RADIO COMMISSIONING FRAMEWORK
Commissioning Brief
Commissioning Brief No.: 20232 BBC Radio 2’s Weekday Evening Music Show Talent: Jo Whiley From November/December 2020 BBC Radio Popular Music Networks - CONFIDENTIAL
CONTENTS
SECTION A: EDITORIAL OPPORTUNITY ...... 3 1. The Opportunity ...... 5 2. Editorial Strategy ...... 5 3. Editorial Objectives ...... 5 4. Music Policy ...... 5 5. Key Deliverables ...... 6 6. Success Measures ...... 6 7. Social Media / Digital/Extra deliverables ...... 6 8. Risk Management ...... 6 9. Additional Information / Requirements ...... 6
SECTION B: PROCESS, ASSEMENT, EVALUATION ...... 8 1. The Five Stages ...... 8 2. Assessment Criteria ...... 10 3. The Evaluation Team ...... 11
SECTION C: THE COMMISSIONING TIMETABLE ...... 12
SECTION D: FULL PROPOSALS ...... 13 1. What We Need From You ...... 13 2. What To Expect From Us ...... 14 3. Important Points To Note ...... 16
APPENDIX 1: EXPERIENCE QUESTIONNAIRE ...... 17
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SECTION A: EDITORIAL OPPORTUNITY Commissioning Brief : 20232 – Weekday Evening Music Show
Commissioning Owner Robert Gallacher
Commissioning Contact Robert Gallacher Robert.Gallacher@bbc.co.uk
Commissioning Brief Title Weekday Evening Music Show
Network Radio 2
Guide Price £800 - ‘Guide Price’ does not include presenter fees, which will be paid directly by Radio 2.
Genre Music
Duration One year with two separate options for the BBC to renew for a further year on the same terms after both the first and second years (1+1+1)
No. of Episodes 200 per year
Transmission Period From November/December 2020
Slot Day Monday to Thursdays
Slot Time 1900-2100
Production Location London
All proposals must be submitted via Proteus and go through Production eligibility checks first. Please make your short proposal using no more than 250 words.
Important Notes: • Short Proposals and your responses to the Production Questionnaire (see Appendix 1, page 15), must be submitted via Proteus before the deadline at noon on Thursday 9th July. • The incumbent does not need to complete either the Production Experience Questionnaire or the Short Proposal. They can go straight to preparing their Full Proposal. • During Stage 1 of the process we will first evaluate the responses given in the Production Questionnaire. We will then assess your Short Proposal. • Shortlisted suppliers will be asked to submit a Full Proposal. This should not exceed two sides of A4 when printed using Arial font, size 11. • These suppliers will also be invited to a Zoom pitch with the Commissioning Team, where they can use a power-point, but we request that they don’t play any video content.
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• Producers are not permitted to contact on-air talent, without prior approval of the commissioner. • Any producer found to be in breach of this will be excluded from the commissioning process. • The BBC reserves the right at any time prior to the award of a commission, and without incurring any liability to the affected suppliers, to accept or to reject any proposal, or to annul the commissioning process rejecting all Full Proposals. More information relating to all commissioning briefs and rounds, regardless of Networks can be found on the Pitching Ideas page of the Radio Commissioning Website: http://www.bbc.co.uk/programmes/articles/4fC4NcVXqkZntJv8ZHpClD8/pitching- ideas We strongly advise you to submit your Proposals in good time to avoid the possibility of difficulties caused by unforeseen network or transmission problems. No late submissions will be accepted
BBC Radio 2
BBC Radio 2 is a distinctive, mixed music and speech network, broadcasting to a broad audience which aims to appeal to all age groups over 35. The network offers entertaining, popular and specialist music programmes alongside speech-based content - including news, current affairs, documentaries, religion, arts and social action.
The station boasts an award winning team of top name presenters including Zoe Ball, Steve Wright, Sara Cox, Trevor Nelson, Graham Norton, Jeremy Vine, Ken Bruce, Paul O’Grady, Dermot O’Leary, Elaine Paige, Craig Charles, Claudia Winkleman and Tony Blackburn.
