 XM LIVE Programming Director Emma "Red" Wilson with Reggae legend Maxi Priest at XM's Washington, D.C. studios. |
This time around we are going to spend a few quality moments with XM LIVE's Program Director, Emma "Red" Wilson. Her passion to feed the requests and desires of each and every one of her listeners is immediately evident from XM LIVE's eclectic play list — which consists of exclusive and rare live performances from every conceivable musical genre. Another indescribably sweet advantage for tapers and traders alike is XM's exclusive rights to the BBC's legendary vaults — including new artists and performances, as well as the classics. Within her answers to our 20 Questions, "Red" takes us behind the broadcast console and reveals what goes into airing 168 hours a week of vintage and new exclusive concerts by everyone who is anyone in music from yesterday, today, and even tomorrow's superstars.
So with bagels toastin' and hot java brewin', Crutchfield Advisor caught up with Ms. Wilson early one mid-July morning at her Manhattan apartment. As you'll read, although Wilson readily admits to having not been raised on radio, with her adventurous spirit and candor comes a much needed breath of fresh air.
Q: What is your official title at XM LIVE, how long have you been there, and how did you get the gig?
A: I am the program director of channel 168, XM LIVE, which I have been doing since November of 2002. Initially, I was with XM's Youth Talk channel. This was also around the time that I was involved in presenting, or what you Yanks might call "hosting," a kids game show on the Nickelodeon TV network called "Scaredy Camp." As I recall, it was shortly after we'd wrapped the Shriek Week shows — which aired around Halloween — that I was approached about becoming the PD [Program Director] of XM LIVE. I'll back up a bit and mention also that on the Youth Talk channel, we always would incorporate a variety of diverse sounds. At the inception, we realized that the subsequent generations will be quite adept at multi-tasking. They can listen and participate, as well as soak in new and perhaps unfamiliar things, such as music. Plus, the fact that I have a TV background also lent to a more sonically visual performance from me.
Q: If I were to look in your CD player right now, what would I find?
A: You'd find Tegan & Sara. I consider this motivational music. This is another thing, people send me CDs or I will hear something from girlfriends of mine and I use that as a springboard, if you will, into directions that I will take XM LIVE. This is because it is often the live performance that really represents a musician — not the studio album. This is especially true of new artists. So, I will make a few calls and because there are no "vintage" Tegan & Sara concerts, we will try and get one of our own.
Q: What are some of your most treasured and/or influential (?) live musical experiences?
A: My first concert was Abba on the Super Trooper tour. My dad took me because I was too young to go on my own. There was Elvis Costello in Central Park, not that I even had a ticket, but I had a blanket and we sat in the park and listened. That was in the early-to-mid '90s when he'd just reformed the Attractions. I got a bit closer to him however, when I sat two seats down from Elvis at Burt Bacharach's final performance at Royal Albert Hall. Then there was also Screamin' Jay Hawkins at the Palomino Club in Los Angeles. I also got to see Ella Fitzgerald at the Hollywood Bowl, which is definitely etched in my psyche. As a fan, I still remember the feeling of saving up the fifteen dollars to go see a club show, then you buy your ticket and just anticipate the show date. Remember that? That was fun, I miss that. I miss the passion, I guess. That is why it is so refreshing to hear from music fans and collectors who are so passionate about the shows that we play on XM LIVE. If someone takes the time to contact me, I am inspired in the same way that I was back then. I once dated a boy who had Tom Jones' signature tattooed on his leg. I don't mean small initials. It was the whole thing, the size of your hand ... Anyway, that is what I want to re-kindle with listeners.
Q: a) What are some of your personal favorite old live radio shows?
b) What did you learn from that particular program that carries over to what you are doing now?
