Tracking 6 Music plays and campaign metrics Templates

[ARTIST] — [TRACK TITLE]
Campaign week: [WEEK DATES]
Release date: [DATE]
Genre/positioning: [DESCRIPTION]

[SHOW NAME] | [PRESENTER] | [BROADCAST DATE/TIME] | [PLAY DURATION] | [PLAYLIST POSITION] | Notes
[Example: Olivia's Breakfast Mix | Olivia Colman | 15 Jan, 8:15am | 3:42 | B-list | Strong morning slot]
[Example: Late Junction | Manuela Moreira | 16 Jan, 11pm | 3:42 | New Music feature | Themed episode on contemporary indie]

Key wins this week:
• Which presenter/show combination gave the best positioning?
• Repeat plays vs. first-time plays?
• Notable absences (shows that typically support the genre)?

Next actions:
[List follow-up pitches or presenter outreach based on data]

Update daily during active campaign. Note playlist position (A, B, C lists, or specialist feature slots) as this signals future play potential. Cross-reference with your previous campaigns to spot patterns in which presenters and shows repeat-rotate similar artists.

[ARTIST] — [TRACK TITLE] | Campaign period: [START]–[END]

Show | Presenter(s) | Total plays | First play date | Peak rotation? | Playlist tier | Champion signal?
[Example: Olivia's Breakfast Mix | Kermode & Mayo | 8 | 9 Jan | Yes, daily for 2 weeks | A-list | Strong champion]
[Example: Radcliffe & Maconie | Mark Radcliffe, Stuart Maconie | 5 | 12 Jan | Fortnightly | B-list | Genre fit, not priority]
[Example: Late Junction | Manuela Moreira | 3 | 16 Jan | No | Feature slot | One-off special feature]
[Example: 6 Music Recommends | Various | 2 | 20 Jan | No | New Music brief | Submission-based, limited control]

Insight summary:
• Strongest supporting show(s): [NAME]
• Surprising support/gaps: [OBSERVATION]
• Shows still to pitch: [NAMES]

Campaign narrative:
Focus your artist quote and press angle on the champions identified above. If a flagship show (Kermode & Mayo, Introducing, etc.) is missing, these are priority outreach targets.

Distinguish between scheduled A-list rotation (continuous play over weeks) and feature-slot plays (one-off spins in themed segments). Presenter names matter — if Mark Radcliffe is championing the track, emphasise that in press coverage and artist comms. Include a line about shows you haven't yet pitched to, so you can benchmark progress.

[ARTIST] — [TRACK TITLE] | Release date: [DATE]

Week | A-list plays | B-list plays | C-list plays | Specialist features | Total weekly plays | Trend
[Example: W1 (Jan 9–15) | 0 | 0 | 0 | 1 Late Junction | 1 | Entry]
[Example: W2 (Jan 16–22) | 0 | 3 | 2 | 1 6 Music Recommends | 6 | Growth]
[Example: W3 (Jan 23–29) | 1 | 5 | 3 | 0 | 9 | Peak]
[Example: W4 (Jan 30–Feb 5) | 1 | 4 | 2 | 0 | 7 | Plateau]
[Example: W5 (Feb 6–12) | 0 | 2 | 1 | 0 | 3 | Decline]

Key metrics:
• Time in B-list or higher: [X weeks]
• A-list peak week: [WEEK X]
• Average weekly plays at peak: [NUMBER]
• Longevity score: [SHORT/MEDIUM/LONG based on tapering]

Campaign assessment:
If longevity is flagging, consider re-pitching a remix, B-side, or live session version to extend the campaign.

6 Music doesn't publish official playlist tiers, so calibrate based on play frequency and time-of-day. A-list typically means daily or near-daily plays in prime slots (breakfast, afternoon); B-list is secondary rotation (2–3 times weekly); C-list is specialist or late-night. Honest tiering is crucial for future campaigns.