Network Strategy The network is aiming to grow reach and listening hours amongst the 35-54s, whilst retaining its already very broad audience appeal. Radio 2 will deliver great content to listen to, look at, and share, across all platforms, to drive digital take-up across social platforms and BBC Sounds, and will present the broadest mix of popular and specialist music hosted and curated by the nation’s best loved musical experts. We will place distinctive programming at the heart of the schedule, reflecting the diversity of the UK, whilst maintaining our reputation as the home of the biggest entertainment stars.
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1. The Opportunity
Jo Whiley: Monday–Thursdays 1900-2100
Following on from the broad mainstream Sara Cox Teatime offer, this daily two-hour show should be targeted at 35+ mainstream Radio 2 listeners, including music fans and those interested in popular culture. The show should be a warm, informative, inclusive and entertaining programme, highlighting new releases and classic tracks, which lean towards the younger end of our 35+ audience. The programme should feature live and pre-recorded session music as part of Radio 2’s live music remit and celebrate the best of popular culture, with a specific UK focus.
2. Editorial Strategy
This programme provides a hand-curated playlist, highlighting the importance of having a trusted tastemaker like Jo Whiley at the helm. The new artists should seamlessly blend with the mix of classic tracks and everything should be contextualised – a major point of difference to streaming services. We should celebrate Jo’s heritage relationships with artists and ensure these interactions punch above the weight of the slot. We are open to discussion about how a specific live music property might work within this programme but any such element would need to add heft to Radio 2’s commitment to discovering the new pop establishment and celebrating some iconic artists (eg“modern nostalgia”). This show should be driving audiences to explore BBC Sounds, cross-promoting complementary shows/playlists from the BBC Radio portfolio. This show should present popular culture in a way distinct to mainstream shows across the rest of the network, and seek ways to engage with specialist shows that follow it.
3. Editorial Objectives
• To create one ‘peak’ moment per quarter – giving the rest of the network a reason to talk up the programme. • To punch above the weight of the slot in terms of editorial ambition • To act as an important showcase for live music • To deliver audiences to BBC Sounds for both live listening and on demand propositions
4. Music Policy
The programme production team should deliver a mix of gold (“modern nostalgia”), new music, and find a way to connect with the daytime music policy via support for the Radio 2 playlist and New To 2. The show should extend the breadth of well- known gold tracks on Radio 2 by appealing to the younger end of the 35+ audience so more of a focus on gold from 90’s onwards, and there should also be a focus on new music from a broader range than just those tracks which are added to the Radio 2 new music playlist. This show’s production team should have more input into the creation of the music running order than most daily shows on the network, but will be subject to regular reviews from Head Of Music.
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5. Key Deliverables
• A new and exciting live music property with considerable cut through • A coherent and tangible connection to the popular culture, distinct from mainstream Radio 2 • A bespoke playlist or unique spin off property for BBC Sounds
6. Success Measures
• To raise the average AI of the programme to 80. • To grow the audience figures for the programme/spin off playlist/podcast within BBC Sounds • To sustain RAJAR reach of 2.5 million and share of 10%
7. Social Media / Digital/Extra deliverables
• Accurate and compelling episode titles and descriptions ahead of TX, when programme content is confirmed; and updated post-TX where appropriate. • Track-listings updated online as soon as practicable. • Bespoke episodic images taken and delivered to iPlayer Picture Editors where appropriate, eg: featuring the presenters and their guests, or to reflect a theme of the show. • The programme team should deliver one piece of shareable social content per week based around a key repeatable show feature. • During the quarterly ‘peak’ moments, visual support will be available to enhance the show content to reach audiences on YouTube, iPlayer and Red Button. • Minimum engagement target: 50 shares per post. YouTube videos target a reach of at least 50k views per clip.
Members of production team should undertake editorial data and photography training where required by the BBC.
8. Risk Management
If you are successful in securing a pitch, you should include a detailed transition plan and an explanation of how you will manage the transition from the current production of the programme, with minimum disruption.
9. Additional Information / Requirements • The ‘Guide Price’ does not include presenter fees, which will be paid directly by Radio 2. • The contract will be offered as a “fixed price” deal and the BBC will assume that any elements included in proposals can be successfully delivered within the guide price given.