A: I often feel like I am one of those (chuckles) novice Monks, you know in the white robes and in what, 70 years time I will get to wear the robes of my heroes and mentors. I dunno what, if anything, I have learned from them but I am getting an idea of what people like to hear. Not just the musicians, but the styles, genres and how performances arc and ebb. The same goes for the programmers like George Taylor Morris or Mike Marrone. I mean, c'mon these guys are veterans. I am humbled simply to be able to work there, ya know? I did do a musical radio gig when I was working at the BBC. It was a show called "Kennedy NYC" that featured the VJ from MTV and was sort of an update to what was happening musically over in America. That was fun because the whole Seattle scene was just beginning in earnest. To be honest, I did not listen to many live radio shows. I guess I am now getting to make up for lost time, eh?
Q: In your programming decisions and choices, are you aiming at a specific audience or genre?
A: Well, I am aiming at music lovers of all shapes and sizes. There are the rare occasions when I am not able to provide, for example, a Kiss or Bon Jovi concert. This is primarily because there are none in the BBC vaults, not because I don't want to play them. There are however other archives that XM may be able to access sometime in the future and we could play any number of things that we don't have ... yet. I say "yet'" because we are always exploring possibilities. Likewise, I feel that we've only scratched the surface of what we can get from the BBC archives.
Q: Give me a brief thumbnail sketch of the birth and development of your channel.
A: When we first were discussing what XM LIVE would be and what we would offer, one of the things that I wanted to provide were some of the one-off performances and things that none of the other music channels were playing. The quirky artists and maybe some of the, as I say, one-time or single songs that folks have done in our studios. So, I wanted the ability to play Chet Baker and the Pixies. That sort of mindset was encouraged, which in turn encouraged me to want to experiment and let the audience do the programming for me.
Q: Give me an overview of your live remote broadcasts, in-studio as well as archival performances. Is there anything you would like to change or augment this current line-up with?
A: That's a daunting question. We have some brilliant ideas that will incorporate more jam-type bands and will finally provide an outlet where both artist and audience are not restrained by time. I am equally fascinated by the passion of the fans. In a day and age when it is all about charging $100 for a concert ticket, here are smaller club bands that play for a reasonable price and are building steady, loyal followings. That goes back to the live concert experience that I find so exhilarating. I think XM LIVE is the perfect, if not obvious, venue for these artists. However, I want to cater to what the audience wants. And, hey, ya know I have an entire channel here. I am anxious to see what the listeners think about adding even more of these extended sets.
b) What did you learn from that particular program that carries over to what you are doing now?
A: I often feel like I am one of those (chuckles) novice Monks, you know in the white robes and in what, 70 years time I will get to wear the robes of my heroes and mentors. I dunno what, if anything, I have learned from them but I am getting an idea of what people like to hear. Not just the musicians, but the styles, genres and how performances arc and ebb. The same goes for the programmers like George Taylor Morris or Mike Marrone. I mean, c'mon these guys are veterans. I am humbled simply to be able to work there, ya know? I did do a musical radio gig when I was working at the BBC. It was a show called "Kennedy NYC" that featured the VJ from MTV and was sort of an update to what was happening musically over in America. That was fun because the whole Seattle scene was just beginning in earnest. To be honest, I did not listen to many live radio shows. I guess I am now getting to make up for lost time, eh?
 Red poses with the super funky Cody Chesnutt. |
Q: In your programming decisions and choices, are you aiming at a specific audience or genre?
A: Well, I am aiming at music lovers of all shapes and sizes. There are the rare occasions when I am not able to provide, for example, a Kiss or Bon Jovi concert. This is primarily because there are none in the BBC vaults, not because I don't want to play them. There are however other archives that XM may be able to access sometime in the future and we could play any number of things that we don't have ... yet. I say "yet'" because we are always exploring possibilities. Likewise, I feel that we've only scratched the surface of what we can get from the BBC archives.
Q: Give me a brief thumbnail sketch of the birth and development of your channel.
A: When we first were discussing what XM LIVE would be and what we would offer, one of the things that I wanted to provide were some of the one-off performances and things that none of the other music channels were playing. The quirky artists and maybe some of the, as I say, one-time or single songs that folks have done in our studios. So, I wanted the ability to play Chet Baker and the Pixies. That sort of mindset was encouraged, which in turn encouraged me to want to experiment and let the audience do the programming for me.
