This award celebrates an individual presenter who represents an important new voice in audio. Entries from presenting duos are eligible, if the presenters are always paired together and all content is presented by them both.

The judges will be looking for an outstanding new talent who brings an unmatched combination of charisma, passion for the medium, determination to exploit its possibilities to their utmost potential, understanding of their audience and enthusiasm for the particular kind of show they present.

Entrants may be well known for working in other media, but while they may have made occasional radio or audio appearances before, the entrant’s overall audio exposure should not have been significant prior to this entry.

The entries will be judged on:

• Story: Up to 500-words that clearly highlight how and why the presenter’s audio breakthrough has occurred during the qualifying period, and also demonstrate the development, successes and impact of the presenter in the audio space and beyond.
• Audio: Up to 15 minutes as broadcast or published, either as a continuous or series of clips
  Context: a short paragraph that helps the judges understand the audio submitted and how this reflects the essence of the content. If the audio includes edited clips, a tracklist should be included.
• Context: A short paragraph that helps the judges understand the audio submitted and how this reflects the essence of the content. If the audio includes edited clips, a tracklist should be included.
• Supporting: Up to 3 assets such as links, photos or screenshots to additional audience-facing content or external coverage.

This award celebrates the best of music-based weekday or weekend breakfast radio shows. Qualifying shows will be expected to clearly demonstrate how music content is their main editorial focus in the supporting statement.

The judges will be looking at every aspect of production and presentation to find a show that truly understands its audience, and the role it plays in keeping the highly competitive space of breakfast radio engaging and relevant. Entries should showcase the creativity of the team, the unforgettable and unexpected on-air moments, the credibility or enthusiasm of the hosts, and the calendar events or features that have led to the show getting noticed outside of the broadcast medium.

The entries will be judged on:

• Story: Up to 500-words that highlight how the content is relevant and connects with the target audience, showing a clear story of growth and development across the year, and backed up by data which demonstrates, for example, audience increase, cross-platform success or moments that set the world of social media alight.
• Audio: Up to 15 minutes as broadcast or published, either as a continuous or series of clips 
• Context: A short paragraph that helps the judges understand the audio submitted and how this reflects the essence of the content. If the audio includes edited clips, a tracklist should be included.
• Supporting: Up to 3 assets such as links, photos or screenshots to additional audience-facing content or external coverage.

This award celebrates the best of speech-based weekday or weekend breakfast radio shows. Qualifying shows will be expected to clearly demonstrate how speech content is their main editorial focus in the supporting statement.

The judges will be looking at every aspect of production and presentation to find a show that truly understands its audience, and the role it plays in keeping the highly competitive space of breakfast radio engaging and relevant. Entries should showcase the creativity of the team, the unforgettable and unexpected on-air moments, the credibility or enthusiasm of the hosts, and the calendar events or features that have led to the show getting noticed outside of the broadcast medium.

The entries will be judged on:

• Story: Up to 500-words that highlights how the content is relevant and connects with the target audience, showing a clear story of growth and development across the year, and backed up by data which demonstrates, for example, audience increase, cross-platform success or moments that set the world of social media alight.
• Audio: Up to 15 minutes as broadcast or published, either as a continuous or series of clips 
• Context: A short paragraph that helps the judges understand the audio submitted and how this reflects the essence of the content. If the audio includes edited clips, a tracklist should be included.
• Supporting: Up to 3 assets such as links, photos or screenshots to additional audience-facing content or external coverage.

This award recognises the year's most outstanding Music Entertainment Show or Presenter, for a continuing programme strand, limited series, or one-off programme, where music is an element within an otherwise entertainment driven show. 

The judges will be looking for a music-based show or presenter that focuses its editorial on entertainment as a genre, whatever that might mean for the target audience, and the entry will showcase a show or presenter that demonstrates an in-depth knowledge of their audience and an innate understanding of how to deliver perfect entertainment audio content. 