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• Production teams will be expected to adhere to all relevant editorial and copyright guidelines in place; and deliver all necessary production related paperwork in a timely fashion – e.g. Compliance Forms, Music Reporting. • We expect these shows will be broadcast live. Ad-hoc OBs from events and festivals may be required at times. • Access to all necessary broadcast production systems, as well as studios to enable the broadcast/recording of the show (including an hour of pre and post show preparation time where possible), will be made available in Wogan House, London, at no cost to the successful supplier throughout the contract. • While the production team will be expected to take the lead role in booking appropriate artists for any live music elements in the show, the responsibility for producing, recording and contracting these will lie with Network Live Music Team. • Where appropriate, we would also want the production team to creatively deliver the Network’s wider weekly and monthly editorial messages; and to attend relevant Editorial meetings (either in person in London, or via video conferencing).
Compliance and BBC Editorial Guidelines You will be required to deliver programmes that are in line with the BBC’s Editorial Guidelines and be able to adapt to the BBC’s changing editorial and business needs during the period of the commission.
Presenter during commissioning process Following submission of a Full Proposal, suppliers who have been shortlisted for a face to face pitch will be invited to have a short phone chat with the presenter.
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SECTION B: PROCESS, ASSEMENT, EVALUATION 1. The Five Stages All incumbents will automatically go through to stage 2: Full Proposal
Stage 1: Production Experience, Short Proposal And Initial Shortlisting
Step 1 : Production Experience
• Complete the Production Experience Questionnaire in Appendix 1 using no more than 100 words per response. Please note the questions used in this brief may differ from those used in other Radio 2 briefs. • Enter your responses in the ‘Add/Edit Notes Here’ section in Proteus.
The questionnaire is designed to allow the BBC to understand more about your company and your experience of producing Radio 2 style programmes.
Commissioning Editor Robert Gallacher and Business Affairs Manager Mark Waring, together with others from the evaluation team, will evaluate all production questionnaires against the editorial brief set out in Section A before evaluating the Short Proposal.
NB: your short proposal may be declined at this stage if the information you provide indicates you do not meet the criteria, so please answer these questions carefully.
Step 2: Short Proposal Suppliers who performed best on their production questionnaire (by best demonstrating their experience and capability in producing R2 style programmes) will then have their Short Proposal assessed and a shortlist will be compiled. • Your Short Proposal should be no more than 250 words and summarise your specific ideas for ALL programmes within the brief. It should demonstrate your ability to produce the programme, set out your editorial ambitions and address the requirements set out in Section A of this brief. • Enter your proposal in the ‘Short Synopsis’ section in Proteus before the deadline at noon on Thursday 9th July.
Step 3: Shortlisting notification You will be notified of the outcome of Stage 1. Shortlisted suppliers will be asked to submit a Full Proposal. No feedback will be provided for unsuccessful proposals at this stage.
Stage 2: Full Proposal
Step 1: We may issue further relevant programme production information to all producers proceeding to this stage. If sensitive information is being released then producers will be asked to sign a non-disclosure agreement (NDA).
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Step 2: Producers proceeding to this stage will be invited to provide a Full Proposal, via Proteus, responding to this commissioning brief, which includes all the elements outlined in Section C (“Full Proposals”). For guidance, your Full Proposal should not exceed two sides of A4 when printed using Arial font, size 11. The Production Experience answers will only be considered during Stage 1 of the commissioning process. Producers may wish to consider repeating some, or all of the information given in the Full Proposal.
Step 3: Producers will be offered the opportunity to discuss the programme brief with the commissioning editor prior to submitting their full proposal.
Stage 3: Interview / Pitch
Step 1: You may be invited to an interview/pitch meeting on Zoom with the evaluation team. We will notify you which members of the evaluation team will be attending this meeting and you should expect to be asked to discuss and elaborate on your proposal, and answer questions about it. It is also possible we may ask you to bring additional relevant material to this meeting – we request that you do not use any video content.
Step 2: Following the interview/pitch, the evaluation team will re-evaluate your Full Proposal against the assessment criteria outlined on page 10, taking into account the responses given during the pitch, and any additional material requested. The evaluation team may then decide to award the contract to the producer(s) which best meets the assessment criteria; Note: At any stage of the process, we may need to come back to you to seek clarification. Your answers will be factored into the evaluation process as appropriate.
Step 3: Or we may decide to hold second interviews, for example, in the event where we need more information to be able to differentiate between proposals.
Stage 4: Contract Signed
Stage 5: Feedback If you’re unsuccessful after attending an interview / pitch meeting, you may request feedback. Once notified you have two weeks to request feedback. Requests for feedback should be made to Robert Gallacher. Feedback will be provided within two weeks of receiving the request.
