nova audiences know how to continue engaging with their favourite creators while discovering and trialling Nova’s new shows.

Credits:

NOVA Entertainment
Chief Growth Officer: Adam Johnson
Marketing Director: Troy Pearce
Brand Marketing Manager: Sam McGraw 

Senior Brand Designer: Dave MacCue

Graphic Designer: Rikki Hopton

Photography 

Photography: Peter Brew-Bevan

Retouching: Abbie Muntz at Faux Pink 

Creative Innovation Company: R/GA
Managing Director: Victoria Curro
Executive Creative Director: Ben Yabsley
Creative Director: Rachel Blacklaws
Creative Director: Henry Cook
Associate Creative Director: Courtney Fay
Associate Design Director: Jin Bae
Group Account Director: Josh Agnew
Account Director: Matilda Lundy
Executive Content Producer: Kyle Belcher
Executive Strategy Director: Marie Conley

Production Company: Limehouse

Post: Limehouse

CGI Artists: Chris Andrews & Rhys White

Retouch: James Lucas

Production: Ashlee Savins & Gio Maselli 

Media Agency: Mindshare