Q: Give me an overview of your live remote broadcasts, in-studio as well as archival performances. Is there anything you would like to change or augment this current line-up with?
A: That's a daunting question. We have some brilliant ideas that will incorporate more jam-type bands and will finally provide an outlet where both artist and audience are not restrained by time. I am equally fascinated by the passion of the fans. In a day and age when it is all about charging $100 for a concert ticket, here are smaller club bands that play for a reasonable price and are building steady, loyal followings. That goes back to the live concert experience that I find so exhilarating. I think XM LIVE is the perfect, if not obvious, venue for these artists. However, I want to cater to what the audience wants. And, hey, ya know I have an entire channel here. I am anxious to see what the listeners think about adding even more of these extended sets.
Q: What do you see as the positives and negatives of XM LIVE?
A: The obvious positive is putting the passion back into the listening experience. One of the things that is so liberating about XM LIVE is that while there are some rules, I am encouraged to really think as far outside the box as possible. I have a tremendous amount of respect for my fellow Program Directors who have specific niches. I can defer to the artists that they bring in or spotlight. So, I also get turned on to a great deal of music — which is an enormous plus for me.
Another [positive] is the interaction with the listeners. When I call back someone who has left me a message or e-mail them, they are genuinely astounded at the rapid response and that someone actually cares what they thought. I have that rare one-on-one with the folks that listen. To me, that is very fulfilling and in many ways the relationship is no different than when my grandmother sold chickens on a market stall in Ireland or in Liverpool. It is getting the customer what they want. I mean, the customer is always right and it is not about sponsorship or payola here. This is meant to fly in the face of what most folks consider as radio. That unconventional approach doesn't make XM LIVE popular in the playgrounds, I guess (chuckles).
Hmmm ... in terms of negatives ... well ... I guess that is one of them. We're not after the 18 to 35 year olds, maybe that's a negative for those who might try and categorize whom we serve. I am eager to provide more underappreciated new talents from all over the country. See, it is a little known fact that XM LIVE did not launch at the same time as many of the other "original" channels. So, when I came aboard in November of 2002, I was in essence given an empty canvas.
Q: Who is in the primary target of your intended audience? From whom do you receive the most response? If any disparity exists ... does it surprise you and how does it affect your future programming options? Are these decisions/choices based on consultants, research or gut feelings?
A: I gotta really throw my hands up here and come clean — I am not from radio. So, whatever I am bringing to XM LIVE has to be unconventional because I wouldn't have a clue what the conventions are. When you talk about a 'primary target' ... everyone who listens is my intended audience. Yes, I receive e-mails, voice mails and requests. This has a direct correlation on what I play.
For example, if we dig out a 1979 Joan Armatrading show and people dig it, I will find concerts of hers from other years and maybe play them back-to-back. Likewise, I did a series of shows from a variety of groups — Thin Lizzy comes to mind, for example. I would play a retrospective with three complete performances that would span the course of 15 years. Then I came upon the variation of playing, for instance, a vintage BBC set from Yes, and then coupling it with the band's XM LIVE in-studio [performance]. Plus, as you know, we go far beyond just rock. I love the fact that we have so many country shows that I can broadcast, because Jessie Scott over at channel 12, X Country, always has folks stopping in to play. So, to answer your question, what listeners hear is a mixture of "gut feeling" and requests. Personally, I love being able to play a classic Nanci Griffith or Don Williams backed by an exclusive Silos or Derailers set. That keeps it interesting.
A: The obvious positive is putting the passion back into the listening experience. One of the things that is so liberating about XM LIVE is that while there are some rules, I am encouraged to really think as far outside the box as possible. I have a tremendous amount of respect for my fellow Program Directors who have specific niches. I can defer to the artists that they bring in or spotlight. So, I also get turned on to a great deal of music — which is an enormous plus for me.
