What's going on at Radio Scotland?

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🍸 What’s going on at BBC Radio Scotland? With well-known presenters leaving in apparent droves, the station is certainly changing fast under the station’s new-ish head Victoria Easton Riley, who was announced into the role of BBC Scotland’s “Head of Audio and Events” a year ago, and started late last summer.

What it’s changing from, and what it’s changing to, is a matter of debate.

Easton Riley had previously spent part of her career at Bauer, the commercial broadcaster that owns Clyde and Forth, and prior to that worked at BBC Radio 1. The obvious dig from detractors is that she’s applying a very commercially-minded lens to her new charge - and leading a sweeping change that’s silencing many familiar voices.

The highest-profile departure has been of Kaye Adams, although that appeared to be more to do with allegations about Adams’ behaviour, which she vehemently denies, than her broadcasting.

Now the Guardian reports “deep unease” among staff as a succession of “respected” arts presenters, more than half of them women, are dropped from the schedule.

Singer Michelle McManus, poet Len Pennie and arts journalist Nicola Meighan all had their final shows yesterday, to be replaced by Grant Stott from Monday and - on Fridays - by Arlene Stuart, familiar to listeners on Forth 1 (where she’ll continue to work the rest of the week).

Research from a pressure group also claims to show fewer Scottish artists, and far fewer female or female-led emerging Scottish artists, getting airtime this year versus last. Cultural Vandalism claims Easton Riley’s changes “continue to damage the Scottish cultural scene the station’s Royal Charter binds it to serve”.

BBC Scotland, quoted in the Guardian, says their analysis shows “broadly the same” music mix. And detractors of the station - there are plenty - would say Easton Riley’s shakeup, which has also included replacing Good Morning Scotland with a similar - but slightly lighter - morning news programme, have been long overdue.

But the BBC’s enormous power in a fragile Scottish media market - and its cultural significance, especially in niche areas - can’t be overstated. It remains to be seen if Easton Riley’s changes bring new relevance to the station, or simply make it sound more like its commercial competitors - at the expense of Scottish culture.

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