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2. Assessment Criteria We will assess your Full Proposal and pitch according to the main criteria below (editorial proposal and capability, value for money and risk). More details on how we will make our assessment will be given to all those shortlisted at the same time as they are invited to submit a Full Proposal.
Assessment Criteria Weighting
Editorial Proposal and Capability 75% Key Indicators: • Editorial fit: fit of editorial proposal to overall Network Strategy and Music Policy as well as ways to support delivery of BBC Radio’s vision and objectives • Appropriate Knowledge: a keen understanding of popular culture, music and entertainment • Format: format and structure of the programme • Innovation and freshness: ability to innovate and evolve the programme in line with audience habits in order to attract and reach new audiences • Production team track record: proposed production team’s track record in producing recent and relevant music programmes of high quality • Collaboration and relationship: ability to work collaboratively with other production teams and suppliers • Creative challenge: Response to specific creative and editorial challenges set out in brief • Ability to identify and book suitable artists/guests for live music sessions and interviews Other Indicators: • Diversity: diversity and inclusion (on-air/off-air), i.e. ability to attract a diverse range of people • Digital: ability to innovate across digital platforms in order to engage audiences e.g. via social media, interactive content and BBC Sounds • Appointment to listen: experience of creating genuine 'appointment to listen' features and content • Talent management: ability to manage and develop high profile on-air talent
Value for Money 10% • Budget: financial plan, including a full budget breakdown and showing production and overhead costs • Price: confirmation that the price per episode is in line with the brief • Efficiency: efficiency of the production process, ability to deliver additional value to the BBC • Contract terms: acceptance of key contract terms (including compliance with all applicable UK law)
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Risk 15% • Production: the ability to produce shows of large scale and volume with a consistent and experienced production team • Business continuity: : adequacy and robustness of business continuity plans; ability to continue the production in case of business disruption • BBC reputation: the ability to produce a compliant programme which poses limited/ no risk to the reputation of the BBC • Conflict of interest: confirmation that there are no risks to the BBC reputation • Legislation and policy: the ability to comply with all relevant UK legislation and BBC policies (not limited to editorial policies)
3. The Evaluation Team The following people may be involved in evaluating your proposal at various stages:
Helen Thomas, Head of BBC Radio 2 Jeff Smith, Head of Music, BBC Radio 2 Robert Gallacher, Commissioning Editor, BBC Radio Pop Networks Julian Grundy, Commissioning & Scheduling Manager, BBC Radio 2 Joe Harland, Head of Visual Radio, Digital and Social, Pop Networks Mark Waring, Senior Rights and Business Affairs Manager Raluca Albu, Senior Procurement Manager
Subject matter experts (e.g. production experts, visual content specialists, network management or finance advisors etc.) may also be consulted. See Section B for information on the commissioning process, timetable and assessment criteria.
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SECTION C: THE COMMISSIONING TIMETABLE The commissioning process for this brief consists of a number of stages, as set out in the timetable below:
STAGE TIMINGS (all Midday) ACTIVITIES Launch Monday 1st June Publication of commissioning brief titles
1. Short Proposal Tuesday 9th June Publication of commissioning brief documentation and shortlisting and round opens in Proteus.
Thursday 9th July Deadline for submission, via Proteus, of Short Proposal and Eligibility Questionnaire responses
Thursday 21st July Producers shortlisted notified of outcomes, asked to prepare a Full Proposal and invited to an interview/pitch.
2. Full Proposal From 22nd July Opportunity to talk to commissioners about the programme brief.
Thursday 27th Deadline for Full Proposal to be submitted via August Proteus
3. Interview/ Pitch w/c 7th September All producers shortlisted and who submit a Full Proposal will be invited to attend a pitch via Zoom. PLEASE MAKE SURE YOU ARE AVAILABLE FOR PITCHING FOR THIS WEEK – PITCHES WILL NOT TAKE PLACE AT ANY OTHER TIME. th 4. Commission w/c 14 Either: Commission award decision made, decisions made September commissioning specification completed and and contracts contract issued. signed Or: Producers invited to second interviews. Nov/Dec 2020 Agreement of all programme related deliverables and technical specifications (for further information on Radio 2 requirements, please see the BBC’s commissioning website). Full contract signed.
nd 5. Feedback By 2 October Shortlisted producers may request feedback.