 Vocalist Michael Bubl? with Red. |
Another [positive] is the interaction with the listeners. When I call back someone who has left me a message or e-mail them, they are genuinely astounded at the rapid response and that someone actually cares what they thought. I have that rare one-on-one with the folks that listen. To me, that is very fulfilling and in many ways the relationship is no different than when my grandmother sold chickens on a market stall in Ireland or in Liverpool. It is getting the customer what they want. I mean, the customer is always right and it is not about sponsorship or payola here. This is meant to fly in the face of what most folks consider as radio. That unconventional approach doesn't make XM LIVE popular in the playgrounds, I guess (chuckles).
Hmmm ... in terms of negatives ... well ... I guess that is one of them. We're not after the 18 to 35 year olds, maybe that's a negative for those who might try and categorize whom we serve. I am eager to provide more underappreciated new talents from all over the country. See, it is a little known fact that XM LIVE did not launch at the same time as many of the other "original" channels. So, when I came aboard in November of 2002, I was in essence given an empty canvas.
Q: Who is in the primary target of your intended audience? From whom do you receive the most response? If any disparity exists ... does it surprise you and how does it affect your future programming options? Are these decisions/choices based on consultants, research or gut feelings?
A: I gotta really throw my hands up here and come clean — I am not from radio. So, whatever I am bringing to XM LIVE has to be unconventional because I wouldn't have a clue what the conventions are. When you talk about a 'primary target' ... everyone who listens is my intended audience. Yes, I receive e-mails, voice mails and requests. This has a direct correlation on what I play.
For example, if we dig out a 1979 Joan Armatrading show and people dig it, I will find concerts of hers from other years and maybe play them back-to-back. Likewise, I did a series of shows from a variety of groups — Thin Lizzy comes to mind, for example. I would play a retrospective with three complete performances that would span the course of 15 years. Then I came upon the variation of playing, for instance, a vintage BBC set from Yes, and then coupling it with the band's XM LIVE in-studio [performance]. Plus, as you know, we go far beyond just rock. I love the fact that we have so many country shows that I can broadcast, because Jessie Scott over at channel 12, X Country, always has folks stopping in to play. So, to answer your question, what listeners hear is a mixture of "gut feeling" and requests. Personally, I love being able to play a classic Nanci Griffith or Don Williams backed by an exclusive Silos or Derailers set. That keeps it interesting.
Q: What are the boundaries of what you will program? Do you guys have mandates ... such as a certain percent has to be recent artists or from a particular musical genre?
A: As in life, yeah there are guidelines, rather than boundaries. But we have no real mandate. I have the extraordinary freedom to be able to respond directly to the listeners — which is exactly where the inspiration for the current play list resides. Our goal [is] to be able to augment our exclusive BBC live shows and documentaries with a cache of new performances from our own state-of-the-art XM studios in Washington D.C., New York and Nashville. Our website has all the gory details and some brilliant photos of our facilities as well.
We are also going to hit the road and showcase local and regional acts from all over America. That is still in the planning stages though. (Laughs) No, no we have no percentage to meet ... that sounds like an accountant or consultant. The listeners are my consultants. I have tried to expand as much as possible to avoid the clinical percentages. I fully embrace someone turning us on and saying "Hey, what is that?! I don't like that?!" You are certainly allowed — just as much as anyone else — to enjoy anything from Cliff Richard to the Screaming Headless Torsos.
Q: How will you prevent the pitfalls of other nationally syndicated "concert" shows?
A: Here is a bit of back history that I maybe should have mentioned. As you know, a great deal of what we offer is the vintage BBC broadcasts. The choices were made two or three years ago, before the development or launch of XM LIVE. So, at this moment, the most recent BBC material I have in my current rotation is from 2000. As we progress and incorporate our own XM exclusives and more thoroughly excavate the "Beeb," we will have a variety and selection that, quite frankly, cannot be touched. Now that we have direct feedback from our audience, we can make very specific choices from their requests, suggestions as well as from our own wish list. Again, I am eternally grateful to those who are listening and choose to interact.