The entries will be judged on:

• Story: Up to 500-words that demonstrate how the content is crafted with the target audience in mind, and highlight how the show or presenter has achieved success during the qualifying period - for example through increased listening figures, audience interaction or impact outside of the core show.
• Audio: Up to 15 minutes as broadcast or published, either as a continuous or series of clips 
• Context: A short paragraph that helps the judges understand the audio submitted and how this reflects the essence of the content. If the audio includes edited clips, a tracklist should be included.
• Supporting: Up to 3 assets such as links, photos or screenshots to additional audience-facing content or external coverage.

Note: Radio Breakfast Shows should not be entered in this category – these should be entered in the Best Breakfast show category instead. Do not submit the same entry to this category as the Best Music Award (Show or Presenter).

This award recognises the year's most outstanding Speech Entertainment Show or Presenter, for a continuing programme strand, limited series, or one-off programme

The judges will be looking for a 100% speech-based show or presenter that focuses on entertainment as a genre, whatever that might mean for the target audience, and the entry will showcase a show or presenter that demonstrates an in-depth knowledge of their audience and an innate understanding of how to deliver perfect entertainment audio content. 

The entries will be judged on:

• Story: Up to 500-words that demonstrate how the content is crafted with the target audience in mind, and highlight how the show or presenter has achieved success during the qualifying period - for example through increased listening figures, audience interaction or impact outside of the core show.
• Audio: Up to 15 minutes as broadcast or published, either as a continuous or series of clips 
• Context: a short paragraph that helps the judges understand the audio submitted and how this reflects the essence of the content. If the audio includes edited clips, a tracklist should be included.
• Supporting: up to 3 assets such as links, photos or screenshots to additional audience-facing content or external coverage.

Note: Radio Breakfast Shows should not be entered in this category – these should be entered in the Best Breakfast show category instead. 

This award will celebrate a show or presenter that lives and breathes the music to which it is devoted, with music the single most important editorial element. Entries can be from a continuing programme strand, limited series or one-off show, and draw from any musical genre, whether mainstream or specialist.

The judges will be looking at every aspect of the production, music curation and presentation, to find evidence of an in-depth knowledge of the genre, and a passion to bring that music to the audience in new ways.

The entries will be judged on:

• Story: Up to 500-words that demonstrate the overall aims of the show, how it appeals to the target audience and how the show or presenter brings credibility to the format. It should also detail the success achieved during the qualifying period such as growth in listening figures or the impact the show has had in the wider musical community.
• Audio: Up to 15 minutes as broadcast or published, either as a continuous or series of clips 
• Context: a short paragraph that helps the judges understand the audio submitted and how this reflects the essence of the content. If the audio includes edited clips, a tracklist should be included.
• Supporting: up to 3 assets such as links, photos or screenshots to additional audience-facing content or external coverage.

Note: Crafted music documentaries should not be entered in this category - they should be entered in the Best Factual categories instead. Do not submit the same entry to this category as the Best Music Entertainment Award (Show or Presenter).

This award is for regular shows or one-off programmes, including speech-led entertainment comedy programming, scripted comedy, live comedy and panel or quiz shows, that make listeners smile and laugh out loud.

Judges will be looking at both the individual elements of shows and the way in which those parts combine to amuse and entertain the listener. Shows that feature music may be entered into this category, as long as the comedic speech elements are the dominant content in the show.

The entries will be judged on:

• Story: Up to 500-words that demonstrate the impact this show has had with the target audience, for example through live listening figures or downloads, social media or press coverage, or impact outside of the core show.
• Audio: Up to 15 minutes as broadcast or published, either as a continuous or series of clips
• Context: a short paragraph that helps the judges understand the audio submitted and how this reflects the essence of the content. If the audio includes edited clips, a tracklist should be included.
• Supporting: up to 3 assets such as links, photos or screenshots to additional audience-facing content or external coverage.

