GfK Survey 1 2025

Survey Period: Sun 19 January to Sat 1 March 2025.

Biggest movers
UP: 3AW +3.4
DOWN: Smoothfm 91.5 -2.1

3AW 16.8% (13.6%)
Cume: 750,000 (-2,700)
Breakfast: 20.6% (19.3%)

In Melbourne, Ross and Russ continue their winning streak as No.1 in Breakfast overall with a 20.6 share, and Tom Elliott solidifying his No.1 spot in Mornings with 19.2%.

The station overall remains unbeatable, achieving a 16.8 share – more than four points ahead of its nearest rival.

Greg Byrnes, national content manager, Nine Radio, said: “These are stunning results and lay the foundations for another dominant year for our live and local content. We’ve had big audience gains right across the network, particularly in 25-54s.”

“3AW is clearly the heartbeat of Melbourne. Today’s 16.8 share is the station’s best survey 1 result in over 15 years and we congratulate the entire team.

Gold 104.3 12% (10.2%)
Cume 1,230,000 (+30,000)

Gold has taken the number one spot in FM with a lift of 1.7 percentage points. Christian O’Connell, Jack and Pats went up 2.8 percentage points to a share of 11.5%.

“Today my team and I are buzzing at the news. We haven’t had mega marketing money and done big noisy cash giveaways, this is about making a show with our audience with our hearts that I hope matters. We are in scary times, and we need all the help we can get, I hope my show is a beacon of joy,’ O’Connell said of the results.

smoothfm 91.5 9.3% (11.4%)
Cume 1,174,000 (53,000)

Smooth FM 91.5 has lost its position as Melbourne’s #1 FM station since last survey, dropping down 12.1 percentage points to a share of 9.3%. With a CUME of 1,174,000 listeners, Smooth FM 91.5 has dropped to the fourth most listened-to station in Melbourne.

The station claimed the #2 FM position in Melbourne for Evenings with a 8.9% share and Weekends with a 11.4% share. Smooth FM 91.5 also dominates listener numbers, drawing 222,000 CUME in Evenings and 697,000 CUME on Weekends, making it Melbourne’s second most popular station during these periods.

Melbourne GfK radio ratings survey 1 2025. [click to expand.]

Nova 100 overall brought in a percentage of 9.3%, 1.261 million listeners. Jase & Lauren on Nova 100 claimed the #2 FM spot with a 10.1% audience share—down -1.4 percentage points.

The Jase & Lauren show attracted 666,000 listeners (CUME)—a loss of 51,000 listeners. Nova 100 also came third in Mornings, drawing 471,000 listeners and second in the drive slot with 508,000 listeners, up by 17,000 listeners.

101.9 Fox FM 8.6% (8.7%)
Cume 1,126,000 (-66,000)
Breakfast: 8.4%

Fox recorded a 0.1 point drop, bringing in a station share of 8.6%. On breakfast, Fifi, Fev and Nick dropped -1 points to an 8.4% share. The breakfast show is now the third FM in the market.

105.1 Triple M 7% (6.5%)
Cume 778,000 (-5,000)
Breakfast: 7.9%

Mick in the Morning with Roo, Titus & Rosie are the Number 4 FM breakfast show in Melbourne. The breakfast radio hosts landed a share of 7.9%.

Triple M The Rush Hour with JB & Billy (4pm to 6pm) finished with a 9.2% share (down 0.5 percentage points).

Triple M has grown listeners in Breakfast (up 21,000), Morning (down -11,000), Afternoon (down -46,000) and Drive (down -11,000).

Triple M Mick in the Morning with Roo, Titus & Rosie launched in Melbourne on 20 January 2025.

SCA’s chief content officer, Dave Cameron, said: “Melbourne has lapped up the brilliant new Mick in the Morning Breakfast show on its debut, achieving the best Triple M breakfast result in six years. This team with Mick, Roo, Titus and Rosie are delivering magic chemistry already, and we see an exciting year ahead for the show as it becomes the breakfast destination to listen to as the footy season heats up. On The Fox, Fifi, Fev & Nick remains one of the most listened to breakfast shows in the city, proving that Melbourne listeners demand local talent and content at breakfast time. A position both The Fox and Triple M will continue to deliver.”