Q: In terms of programming, and specifically relating to XM LIVE, what are some — if any — freedoms/limitations of digital radio as opposed to the standard FM medium?
A: We have no real limits. I get suspicious when faced with someone making rules or telling me what I can and cannot do. Specifically, I don't know what laws or FCC rules might be different. In terms of what I do, programming, I have the freedom to decide what gets played without having a third or even fourth party breathing down my neck. I want to be able to try things with the knowledge that some things will work and others won't. You can't be motivated by the fear of not doing things by protocol or "the safe way," you have to take risks.
Q: How does the monthly subscription fee help XM LIVE specifically? I don't want a dollars and cents analysis ... I mean, what can you do now that would not be possible if the monthly charge did not exist?
A: Now see you are back with your abacus. While I don't have dollars and cents to quote, I know that funding allows all of the original programming to exist. That is a blanket statement, I know. Think of us in terms of being the radio version of HBO. We are a premium listening experience. Because of your and my subscriptions — yes, I have to pay for my service too — XM LIVE can do stuff like take a cross-country road trip, or the recent Willie Nelson Picnic remote broadcast we did.
A: As in life, yeah there are guidelines, rather than boundaries. But we have no real mandate. I have the extraordinary freedom to be able to respond directly to the listeners — which is exactly where the inspiration for the current play list resides. Our goal [is] to be able to augment our exclusive BBC live shows and documentaries with a cache of new performances from our own state-of-the-art XM studios in Washington D.C., New York and Nashville. Our website has all the gory details and some brilliant photos of our facilities as well.
We are also going to hit the road and showcase local and regional acts from all over America. That is still in the planning stages though. (Laughs) No, no we have no percentage to meet ... that sounds like an accountant or consultant. The listeners are my consultants. I have tried to expand as much as possible to avoid the clinical percentages. I fully embrace someone turning us on and saying "Hey, what is that?! I don't like that?!" You are certainly allowed — just as much as anyone else — to enjoy anything from Cliff Richard to the Screaming Headless Torsos.
Q: How will you prevent the pitfalls of other nationally syndicated "concert" shows?
A: Here is a bit of back history that I maybe should have mentioned. As you know, a great deal of what we offer is the vintage BBC broadcasts. The choices were made two or three years ago, before the development or launch of XM LIVE. So, at this moment, the most recent BBC material I have in my current rotation is from 2000. As we progress and incorporate our own XM exclusives and more thoroughly excavate the "Beeb," we will have a variety and selection that, quite frankly, cannot be touched. Now that we have direct feedback from our audience, we can make very specific choices from their requests, suggestions as well as from our own wish list. Again, I am eternally grateful to those who are listening and choose to interact.
 Red with the alternative rock group The Exies. |
Q: In terms of programming, and specifically relating to XM LIVE, what are some — if any — freedoms/limitations of digital radio as opposed to the standard FM medium?
A: We have no real limits. I get suspicious when faced with someone making rules or telling me what I can and cannot do. Specifically, I don't know what laws or FCC rules might be different. In terms of what I do, programming, I have the freedom to decide what gets played without having a third or even fourth party breathing down my neck. I want to be able to try things with the knowledge that some things will work and others won't. You can't be motivated by the fear of not doing things by protocol or "the safe way," you have to take risks.
Q: How does the monthly subscription fee help XM LIVE specifically? I don't want a dollars and cents analysis ... I mean, what can you do now that would not be possible if the monthly charge did not exist?
A: Now see you are back with your abacus. While I don't have dollars and cents to quote, I know that funding allows all of the original programming to exist. That is a blanket statement, I know. Think of us in terms of being the radio version of HBO. We are a premium listening experience. Because of your and my subscriptions — yes, I have to pay for my service too — XM LIVE can do stuff like take a cross-country road trip, or the recent Willie Nelson Picnic remote broadcast we did.
Q: Where will XM LIVE be in five years?
