When people talk about music discovery in Australia, they usually mention Spotify, TikTok, and Triple J. Community radio rarely gets the same attention, which is a shame because it remains one of the most important platforms for independent and diverse Australian music.

There are over 450 community radio stations across Australia, making it the largest community broadcasting sector in the world per capita. These stations do extraordinary work on shoestring budgets, and the music ecosystem would be substantially poorer without them.

What Community Radio Does

Community radio stations serve functions that no other part of the media landscape fills.

Local music programming. Most community stations have dedicated slots for local artists. A band in Hobart that can’t get played on Triple J can get regular airplay on Edge Radio. An MC in Western Sydney who doesn’t fit Triple J’s format can get played on FBi Radio. These plays matter — they build local audiences, provide validation, and create a documented presence that helps artists when applying for grants and festival slots.

Genre diversity. Commercial radio plays a narrow range of genres. Triple J plays a broader range but still has a recognisable sound. Community radio plays everything. Jazz, experimental electronic, world music, metal, spoken word, ambient, country, classical — genres that have no home on commercial or national radio are programmed regularly on community stations.

Training ground. Many of Australia’s current music journalists, presenters, and industry professionals started at community radio. The stations provide practical experience in broadcasting, programming, interviewing, and music curation that’s available nowhere else.

Community connection. In regional areas, community radio is often the primary local media. It connects communities, provides emergency information, and reflects local culture in a way that national and commercial media can’t.

The Funding Problem

Despite their value, community radio stations operate on budgets that would shock anyone used to commercial media.

A typical metropolitan community radio station operates on an annual budget of $200,000-$500,000. Most of that comes from subscriber memberships, sponsorship (limited by broadcast regulations), and government grants. Staff are mostly volunteers, with perhaps two to five paid positions for essential roles like station manager and technical coordinator.

Government funding through the Community Broadcasting Foundation provides some support, but it’s been essentially flat for years while costs have increased. The digital transition — maintaining streaming infrastructure, updating equipment, building online presence — adds costs that weren’t in the budget a decade ago.

Several community stations have come close to closure in recent years. Others have reduced their operating hours or cut back on programming. The sector is resilient, but resilience has limits.

FBi Radio: A Case Study

FBi Radio in Sydney is one of Australia’s most prominent community stations, and its experience illustrates both the possibilities and challenges of the sector.

FBi has launched the careers of numerous Australian artists through its local music programming. The station’s requirement to play a high percentage of Australian and local content means that Sydney artists get consistent airplay that no other station provides.

But FBi operates from expensive Sydney premises, depends on membership revenue that fluctuates year to year, and competes for attention in a media market dominated by commercial radio and streaming services.

The station has adapted by building a strong online presence, creating popular podcasts, and hosting live events that generate revenue and community engagement. It’s a model that works, but it requires constant innovation and a commitment from the community.

What Listeners Can Do

If you care about Australian music and community radio (and you should), here’s how to help:

Subscribe to your local station. Annual memberships typically cost $50-$100. That’s less than a single festival ticket, and it keeps a radio station on air for a year.

Listen. Tune in on FM or stream online. Listenership numbers matter for sponsorship revenue and funding applications. Even having the station on in the background helps.

Volunteer. Most community stations need volunteers for everything from presenting shows to maintenance to event coordination. It’s also a great way to develop skills and connect with your local music community.

Tell artists about it. Many independent artists don’t think about community radio as a promotional channel. Encourage artists you know to submit their music to community stations. Most have clear submission processes.

The Digital Challenge

Community radio faces the same fundamental challenge as all traditional media: audiences are shifting to on-demand digital platforms.

Some stations have adapted well. Triple R in Melbourne has a strong podcast presence and a streaming service that extends its reach beyond FM signal range. PBS runs popular live-session video content that performs well online.

Others have been slower to adapt, which is understandable given their resource constraints. Building a digital presence requires time, skills, and money that volunteer-run organisations don’t always have.

The Community Broadcasting Association of Australia (CBAA) is working on sector-wide digital strategies, including a unified streaming platform and shared technical infrastructure. These initiatives are promising but need sustained funding to reach their potential.

Why It All Matters

Community radio is cultural infrastructure. It supports musical diversity, provides training and experience, connects communities, and gives a platform to voices that commercial media ignores.

Losing community radio stations would be like losing small music venues — the immediate impact is localised, but the cumulative effect reshapes the entire ecosystem. The artists who get their first radio play on community stations go on to fill venues, headline festivals, and represent Australian music internationally.

The sector is worth fighting for. Subscribe, listen, volunteer, and advocate. The music ecosystem depends on it more than most people realise.