KIIS 101.1 FM 5.1% (5.1%)
Cume 1,012,000 (+106,000)
Breakfast: 5.1%

In Kyle and Jackie O’s last Melbourne survey of the year, the duo have reamikned steady with a 5.1% breakfast share, up by 0.1 percentage points.

In drive, Will and Woody was up by 1.2 percentage points to 7.4%.

SEN 3.2% (3.5%)
Cume 311,000 (-112,000)
Breakfast: 3.8%

SEN dropped down by 0.3 points to share of 3.2%. Breakfast with Garry and Tim was down 0.5 and recorded a share of 3.8%.

3MP 1377 1% (2.2%)
Cume 209,000 (+10,000)
Breakfast: 0.7%

3MP was down -1.2 points for a station share of 1%. Breakfast down 1.1 percentage points and recorded a share of 0.7%.

Magic 1278 1.6% (2.6%)
Cume 180,000 (-18,000)
Breakfast: 1.1%

Magic 1278 was up 0.3 percentage points to a share of 1.9%. Breakfast lost 0.1 point for a final share of 1%.

See also:Melbourne Radio Ratings 2024, Survey 8: smoothfm 91.5 #1 FM while 3AW smashes AM

Sydney Radio Ratings
GfK Survey 1 2025
Survey Period: Sun Jan 19 to Sat Mar 1.

UP: 2UE +0.5
DOWN: WSFM -1.3

2GB 11.6% (11.8%)
Cume: 689,000 (-16,000)
People 10+ Mon-Fri: 11.8% (12.3%)
Breakfast: 14.4% (13.9%)

Nine Radio’s 2GB has risen to #1 and recorded an 11.6% share. The station retains the crown despite a drop of 0.2 points since the last survey.

In breakfast, Ben Fordham is number one overall. He recorded a share of 14.4%, rising 0.5 points since the last survey.

smoothfm 95.3 11.1% (12.0%) 
Cume: 1,307,000 (- 64,000)
People 10+: 11.5% (13.2%)
Breakfast: 7.6% (8.6%)

KIIS 1065 9.9% (10%)
Cume: 1,192,000 (steady)
People 10+ Mon-Fri: 10.6% (10.2%)
Breakfast: 13.3% (14.6%)

WSFM 8.3% (9.6%)
Cume: 830,000 (-40,000)
People 10+ Mon-Fri: 8.4% (9.9%)
Breakfast: 8.9% (10.2%)

Nova 96.9 7.8% (7.6%)
Cume: 1,234,000 (+46,000)
People 10+ Mon-Fri: 7.8% (7.5%)
Breakfast: 8.7% (10.1%)

104.9 Triple M 5.7% (5.6%)
Cume: 791,000 (+119,000)
People 10+ Mon-Fri: 6.0% (5.6%)
Breakfast 5.8% (6.5%)

104.1 2Day FM 4.2% (4.7%)
Cume: 811,000 (+104,000)
People 10+ Mon-Fri: 4.3% (4.8%)
Breakfast: 3.7% (4.3%)

2UE 954 3.6% (3.1%)
Cume: 288,000 (+21,000)
People 10+ Mon-Fri: 3.6% (2.9%)
Breakfast: 2.9% (1.7%)

SEN 1170 1.5% (1.8%)
Cume: 165,000 (-4,000)
People 10+ Mon-Fri: 1.6% (2.0%)
Breakfast: 1.4% (1.6%)

Sky Sports Radio 1.4% (1.4%)
Cume: 187,000 (+8,000)
People 10+ Mon-Fri: 1.1% (1.3%)
Breakfast: 2.1% (na)

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How many people does it take to order a Subway sandwich? One? Five? Twenty-five? Spoiler alert: a lot more.

For Subway, solving the lunchtime traffic puzzle wasn’t as easy as it might sound. Simply throwing ads into the market just wasn’t cutting it. They needed a strategic partner, and they found one in News Corp Australia.