A: One thing for certain is that our audience will have increased exponentially. That is a bit farther down the line that I care to look actually. One thing is not only having a live show in the studio every week, but also involving listeners and bands from all over the place. If there is good live music to be heard, we will find it. We are keen on incorporating venues throughout America that we can work with to bring local music onto a national stage.
Q: What are the differences between XM LIVE and your competition? Do you even acknowledge them in that light?
A: We are both satellite radio content providers. To be honest, I think we do two different things, each of which are equally valid. The cool thing is that we both provide and serve the music lover. We feed the unbridled live music fan. Beyond that though, we are not really analogous I don't think.
Q: What have you learned from the SIRIUS SESSIONS stream?
A: Well, I have not really listened that much. Once again, I have to throw my hands up and confess, I don't really listen to what they are doing.
Q: With the obvious proliferation of mobile and the new home units, how will the influx of listeners affect what you send up?
A: Ooh, I love my little Delphi. The only complaint I have heard is "can I have another?" (laughs) I think that XM's audience is willing to invest in quality and it shows both in terms of the programming as well as the hardware. We really are developing quite an impressive community and coast-to-coast neighborhood. Granted, the home units have only been out for a few months. So, I eagerly await for feedback from listeners. Because it is so user friendly, I can project that there will be a great impact on the sheer numbers of folks we serve in the near future. Plus, the low cost of both hardware and service are a factor as well.
Q: Walk me through the technical side of what you guys do? How long in advance is your programming done?
A: I'd most likely start with a request via e-mail or voice mail. If we have it then I will program it. Those are easy. As far as the stuff I don't have right now, I will make a note and try to locate it when we do subsequent archival raids. Or if the artist in question is still around, we will get them in our studios. I use the listener as the springboard to what gets broadcast. I am usually 10 days or so ahead in terms of the scheduling. So, normally the turn-around time is less than two weeks. All the shows are in our digital mainframe in D.C. — which is where all the technical stuff is done. However, in terms of programming, I will make those 168 weekly choices and send that information to the folks in D.C. who send out the actual audio.
Q: Will you ever have the ability or even want/need to do regional programs — rather than national?
A: We do want to have a live concert once a week starting this fall from all over the nation. From local bands to the biggies. I hope to be able to turn on these unknown bands to a national audience. I really gotta say, I love working for a place that has a channel like Unsigned (XM 52) — that features only unknown bands that deserve a National platform.
Q: Give me a list of your upcoming specials, or anything of particular note.
A: Well, of course we just did the Willie Nelson Picnic, which was a blast. Every week though we have some really interesting exclusive live performances from our studios. I am looking forward to hearing Damian Rice, for example, who is on in a few weeks. For me, the best thing is that from day to day, I never know who might be in one of our studios or what little nuggets I uncover because someone has made a casual inquiry. I should mention that you can always see a weekly schedule of what is coming up online at XM LIVE.
Sign off
Even the most cursory glance at XM LIVE's programming guide will reveal something for absolutely every musical taste. As for me, I have been known [read: accused] to set my alarm clock for all sorts of uncivilized hours in order to capture performances from the likes of The Pixies, Leon Redbone, Gil Scott-Heron and even Moby.
I'd like to thank Ms. Wilson for her time and gracious hospitality. As always, you can find her at XM LIVE, channel 120, and she encourages both current subscribers as well as future listeners to contact her via e-mail: red@xmradio.com or at 1-866-4-XMLIVE (866.496.5483) — her coast-to-coast and toll-free voice mail.
Next time around we will pose the same 20 Questions to broadcasting veteran Joel Salkowitz. He's the Vice-President for Music Content and Programming for SIRIUS. We will be discussing SIRIUS Sessions, which features live concerts and exclusive performances from the SIRIUS studios in NYC, 24-hours-a-day, 7-days-a-week on Stream 100.
Lindsay Planer is a freelance journalist and Public Radio host. He contributes to several publications, including All Music Guide, Paste.com, and BigO Magazine.
