The theme of this year’s International Radio Day, celebrated on February 13, emphasizes the role of artificial intelligence in broadcasting. Established by UNESCO in 2011, the day highlights that AI should be viewed as a tool rather than a voice in radio. Innovations driven by AI are not just opening new avenues for creativity but are also enhancing connections with audiences. The statement from UNESCO underscores that while technology might assist in building trust, it is ultimately the broadcasters who foster that relationship.
Radio’s Enduring Relevance
In an interview, veteran radio host and producer Aleksandar Ćosović reflects on the medium’s persistent relevance. He argues that radio is not merely a trend; it does not require a fundamental change in technology. “Radio, by its nature, travels through space like the wind,” Ćosović notes. He asserts that while technological advancements alter techniques and sound, they do not change the essence of the medium or the people involved in it.
Ćosović acknowledges that while AI can enhance organizational efficiency, it cannot replicate the spontaneity and responsiveness of a live host. “AI can write scripts and modify voices, but it lacks the immediate reaction that a human presenter brings,” he explains.
Looking towards the future, Ćosović anticipates an increase in online radio stations without traditional hosts. “We may see strictly music-based radio stations for commercial broadcasting. However, serious stations that cover news and local events will struggle to survive without a human voice,” he adds. He believes that older generations will always seek a meaningful connection, preferring familiar voices that evoke emotions during their daily routines.
Challenges and Opportunities
According to Ćosović, trends, especially in music, are vital for radio stations. “Radio must keep pace with these trends. This is particularly true for morning programs, which are hard to imagine without classics from artists like Oliver Dragojević or Đorđe Balašević alongside international acts like The Doors or Queen,” he says. He admits that while many listeners do not tune in 24 hours a day, certain songs may be repeated frequently.
He describes the “break”—the host’s interjection between songs and advertisements—as a fundamental communication unit between the station and its listeners. A successful break must include three elements: station identification, information, and content announcements. “The framework remains the same, though the circumstances have changed, including the troubling state of media salaries,” he remarks.
Although many believed that podcasts would revolutionize radio, Ćosović sees them as parallel formats rather than replacements. “Radio is linear and live, while podcasts are on-demand. You can interrupt a dull guest on the radio with music or ads, but with a podcast, you must endure them throughout the episode,” he explains.
For Ćosović, radio serves as an excellent training ground. It teaches clarity, concentration, and responsibility toward words. Those who master clear speech and quick thinking can excel in any media environment. He advises aspiring radio hosts to avoid political affiliations to maintain their personal identity and creative freedom.
Future Landscape of Radio
Ćosović believes traditional media still holds significant responsibility despite no longer being the sole information source. “Print media requires sustainable business models, television struggles to meet audience demands, but radio’s simplicity and flexibility will always give it an edge,” he states. He envisions a future where radio will not only use FM frequencies but also streaming services, applications, and social media content. “Radio is more than just waves; it is a brand and a voice that exists across multiple platforms,” he asserts.
Despite the challenges posed by hyper-information and AI-generated content, audiences will increasingly seek credible and locally relevant voices. Traditional media, with its experience and editorial standards, has a unique opportunity here. “If radio maintains its community-focused approach, it can continue to be a trusted medium,” he concludes.
On Montenegro’s radio scene, Ćosović notes that while it is lively, it remains fragmented and overly reliant on templates and cheap music reproduction. “The market is small, and budgets are limited, so radio must focus on localized content and distinctive programming,” he advises. He calls for investments in original content, education for young talents, and improved professional standards, steering clear of regional imitations in favor of authentic Montenegrin narratives.
Reflecting on the local music landscape, Ćosović acknowledges a resurgence in creativity. He highlights initiatives like Montesong, which has successfully launched songs for the Eurovision contest and numerous radio hits. “Radio plays 24 hours a day, so there is room for every song. We are on the right path as more media professionals are supporting local artists,” he concludes.