This award will honour a one-off factual show which takes storytelling to a new level. A single programme is defined as being a complete factual story, entirely contained within one episode. Individual episodes from anthology documentary strands may be entered in this category, providing each episode is narratively self-contained. Do not enter an individual ‘favourite episode’ from a narrative documentary series in this category.

The judges will be looking for a combination of compelling audio, remarkable access to untold stories (or untold aspects of familiar events) and well-crafted narrative structure which transports the listeners into the heart of a story. The winning programme will have the ability to captivate listeners, keeping them gripped to the very last second by the need to know how the story ends.

The entries will be judged on:

• Story: Up to 500-words that fill in any gaps that might help the judges better understand the audio, and explain how the entrant came to tell this story in this form. It should highlight any relevant statistics and/or audience numbers along with any additional information that highlights the impact that the story had on the audience. Judges will also take into account the size of the team and resources behind the production, which should be detailed clearly.
• Audio: Up to 15 minutes as broadcast or published, either as a continuous or series of clips
• Context: a short paragraph that helps the judges understand the audio submitted and how this reflects the essence of the content. If the audio includes edited clips, a tracklist should be included.
• Supporting: up to 3 assets such as links, photos or screenshots to additional audience-facing content or external coverage.

This award will honour a factual series which takes storytelling to a new level. A series is defined as being a factual story told over two or more episodes, regardless of how they are scheduled or released. Entire anthology documentary strands should not be entered into this category.

The judges will be looking for a combination of compelling audio, remarkable access to untold stories (or untold aspects of familiar events) and a well-crafted multi-episode narrative structure. The winning series will have the ability to captivate listeners, keeping them gripped to the very last second by the need to know how the story ends. It will take advantage of the multi-episode format, to build suspense, structure the narrative and harness the power of long-form.

The entries will be judged on:

• Story: Up to 500-words that fill in any gaps that might help the judges better understand the audio, and explain how the entrant came to tell this story in this form. It should highlight any relevant statistics and/or audience numbers along with any additional information that highlights the impact that the story had on the audience. Judges will also take into account the size of the team and resources behind the production, which should be detailed clearly.
• Audio: Up to 15 minutes as broadcast or published, either as a continuous or series of clips
• Context: a short paragraph that helps the judges understand the audio submitted and how this reflects the essence of the content. If the audio includes edited clips, a tracklist should be included.
• Supporting: up to 3 assets such as links, photos or screenshots to additional audience-facing content or external coverage.

This award pays tribute to the audio drama or fiction content that best transported its audience to the heart of the action, immersing listeners in an unforgettable experience that lingers long in the memory. 

The judges will be looking for the perfect combination of captivating performances, inspirational scripting that takes full advantage of the medium, and creative sound design that draws listeners into the story being told. 

The entries will be judged on:

• Story: Up to 500-words that fills in any gaps that might help the judges better understand the audio, and explain how the entrant came to tell this story in this form. It should highlight any relevant statistics and/or audience numbers along with any additional information that highlights the impact that the story had on the audience. Judges will take into account the size of the team and resources behind the production, which should be detailed clearly.
• Audio: Up to 15 minutes as broadcast or published, either as a continuous or series of clips 
• Context: a short paragraph that helps the judges understand the audio submitted and how this reflects the essence of the content. If the audio includes edited clips, a tracklist should be included.
• Supporting: up to 3 assets such as links, photos or screenshots to additional audience-facing content or external coverage.

This award recognises outstanding journalism, focussing specifically on the “now”. Submissions can include coverage of breaking news stories, ongoing coverage of news events and current affairs, extended news bulletins and original journalism. They can cover either an individual story, showcase a portfolio of work over the period, or a deeper investigation into a news or current affairs story. Standalone news and current affairs programmes and news sequences within programmes are also eligible.

Judges will be looking for entries that help audiences make sense of the world of news and current affairs, entries that deliver the very best journalism, told robustly, with authority and creativity. 