We will assess your proposal according to this timetable. Late submissions cannot be accepted.
If you have any questions about this commissioning brief that need answering before you submit your Short Proposal and eligibility responses, please ensure you email them to either [email protected] or [email protected] by 3rd July at the latest.
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SECTION D: FULL PROPOSALS 1. What We Need From You Your Full Proposal must be entered into the main ‘Synopsis’ section in Proteus by noon on Thursday 27th August; late submissions cannot be accepted. It should adopt the structure below and, for guidance, should not in total exceed two sides of A4 when printed using Arial font, size 11.
Part 1 – Your detailed Full Proposal, showing your response to the BBC’s requirements outlined in Section A of this commissioning brief.
Part 2 – A section containing the following information: (i) The name and contact details of your nominated representative (a single point of contact within your organisation who will be responsible for all communication related to the commissioning brief). (ii) The planned location for the production team who will produce the show should you be successful. (iii) Evidence that you have the skills to deliver, or the ability to acquire the skills to deliver, the production of the programme in line with this commissioning brief. (iv) Details of third party suppliers. You may want to work in partnership with third parties to deliver the brief. If so, you should include:
o responses on behalf of each partner o details of the responsibilities of each partner o an outline of the main personnel who will be responsible for the production and delivery of the programme o an explanation of how working in partnership would be successfully achieved, including a proposed legal structure (e.g. one lead contractor and sub- contractors). (v) Details of your proposed total programme and per episode cost, broken down by price to BBC Public Service and any other funding sources. As part of our strategic priorities the BBC is making a commitment to the real living wage (as described by the Living Wage Foundation – see livingwage.org.uk). The per episode cost of the programme should be budgeted to account for the real living wage and the Full Proposal should include details of how compliance with the real living wage will be achieved. And all details should be included in a template as below: Production Costs Daily Rate Days/Week Total Executive Producer £0.00 Producer £0.00 Assistant Producer £0.00 Production Manager £0.00 Total: £0.00 Overheads @ % Production fees @ % Grand Total – ex VAT £0.00
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(vi) As the BBC is looking for an original programme format, and not development of an existing programme/series, the BBC’s view is that TUPE will not be relevant or applicable to this commission. Suppliers are encouraged to seek expert advice on this before submitting proposals.
Appendix A – Confirmation of acceptance of the BBC’s key contract terms.
Appendix B – Risk management. You should identify specific risks e.g. production risk, business continuity etc.; and the processes or systems that will be put in place to manage these. If applicable, you should also include a detailed transition plan and an explanation of how you will manage the transition from the current production of the programme, with minimum disruption.
Please note, the contract will be offered as a “fixed price” deal, with you being responsible for any overspend and entitled to keep any underspend. Whilst you are welcome to include proposals to deliver levels of content over and above that set out as required in Section A, this will need to be funded from within the published guide price.
If you have any questions regarding the submission of your Full Proposal, please ensure you email them to either [email protected] or [email protected] by 21st August at the latest.
2. What To Expect From Us
Nominated Representative The BBC’s nominated representative for this commissioning brief is Robert Gallacher. No individual other than the BBC’s nominated representatives (or their delegates as advised by the BBC) is authorised to discuss the contents or the substance of this commissioning brief with you. We’ll let you know of any change or addition to the BBC’s nominated representatives.
Responses To Your Questions In the interest of fair competition, where we feel it’s appropriate, anonymised questions and responses will be circulated to all producers.
Copyright The BBC is a signatory to, and will abide by the principles of the APC Code.
Confidentiality Subject to Section 2, paragraph 5 (Freedom of Information Act), the BBC will keep confidential all commercially sensitive information included in responses to this commissioning brief and will only use this information for the purposes of evaluating the Full
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Proposal, provided that you have identified the confidential nature of any such information in your response documents.
Freedom Of Information Act As a public authority, the BBC is required to comply with the Freedom of Information Act 2000 (“FOIA”), which came into force on 1 January 2005. The FOIA is intended to deliver greater accountability for decisions and spending across the whole of the public sector. It requires public authorities to strike a balance between achieving transparency and protecting genuinely confidential or commercially sensitive information. You should be aware that, under an FOIA request, the BBC may be required to disclose information contained within the Full Proposal or future contractual information. Following a request, the BBC may take the views of organisations submitting proposals into account when deciding what information will be disclosed. For more information on the Freedom of Information Act see bbc.co.uk/foi.