A: One thing for certain is that our audience will have increased exponentially. That is a bit farther down the line that I care to look actually. One thing is not only having a live show in the studio every week, but also involving listeners and bands from all over the place. If there is good live music to be heard, we will find it. We are keen on incorporating venues throughout America that we can work with to bring local music onto a national stage.
Q: What are the differences between XM LIVE and your competition? Do you even acknowledge them in that light?
A: We are both satellite radio content providers. To be honest, I think we do two different things, each of which are equally valid. The cool thing is that we both provide and serve the music lover. We feed the unbridled live music fan. Beyond that though, we are not really analogous I don't think.
Q: What have you learned from the SIRIUS SESSIONS stream?
A: Well, I have not really listened that much. Once again, I have to throw my hands up and confess, I don't really listen to what they are doing.
Q: With the obvious proliferation of mobile and the new home units, how will the influx of listeners affect what you send up?
A: Ooh, I love my little Delphi. The only complaint I have heard is "can I have another?" (laughs) I think that XM's audience is willing to invest in quality and it shows both in terms of the programming as well as the hardware. We really are developing quite an impressive community and coast-to-coast neighborhood. Granted, the home units have only been out for a few months. So, I eagerly await for feedback from listeners. Because it is so user friendly, I can project that there will be a great impact on the sheer numbers of folks we serve in the near future. Plus, the low cost of both hardware and service are a factor as well.
Q: Walk me through the technical side of what you guys do? How long in advance is your programming done?
A: I'd most likely start with a request via e-mail or voice mail. If we have it then I will program it. Those are easy. As far as the stuff I don't have right now, I will make a note and try to locate it when we do subsequent archival raids. Or if the artist in question is still around, we will get them in our studios. I use the listener as the springboard to what gets broadcast. I am usually 10 days or so ahead in terms of the scheduling. So, normally the turn-around time is less than two weeks. All the shows are in our digital mainframe in D.C. — which is where all the technical stuff is done. However, in terms of programming, I will make those 168 weekly choices and send that information to the folks in D.C. who send out the actual audio.
Q: Will you ever have the ability or even want/need to do regional programs — rather than national?
A: We do want to have a live concert once a week starting this fall from all over the nation. From local bands to the biggies. I hope to be able to turn on these unknown bands to a national audience. I really gotta say, I love working for a place that has a channel like Unsigned (XM 52) — that features only unknown bands that deserve a National platform.
Q: Give me a list of your upcoming specials, or anything of particular note.
A: Well, of course we just did the Willie Nelson Picnic, which was a blast. Every week though we have some really interesting exclusive live performances from our studios. I am looking forward to hearing Damian Rice, for example, who is on in a few weeks. For me, the best thing is that from day to day, I never know who might be in one of our studios or what little nuggets I uncover because someone has made a casual inquiry. I should mention that you can always see a weekly schedule of what is coming up online at XM LIVE.
Sign off
Even the most cursory glance at XM LIVE's programming guide will reveal something for absolutely every musical taste. As for me, I have been known [read: accused] to set my alarm clock for all sorts of uncivilized hours in order to capture performances from the likes of The Pixies, Leon Redbone, Gil Scott-Heron and even Moby.
I'd like to thank Ms. Wilson for her time and gracious hospitality. As always, you can find her at XM LIVE, channel 120, and she encourages both current subscribers as well as future listeners to contact her via e-mail: red@xmradio.com or at 1-866-4-XMLIVE (866.496.5483) — her coast-to-coast and toll-free voice mail.
Next time around we will pose the same 20 Questions to broadcasting veteran Joel Salkowitz. He's the Vice-President for Music Content and Programming for SIRIUS. We will be discussing SIRIUS Sessions, which features live concerts and exclusive performances from the SIRIUS studios in NYC, 24-hours-a-day, 7-days-a-week on Stream 100.
Lindsay Planer is a freelance journalist and Public Radio host. He contributes to several publications, including All Music Guide, Paste.com, and BigO Magazine.