Rodica Titeica, Subway’s chief marketing officer, known for her inquisitive nature, was frank: their attempts to boost foot traffic had stalled. “They were honest from the start, which helped,” said Kelly Healy, a key player in the campaign.

This honesty proved to be the crucial ingredient in unlocking a solution that went far beyond a simple media buy.

News Corp Managing Director and Publisher, Free News and Lifestyle Pippa Leary and Chief Marketing Officer, Subway, Rodi Titeica

Where challenges meet solutions

The breakthrough came during News Corp Australia’s Frontiers program, an annual series of events designed to bring together agency decision-makers with News’ editorial and commercial leaders.

The sessions are intentionally intimate and immersive, designed to get under the skin of marketing challenges. “It enables us to go really deep with our agency partners in a very relaxed, closed environment,” Healy explained.

Zenith, Subway’s media agency, took full advantage. They came to the Frontiers session, laid out their challenge, and started workshopping it with the News team on the spot.

That moment of honesty became the foundation of something much more ambitious.

“At Frontiers, we could unpack a challenge that we never knew existed for Subway,” Healy revealed. “But it wasn’t just a challenge for Subway; it was a category challenge for all of us, and that’s where the insight came.” This level of transparency, Healy stressed, is rare in standard briefs.

Unlocking intent and impact

Rather than receiving a traditional brief, the News Corp Australia team gained real context into what was keeping Subway up at night: a significant dip in lunchtime quick service restaurant consumption.

That understanding allowed them to pivot their strategy entirely.

The resulting ‘SUBHOURS’ campaign combined data-driven targeting with creative storytelling. Using ‘Intent Connect’s Content Connect’, the campaign tapped into Mastercard and Azira data to build custom audience segments and delivered timely messages during peak hunger hours.

High-impact formats like the ‘Subscroller’ and ‘Portal Truskins’ amplified Subway’s message, while a four-part editorial series on news.com.au aligned the brand with culturally relevant moments like ‘World Sandwich Day’.

The results spoke volumes.

Editorial content averaged over five minutes of engagement, more than double the benchmark. Subway saw a 50% uplift in foot traffic, 13,628 incremental visits, and over 150,000 returning customers. A 3% sales uplift underscored the long-term brand impact.

General Manager Client Partnerships QLD|SA|WA, News Corp Australia, Kelly Healy

The trust factor

“Rodi is a great client. She’s inquisitive, asks a lot of questions, and leans in,” said Healy. “That kind of partnership is where the magic happens.”

It’s this kind of deep collaboration that makes the Frontiers format work so well. “We don’t usually get this kind of information in a standard brief,” Healy added.

“But when clients pull down the walls and share what’s really going on in their business, that’s when we can deliver something extraordinary.”

News Corp’s ability to go deep comes from its breadth. The company’s Growth Intelligence Centre provides research across multiple categories, while editorial leaders like Kerrie McCallum are available to engage directly with clients. Having boots on the ground, from the Northern Territory to local markets, means strategies aren’t just broad; they’re precise.

“Our world has changed. Agencies are being bombarded by publishers, but if you choose your core partners and go deep, the outcomes will be far stronger,” said Healy. “At News, we’re not just offering media solutions, we’re solving real client challenges.”

Healy added: “We get that a lot at News Corp, clients saying things like ‘I didn’t know news could do that’. But if you pick your core group of publishers and go deep with them, that will be so much more beneficial to your clients, outcomes, and campaign results.”

Honesty drives innovation

For Healy, it all comes back to trust and transparency. “My advice to CMOs is to be open. Share what keeps you up at night. You don’t need to have that conversation with every publisher, but find the ones you trust and go deep.”

Subway did just that. And in return, News Corp Australia didn’t just reach into its toolkit, they expanded it, built new products, and delivered meaningful results.

Because sometimes, the only way to order a Subway sandwich is together.

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Clemenger BBDO has been appointed the new creative agency of record for Kmart Australia, marking a major win for the newly merged entity following its integration with CHEP Network and activation agency Traffik earlier this month.

