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Dave Richards
January 8, 2019
Have an opinion? Add your comment below. The days after the event we go on a deep-dive recap on what we can improve. Some improvements revolve around content, some around technical, and some around the stage show. There has to be an element of camp each year, but without a blueprint a couple of the shenanigans weren't as cool as we thought they would be, or didn't translate as well on-air as they did onstage
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In an era where a slew of radio dayparts are syndicated or voicetracked, and scores of radio stations still do everything from retailer remotes to station concerts so routinely you'd think they're doing it with their eyes closed, Entercom Active Rock KISW/Seattle made "old" sound "completely new" by launching "Live Day," essentially a morning-till-night block of completely live programming - from on-air hosts to live commercials, live bands, live production and live people creating sound effects like they used to do for old-time radio dramas. KISW PD Dave Richards oversaw the debut of Live Day back in 2016 - and has seen it get bigger and better every year since. With little time to bask in the glow of last year's Live Day, held last Nov. 20th, Richards took some time out from already preparing for next November's event to illustrate the mentality and preparation it takes to make Live Day so unique and special.
How did the concept to do a Live Day come about?
I have wanted to do this for a long time. At KISW, we have a team that likes to push the boundaries, so trying something like this on a high wire without a net is a team sport. I tossed the idea out to the core team at The Rock about five years ago, and we targeted the first Live Day. The first thing I did after making the commitment was to go see "Wait Wait, Don't Tell Me" live.
What were the main challenges in doing the first one?
The major challenge was that there was no blueprint to follow. By and large, what we all do in radio, from festival shows to food and wine events to radiothons - they're all a lot of work, but someone on your team has done one before. This was not the case for Live Day. You don't realize how much gear, how many producers, script revisions or musicians you'll need to make this event a success. Where do you find Foley artists? Where do you find a barbershop quartet? How did a one-man-band find us? How hard it is to replicate the production you run every day? These are just some of the many questions that the team mulled about in preparation for Live Day.
Was the point in the execution of the first Live Day when you feared that you may have bitten off more than you could chew?
I think the best part of this is that we were biting off more than we could chew. There's a certain rush in flying without a net. The night before the first Live Day, we were all amped with nervous energy. I would compare the feeling to surfing the biggest waves after you've spent a few days on a wakeboard. There was no turning back, only continuing the momentum and moving forward to execute a great event.
Afterwards, were you satisfied with it ... and wanted to do it again?
After the first Live Day we knew it was successful. The digital and streaming stats told us that we had a successful event. You could feel it in the market, especially when our competitors e-mailed and congratulated us on the event. I remember Pat Paxton asking me if the ratings were lousy for the day, would we do it again? No-brainer, absolutely. It's what this brand is all about.
How has Live Day evolved over the years?
Year one was training ground - 70 people to put it on, and done at our studios. Year two, we added the live stream video component, 15 cameras and 85 people putting on the show. Year three, we brought it to a live stage performance. This year we bulged to 125 people involved on show day. We have a few ideas on how to evolve it next year and beyond.
What kind of changes and improvements have you done to make it better and/or easier to do?
The days after the event we go on a deep-dive recap on what we can improve. Some improvements revolve around content, some around technical, and some around the stage show. There has to be an element of camp each year, but without a blueprint a couple of the shenanigans weren't as cool as we thought they would be, or didn't translate as well on-air as they did onstage. You look at Prairie Home Companion, and they did an amazing job - nothing but the highest regard and respect for them. However, we don't have a massive crew together each week to recreate the play or performance. Some of the performers meet the core team on show day. On the other hand, some guests have been tremendous, but we don't want to repeat from year to year.
When do you start planning the 2019 version?
We've already started on some basic framework for 2019; advance planning is key for a successful event.
Do want to do something new and different every year - and if so, what did you do new this year?