Costs You submit responses to this commissioning brief and take part in this process at your own cost.
A Fixed Price Deal The contract will be offered as a “fixed price” deal; with you being responsible for any overspend and entitled to keep any underspend.
Contract Duration For Strands One year, with options for the BBC to renew for a further year on the same terms after both the first and second years. We reserve the right to vary the start date of the contract as may be required to take into account the successful producer’s transition plan and any related issues identified. In assessing the proposed transition plan, the BBC’s relationship with the audience will be paramount.
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3. Important Points To Note
Proposals must be submitted in accordance with the following instructions.
Proposals not complying with these instructions may be rejected by the Commissioner whose decision in this matter will be final.
All Full Proposals should be submitted using Proteus by noon on Thursday 27th August. For guidance, it should not in total exceed two sides of A4 when printed using Arial font, size 11. We strongly advise you to submit your final responses in good time to avoid the possibility of difficulties caused by unforeseen network or transmission problems. No late submissions will be accepted. If additional supporting material is requested prior to the pitching meeting, we will notify you of how and when to submit this in good time ahead of that meeting. This commissioning brief is not a contract. However, the information contained in this commissioning brief, together with your responses, will form the basis of the final contract between you and the BBC. The BBC reserves the right to exclude any producer that is found to either: a) have provided information which is untrue, or b) be in breach of any of the terms of the non-disclosure agreement.
IMPORTANT: Producers wishing to submit a proposal under this brief are not permitted to contact BBC production staff, seeking information about the programme, during the commissioning period without prior consent from the commissioner. Producers are not permitted to contact on-air talent, unless shortlisted, and with prior approval of the commissioner. Any producer found to be in breach of this clause will be excluded from the commissioning process.
The BBC may modify the commissioning brief (including the timetable as outlined in Section B.1) at any time prior to the submission deadline. Any such amendment will be notified in writing to all prospective producers. To allow time for such amendment to be taken into account, the BBC may, at its discretion, extend the deadline for receipt of submissions.
By submitting your proposal, you confirm acceptance of the key contract terms.
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APPENDIX 1: EXPERIENCE QUESTIONNAIRE Guidance The Experience Questionnaire is the first part of your submission the BBC will consider as part of the process. Once completed, please copy and paste your responses into the Add/Edit Notes Here section of the Create Proposal page in Proteus – as per the screen grab below.
Proteus Screen Grab
Copy and paste Eligibility Section below into this field in Proteus.
You MUST complete Section 1 ONLY if you plan to submit a full proposal as part of a partnership.
Please list each partnership and describe the responsibilities each partner will take. [Insert details]
Please indicate the lead company with whom the BBC will contract. [Insert details]
Please include the key personnel responsible for the production and delivery of the programme and details of the partnering company they are currently contracted to.
Part 2: Production Experience
You MUST still complete Section 2 - Eligibility Production Experience.
In no more than 100 words per response, please outline your relevant production experience, using recent examples, in the following areas:
2.1 We require a production base with relevant experience and staffing depth in national music-radio production, particularly within contemporary music – both studio-based and in the live event/OB arena.
[Insert details]
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2.2 We require a production base with relevant ‘production team’ experience of producing a contemporary music radio programme, with strong current relationships with record companies and high-profile artists.
[Insert details]
2.3 We require a production base with relevant ‘production team’ experience of setting up and producing live music sessions both in radio studios and in larger bespoke recording studios.
[Insert details]
2.4 We require a production base with an understanding of the importance of multi-platform content, and recent company/production team experience of producing engaging content for online and social platforms.
[Insert details]
2.5 We require a production base with relevant production team experience of talent management to the level required when producing a high profile music strand such as this, and the ability to build those relationships quickly and effectively.
[Insert details]
2.6 We require a production team with a realistic understanding of the pressures, staffing and infrastructure involved in producing daily shows over a sustained period.
[Insert details]
Please note: the answers given in response to the above questions will only be considered during Stage 1 of the commissioning process. If you are shortlisted and invited to submit a Full Proposal, you may wish to consider repeating some, or all of the information given in your Full Proposal.
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