The entries will be judged on:

• Story: Up to 500-words that demonstrate the role the individual or team played in crafting the content, backed with examples of the impact it had with the target audience, and stating if it complimented an existing format or broke new ground. Judges will take into account the size of the team and resources behind the production, which should be detailed clearly, as well as the different skills and challenges around different approaches, for example live news coverage, investigative journalism or current affairs analysis. 
• Audio: Up to 15 minutes as broadcast or published, either as a continuous or series of clips 
• Context: a short paragraph that helps the judges understand the audio submitted and how this reflects the essence of the content. If the audio includes edited clips, a tracklist should be included.
• Supporting: up to 3 assets such as links, photos or screenshots to additional audience-facing content or external coverage.

Note: Crafted documentaries should not be entered into this category, instead they should be entered into the Best Factual categories.

This award recognises outstanding sports coverage from a show or presenter that really knows how to draw listeners into the sporting world. This may be through the power of commentary, analysis, conversation, debate, interactivity or sports journalism. 

The judges will be looking for creativity, knowledgeable presenters and a programme that captivates, entertains and delivers for their target audience. Entries will demonstrate a deep understanding of their specific area of sporting expertise, whether generalist or focussed on an individual sport, and showcase unparalled skills in the ability of a show or presenter to bring it to life through audio.

The entries will be judged on:

• Story: Up to 500-words that demonstrate how the sports content is crafted with the target audience in mind, highlighting how the show or presenter has achieved success during the qualifying period - for example through increased listening figures, audience interaction or impact outside of the core show.
• Audio: Up to 15 minutes as broadcast or published, either as a continuous or series of clips 
• Context: a short paragraph that helps the judges understand the audio submitted and how this reflects the essence of the content. If the audio includes edited clips, a tracklist should be included.
• Supporting: up to 3 assets such as links, photos or screenshots to additional audience-facing content or external coverage.

Note: Crafted sports documentaries should not be entered into this category, instead they should be entered into the Best Factual categories. Coverage of special or one-off sporting events should also not be entered here, instead entered into Best Coverage of an Event.

This category is for the creative and clever coverage of a pre-planned and organised event. Typical examples might include a music concert, a state occasion or a sporting event – whether organised by the entrant themselves, or a third-party event.

Judges will be looking at the way in which entrants have used audio techniques to convey the sense of occasion, bringing the event to their listeners. Coverage of news events and their immediate aftermath is specifically excluded from this category – although coverage of planned events in response to a news story will be allowed, as would coverage of an event which unexpectedly became a major news story. 

The entries will be judged on:

• Story: Up to 500-words that highlight the relevance of the event to the target audience. If it is a regular event, the entry should include details of how the coverage has evolved. It should give details on how the event was recorded/produced, the size of the team involved, and also highlight what were the metrics of success and to what extent they were achieved, such as audience numbers, engagement, or cross-platform impact. 
• Audio: Up to 15 minutes as broadcast or published, either as a continuous or series of clips 
• Context: a short paragraph that helps the judges understand the audio submitted and how this reflects the essence of the content. If the audio includes edited clips, a tracklist should be included.
• Supporting: up to 3 assets such as links, photos or screenshots to additional audience-facing content or external coverage.

This category is designed to recognise creative excellence in sonic branding. Entries will showcase either a single execution or a campaign of editorial, imaging, jingles and/or promos or trailers that bring the brand itself, an individual show, event, project or promotion to life.

Judges will consider how well the entry communicates and enhances the brand image through the medium of sound, or a campaign's objectives, rewarding audio that demonstrates outstanding creativity, innovation and impact on the audience. 

The entries will be judged on:

• Story: Up to 500-words that highlight the strategic purpose of the audio in relation to the brand, how it has evolved and innovated over the qualifying period, and how it adds value in relation to the wider content proposition.
• Audio: Up to 15 minutes as broadcast or published, either as a continuous or series of clips 
• Context: a short paragraph that helps the judges understand the audio submitted and how this reflects the essence of the content. If the audio includes edited clips, a tracklist should be included.
• Supporting: up to 3 assets such as links, photos or screenshots to additional audience-facing content or external coverage.