We took a few unnecessary challenges with the music this year. One of these challenges was a Journey cover band, which ended the show with "Don't Stop Believin'," with the entire cast onstage - a full cheesy moment. We had a great punkabilly band that opened The Mens Room with "Devil Went Down to Georgia." Since this is Seattle, we pay high tribute to local music and had a Mother Love Bone cover band on. We're lucky to live in a city with such a rich, deep musical talent pool to tap into. We try and push boundaries with musicians as well, so we profiled "Odd Instruments Featured in Rock Songs" - bagpipes for "Long Way to the Top," cowbell for "Don't Fear the Reaper," and an opera singer who wrapped that segment with her version of "Bohemian Rhapsody" and tried to break a champagne glass. A personal disappointment was that we didn't find a theremin player in time, but there's always next year. We reenacted iconic scenes from TV shows with accompanying music, including a scene from The Fresh Prince of Bel-Air and Golden Girls with the theme music. Another new element this year was having KISW alumni Cathy Faulkner and Spike O'Neill as special guests and they did some of the commercials.
Does the air talent need to adopt a certain, different mentality when doing a live show like this?
They realize that there is no safety net. They dress up - the BJ and Migs staff all wore pajamas this year, and last year they all dressed as Fred Durst from Limp Bizkit - we used "Nookie" as their theme music, and apologized to the band for making them learn it. With BJ and Migs and The Mens Room, we make a few small adjustments to the show and make sure we can use the audience instead of the phones for features. We bring comics and guests in to improvise some benchmarks, sound effects and jingles. I think both shows love this day, because of the amount of support they have, and freedom to play. In the end, when something goes wrong, it's all part of the vibe. We position Live Day as "What could possibly go wrong?"
You charge for special seating and the like. Have you noticed if your prime seats are being scalped or sold on Stub Hub?
I have never seen these seats scalped, but the premium seats do sell instantly.
Is this a major NTR source or are you basically covering your expenses?
This is a brand event that has turned into an NTR event.
Does it move the PPM needle?
Yes, much to our surprise. We thought this would be for the fans, but it turns out to be one of the biggest days of the year overall.
Are you incorporating more of a video element, such as using Facebook Live?
Since year two we've been live on KISW.com and Facebook Live. Our video partners, Keycode Media and Taryn Daly, and our Digital Director (and KISW night host) have their work cut out for them, but it's pretty cool seeing and hearing the audience response and feedback.
Have you ever considered or are you repurposing parts of Live Day for podcasts?
Not yet. We replay parts back following each Live Day and some bits and pieces have become sound icons on the station.
How do you evaluate a show afterwards to decide what was successful and what wasn't?
We drink a bunch of bourbon and talk about how great we are! After that, we go back to the notes we all made during the day, pages and pages of them. The core team is KISW APD Ryan Castle who handles all the music; Jason Dildine, Director of Production, who handles all tech and is the onstage director; Taz, our Creative Director, who handles all the voices; Brian Thorpe, our Marketing Director, whose team handles the stage and venue; Taryn Daly handling social media, and the video team. Then there are engineers, producers, mixers, a bunch of two-way radios, texting and notes. Most of this team has worked together for 10 to 15 years now, so we have a pretty good idea of what works and what doesn't.
Can this get even bigger in the future - and do you even want it to be bigger?
It can and we have ideas, although mostly ridiculous ones. I want a theremin on the show. Some of the planning meetings are as entertaining as the show. In the past, we've featured some fun folks like Sir Mix-a-Lot, Halestorm, The Pretty Wreckless and a bunch of comics. There's more opportunity there and I really want to outdo Prairie Home Companion, just for ego's sake.
There seems to be so many moving parts to making his work. Have you ever considered ways, or is it even possible, to maintain the "Live Day sizzle" without going to the nth degree like you do? A more simplified "Live Day," perhaps ... or would that just be a glorified remote?
We've never considered making this easier; it is not in the DNA of the station. At the same time we don't look to go overboard. If we had a chance to involve the Seattle Symphony, we'd probably consider it. In the age of convenience, we're trying to create as genuine of an experience as we can and embrace the small details that makes this so cool. Also, I'm a big Rube Goldberg fan, so I do enjoy making it as complicated as possible.
Have you noticed instances where the energy created by Live Day has been transferred to your regular day-to-day programming?
I don't want to sound like that guy, but this station is a club, not unlike "Sons of Anarchy." There are a few very special days each year that carry a theme or event through all dayparts. The energy floats through all shows, all days, weeks, etc. I'm lucky to have a team that is so creative and inspired to color outside the lines.
All Live Day photos credit: Iron Mike Savoia for Entercom
The contraption pictured above is a Theremin that Moog currently makes and sells. Dave Richards will get one of these for a Live Day. Oh yes. He will. -
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