6 Music Campaign Performance Comparison | [PERIOD]

Artist/Track | Genre | Release type | Peak plays/week | A-list weeks | Total span | Championing presenter(s) | Press angle used
[Example: The Bluetones — [Track] | Britpop revival | Single | 8 | 3 weeks | 7 weeks | Kermode, Maconie | 'Return to form' legacy narrative]
[Example: Black Country Road — [Track] | Indie rock | Album cut | 5 | 0 weeks | 4 weeks | Late Junction, Introducing | 'Regional emerging' angle]
[Example: Porridge Radio — [Track] | Post-punk | Single | 12 | 5 weeks | 12 weeks | Radcliffe, Colman | 'Contemporary urgency' narrative]

Intelligence gathered:
• Positioning that lands: [THEME] (e.g., 'legacy artist return' or 'emerging post-punk')
• Genres over-represented: [LIST]
• Under-pitched genres: [LIST]
• Presenter preference patterns: [OBSERVATION, e.g., 'Colman gravitates to narrative-driven indie']

Next campaign adjustments:
• Emphasise [ANGLE] for similar positioning
• Pitch [GENRE] harder to [PRESENTER NAMES]
• Reconsider pitching approach for [GENRE/TYPE]

Track this quarterly to build institutional memory. Note which angles (e.g., 'comeback', 'debut', 'political', 'nostalgic') generate faster playlist movement. 6 Music presenters develop strong taste profiles — mapping these prevents wasted pitches and sharpens targeting.

[ARTIST] — [TRACK TITLE] | Campaign period: [DATES]

On-air activity | BBC Sounds metric | Week | Data source
[Example: 5 plays on Kermode & Mayo (breakfast slot, high audience) | 340 streams (estimated 68 streams per play) | W1 | BBC Sounds Play Analytics / Estimate]
[Example: Featured on 6 Music Recommends playlist (curated, discoverable) | 1,200 streams | W2 | Sounds Playlist reach / Artists own analytics]
[Example: Peak week: 9 total plays across all shows | 2,100 streams | W3 | Combined data]
[Example: Decline to 3 plays weekly | 640 streams | W5 | Trailing-off phase]

Key observations:
• Streams-per-play ratio: [NUMBER] (6 Music plays typically generate 60–100+ streams per play on Sounds)
• Playlist impact: A-list/feature plays tend to yield 2–3× the stream lift
• Audience reach estimate: [CALCULATION based on average listener data]

Campaign impact statement:
'While [X] on-air plays may seem modest, they generated an estimated [X,000] streams on BBC Sounds, reaching [X,000] listeners, with peak engagement during [SHOW/WEEK].'

Note: BBC Sounds data varies by artist access; supplement with third-party tools (Spotify for Podcasters) where artist account data is available.

BBC Sounds data is typically accessed by artists via their own dashboards or requested via BBC Music team. Many independent artists don't have full visibility, so use estimated ratios based on historical 6 Music data (typically 60–150 streams per on-air play, varying by audience size and show). Frame streaming data as a proxy for 'reach beyond radio' to help artists understand campaign ROI.

[CAMPAIGN PERIOD]

Presenter | Show | [ARTIST] support? (Y/N) | Previous campaign support? | Frequency of interest in genre | Response level | Next pitch opportunity
[Example: Kermode, Mark | Kermode & Mayo | Y | Yes, x4 previous indie campaigns | Very high | Strong champion | Early email with next release]
[Example: Colman, Olivia | Olivia's Breakfast Mix | Y | No previous contact | High for female-fronted indie | Engaged, enthusiastic | Album track submission]
[Example: Radcliffe, Mark | Radcliffe & Maconie | Y | Yes, legacy artist campaigns | High for established artists | Moderate, cautious | Re-pitch with heritage/reunion angle]
[Example: Moreira, Manuela | Late Junction | Y | No | Medium, experimental | Specialist interest only | Feature-angle pitches only]
[Example: Mackintosh, Cerys | 6 Music Introducing | N | Yes, one emerging artist | High for fresh talent | No engagement | Re-evaluate artist positioning, retry in 6 months]

Relationship summary:
• Strongest champions: [NAMES — priority repeat pitching]
• Developing champions: [NAMES — nurture with regular briefs]
• Niche fit only: [NAMES — curate pitches carefully]
• Cold targets: [NAMES — research before outreach]

Long-term strategy:
Build a 12–18 month calendar of when to re-pitch previous supporters and which presenter relationships are worth deepening.