This category recognises excellence in paid-for promotional partnerships, and could include advertising, sponsorship, or brand-funded programming. 

Judges will be looking to reward entries that include compelling content that successfully addresses the needs or interests of the brand or partnership as well as the expectations of the audience. Entries should be from a single campaign or partnership and can include both audio and activity that stretches beyond the broadcast, for example social media. Entries should relate to a paid for partnership. Entries for a solus ad campaign without any editorial involvement by a broadcaster or podcast producer are not eligible.

The entries will be judged on:

• Story: Up to 500-words that demonstrate, where appropriate, any measurable success or impact that the partnership had for both the audience and the brand. If relevant, detail the role that audio played as part of the wider promotional mix, and if a longer term relationship, how the partnership has evolved over the qualifying period.
• Audio: Up to 15 minutes as broadcast or published, either as a continuous or series of clips 
• Context: a short paragraph that helps the judges understand the audio submitted and how this reflects the essence of the content. If the audio includes edited clips, a tracklist should be included.
• Supporting: up to 3 assets such as links, photos or screenshots to additional audience-facing content or external coverage.

This category recognises programming that’s done something to make a difference in society. Winners in this category will embody the idea of audio as a force for good in the world, with output having made a significant impact in the lives of its listeners, and the lives of the community it serves. Examples might include awareness-raising, fundraising, campaigning, grassroots, issues-based content, or programming that highlights incredible achievements.

The judges will be looking for powerful audio that had an impact on the listener, but which also made a huge impact off-air. They will want to be overwhelmed with the response to the project, from people that heard it but also from people that didn’t.

The entries will be judged on:

• Story: Up to 500-words that explain what the aims and objectives of the project were from the start, who or what it was looking to support, and the impact that was felt as a result of the campaign. Detail how any off-air success of the project, for example through local/national press or on social media, contributed to that overall impact.
• Audio: Up to 15 minutes as broadcast or published, either as a continuous or series of clips
• Context: a short paragraph that helps the judges understand the audio submitted and how this reflects the essence of the content. If the audio includes edited clips, a tracklist should be included.
• Supporting: up to 3 assets such as links, photos or screenshots to additional audience-facing content or external coverage.

This category recognises the best in innovative programme formats and technical advances in audio that broke the conventions of their brand, and challenged and enhanced the audience’s expectations and experience. It is an opportunity to showcase ground-breaking new approaches to audio entertainment and storytelling, either through the content itself or by the technical innovation that presented it to them in ways they’ve never seen before. 

The judges will be looking for unique ways of using the medium of audio to engage listeners, with programme concepts or technical prowess that stand out for their ambition in trying something different and unexpected. Entries could include music or speech programming, digital content, a new audio focussed product or something uncategorisable. 

The entries will be judged on:

• Story: Up to 500-words that demonstrate the unique nature of the entry and how it enhanced the experience of the audience. They should explain the process, who and what was involved in the development, and show evidence of the positive impact it had with listeners and for the brand itself.
• Audio: Up to 15 minutes as broadcast or published, either as a continuous or series of clips 
• Context: a short paragraph that helps the judges understand the audio submitted and how this reflects the essence of the content. If the audio includes edited clips, a tracklist should be included.
• Supporting: up to 3 assets such as links, photos or screenshots to additional audience-facing content or external coverage.

This category is for a radio station that very clearly serves a specific geographical area such as a nation, region, county, borough, city, town or community. The content should be firmly rooted in its relevance to the community it serves, and the audience it attracts. 

The judges will be looking for clear evidence of a station that knows its audience - serving and representing the tastes, needs and interests of all, in fresh and exciting ways, and engaging listeners.

The entries will be judged on:

• Story: Up to 1500-words that clearly define the target audience and geographical area, and demonstrate how the content produced serves this specific demographic. Entrants should detail how much resource they have access to, as elements such as the size of the team will be taken into account. They should also highlight success achieved during the qualifying period, specific to the local area - for example through increased listening figures, audience interaction or impact outside of the core show. The statement, which should be uploaded as a PDF, can include both written and visual content, and should be no more than 6 pages in length.
• Audio: Up to 30 minutes as broadcast, either as a continuous or series of clips 
• Context: a short paragraph that helps the judges understand the audio submitted and how this reflects the essence of the content. If the audio includes edited clips, a tracklist should be included.

This category celebrates the very best in UK radio and will go to the UK-wide station or network which has towered above its rivals over the last year. Entrants should broadcast across the majority of the UK, either through a national licence or through a network of stations.

Judges will be looking for entries that display excellence across their entire broadcast schedule. Entries should demonstrate a strong sense of unified station identity that resonates with, and shows deep understanding of, the station’s target audience, with brilliant audio, inspiring production, and a genuine ability to connect with their listeners. Judges will also take into account consistency of programming, clarity of the station’s purpose and feel, and how well it delivers against the station strategy.

The entries will be judged on:

• Story: Up to 1500-words that tell a clear story of evolution and development during the qualifying period. They should demonstrate the measurable growth achieved, which may have been gained through audience increase, commercial success and/or whatever means deemed relevant to the station’s strategy, which should be clearly explained in the entry. Entrants should detail how much resource they have access to, as elements such as the size of the team will be taken into account. The statement, which should be uploaded as a PDF, can include both written and visual content, and should be no more than 6 pages in length.
• Audio: Up to 30 minutes as broadcast, either as a continuous or series of clips 
• Context: a short paragraph that helps the judges understand the audio submitted and how this reflects the essence of the content. If the audio includes edited clips, a tracklist should be included.

This award will recognise the audio brand that has dominated the industry like no other in the last year. Qualifying entrants will represent the strongest and most successful brands in the world of audio today, with examples ranging from (but not limited to) podcast networks, audio production companies, streaming services, and audience facing mobile apps.

Judges will be looking to understand how entrants have excelled in their field, broken new ground, and helped shine a spotlight on the medium of audio in the UK in such a way that benefits the industry as a whole. With audio at the centre of everything it does, when compared with their rivals, the brand will show through the audio submitted and supporting statement that they stand head and shoulders above the rest.

The entries will be judged on:

• Story: Up to 1500-words that tell a clear story of evolution and development during the qualifying period. They should demonstrate the measurable growth achieved, which may have been gained through audience increase, commercial success and/or whatever means deemed relevant to the brand strategy, which should be clearly explained in the entry. Entrants should detail how much resource they have access to, as elements such as the size of the team will be taken into account. The statement, which should be uploaded as a PDF, can include both written and visual content, and should be no more than 6 pages in length.
• Audio: Up to 30 minutes as broadcast or published, either as a continuous or series of clips 
• Context: a short paragraph that helps the judges understand the audio submitted and how this reflects the essence of the content. If the audio includes edited clips, a tracklist should be included.

Note: Entries already submitted into the UK Radio Station or Radio Network of the Year category should not be entered here.

As Radio Academy Members, you are invited to submit your nominations for the best moment of audio you’ve heard within the qualifying time period. This doesn’t necessarily have to be something you’ve produced yourself – this is a great opportunity to highlight an amazing piece of British radio or audio that you’ve loved, from anywhere in the sector.

Ideally this would be something that has made an impact and reached a wide audience, and the supporting statement should include as much information and context as possible on why this particular moment should be declared the Moment of the Year.

The Radio Academy Trustees will create a shortlist of ten moments of the year, which will be put to a vote of the general public.

It is free to nominate for this category, and we ask if you submit an entry then you include the following:

• Audio: If an audio file featuring the specific moment is available, we ask that it be cut down to approx 2-3 minutes in length. However, a nomination can instead include a link to a publicly available source (e.g. a full programme, or a social media clip), please include a time-code if needed.
• Story: a short paragraph explaining why you feel this should be given the honour of Moment of the Year.