Update this monthly as you work with the station. Presenter preferences are personal and evolve — track what they actually play, not what you assume they like. Over-pitching a cold presenter damages credibility; under-pitching a champion is a missed opportunity. Use this map to stagger campaigns and nurture relationships across the year.

[ARTIST] — [ALBUM TITLE] | Campaign period: [DATES] | Report date: [DATE]

Executive summary:
[ARTIST]'s [ALBUM TITLE] generated significant support at BBC 6 Music, with [X plays across Y shows] and [Z weeks] of playlist presence. Lead single '[TRACK]' achieved peak rotation on [SHOW], supported by presenter [NAME], reaching an estimated [NUMBER] listeners.

Radio impact:
• Total on-air plays: [NUMBER] across [NUMBER] weeks
• Peak rotation week: [WEEK DATE] with [NUMBER] plays
• Championing presenters: [NAMES with shows]
• Playlist tier: [A-list/B-list/specialist features]
• Key milestone: [e.g., 'Album of the Day feature' or 'Late Junction Album Hour']

Reach estimate:
• Average 6 Music audience per show: [TYPICAL LISTENER COUNT]
• Total estimated reach: [CALCULATION]
• BBC Sounds complementary streaming: [DATA if available]

Press coordination:
• Reviews secured in [PUBLICATIONS]
• Feature coverage angle: [THEME]
• Artist interview placements: [SHOWS/PLATFORMS]

Campaign narrative for label/management:
[Write 2–3 sentences positioning the 6 Music support as evidence of critical traction, suitable for highlighting in artist pitches, booking agent conversations, and subsequent campaign phases.]

Next phase recommendations:
• [Action based on momentum/plateau]
• [Presenter or show to target next]
• [Format angle — remix, acoustic, B-side]

This is the document you send to labels, management, and press teams to justify the campaign and context for further coverage pitches. Keep it honest — 'strong specialist radio support' is more credible than inflated listener estimates. Use it to set expectations for what 6 Music success looks like (artistic credibility, not chart impact).

[ARTIST] — [TRACK/ALBUM] | Campaign dates: [START]–[END] | Report date: [DATE]

Campaign timeline:
Pitch sent: [DATE] | First play: [DATE] | Peak rotation: [DATES] | Campaign end: [DATE]
Total campaign span: [X weeks] | Total plays secured: [NUMBER]

What worked:
• Positioning angle that resonated: [DESCRIPTION] (e.g., 'heritage artist return' or 'urgent contemporary sound')
• Presenter outreach strategy: [APPROACH, e.g., 'personal email to [NAME] with tailored brief']
• Timing: [e.g., 'pitched 4 weeks before album release, aligned with interview window']
• Format that landed: [e.g., 'album exclusive to [SHOW]' or 'session recording']
• Press angle that supported radio: [DESCRIPTION]

What didn't work:
• Initial cold pitch to [SHOWS/PRESENTERS]: [RESULT — e.g., 'no response']
• [POSITIONING ANGLE]: [WHY IT FELL FLAT, e.g., 'genre tag too narrow for 6 Music remit']
• [TIMING OR FORMAT ISSUE]: [LESSON LEARNED]
• Missing early champion: [OBSERVATION, e.g., 'should have pitched to [PRESENTER NAME] first']

Key learnings:
1. For this artist type, lead with [ANGLE] rather than [ANGLE]
2. [PRESENTER NAME] is more responsive to [CONTACT METHOD/CONTENT TYPE] than [OTHER]
3. [GENRE/POSITIONING] works better as [B-list/specialist features] than A-list rotation at 6 Music
4. Peak rotation achieved after [X weeks] — recommend [X+2 weeks] campaign runway for future similar artists

Next campaign adjustment:
[Specific change to test in next campaign with this artist or similar positioning]

Complete this 2–4 weeks after a campaign winds down, while details are fresh. Be honest about what didn't land — this is for internal use. Over time, these briefs become your playbook for 6 Music success. Compare patterns across campaigns (artist type, genre, timing, presenter preference) to refine your approach.