The appointment, confirmed following a competitive pitch that began in November, sees Clemenger BBDO take the reins from incumbent Dentsu Creative, which opted not to re-pitch after holding the account intermittently over the past 14 years.

Led by CEO Lee Leggett, Clemenger BBDO will now lead brand and key retail campaigns for Wesfarmers-owned Kmart, one of Australia’s largest and most recognised department store chains.

The win is a significant milestone for the agency, which has recently undergone a transformative consolidation of its brand and activation capabilities under the Clemenger BBDO banner.

The pitch process kicked off prior to the departures of Clems CEO Dani Bassil, chief creative officer Adrián Flores, and chief growth officer Anita Zanesco.

Dentsu Creative had originally won back the account in 2022 from DDB, which took over in 2020. Prior to that, it was held for a decade by BWM Dentsu.

For Clemenger BBDO, the appointment not only signals early momentum post-merger, but also adds another iconic Australian retailer to its roster.

Kmart and Clemenger BBDO declined to comment.

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The Outdoor Media Association (OMA) has announced the finalists for the inaugural OMA Creative Awards, celebrating outstanding creativity across six categories.

The awards will be judged by a panel of senior creatives, marketers, media leaders and industry experts and winners announced at an exclusive French-themed lunch for finalists, judges and media at the Sofitel Sydney Wentworth on 4 April.

The event will also reveal the prestigious Grand Prix-winning campaign, with the lead creative team awarded a trip to the Cannes Lions Festival of Creativity in June.

“The response to the first-ever OMA Creative Awards has been outstanding – the volume of entries was far greater than we anticipated, which is a clear signal of the strength and vibrancy of Out of Home in Australia,” Elizabeth McIntyre, CEO of the OMA, said.

“The diversity and quality of the submissions from creative and media agencies, our members and marketers alike are a testament to the powerful role outdoor plays across the advertising ecosystem.”

“We’re incredibly grateful to our inaugural jury – highly-respected leaders in creativity, marketing and media – for their generosity, expertise and support in helping us bring these awards to life. Their involvement not only raises the bar and sets the creative benchmark for these awards in years to come but reinforces the critical role creativity plays in delivering outstanding and effective outdoor campaigns.”

Elizabeth McIntyre

Finalists – 2024 OMA Creative Awards

Best Classic Campaign
Campaign: Black Friday Sale
Advertiser: Kitchen Warehouse
Agency: Special Group

Campaign: From Space to Your Place
Advertiser: Telstra
Agency: +61

Campaign: Welcome to Melbourne
Advertiser: Specsavers ANZ
Creative: TBWA\Melbourne

Best Digital or Programmatic Campaign
Campaign: Billboard Breakthroughs
Advertiser: NIB
Creative: Dentsu Creative

Campaign: Storm Season
Advertiser: Suncorp Insurance
Creative: ArtBot

Best Innovation or Sustainability Campaign
Campaign: The Fall Guy – Death-Defying Live Action Billboard
Advertiser: Universal Pictures
Creative: Universal Pictures

Campaign: Healthier Ways
Advertiser: Zespri Kiwifruits
Creative: Dentsu Creative

Best Small Format Campaign
Campaign: Ban the Burn
Advertiser: Ocean Spray
Creative: The Reactor

Campaign: Banana Gym Pass
Advertiser: Australian Bananas/Hort Innovation
Creative: Thinkerbell

Best Multi-Format Campaign
Campaign: Black Friday Sale
Advertiser: Kitchen Warehouse
Creative: Special Group

Campaign: Welcome to Melbourne
Advertiser: Specsavers ANZ
Creative: Special Group

Best Special Build Campaign
Campaign: Holiday Special Builds
Advertiser: Amazon XCM
Creative: Amazon & MBCS

Campaign: Black Friday Sale
Advertiser: Kitchen Warehouse
Creative: Special Group

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In this episode, Christie Meischke, director of talent experience at Omnicom Media Group, shares a deeply personal story about motherhood, resilience, and advocacy, and how this has shaped her perspective at work and in life.

Just days before her firstborn arrived, Christy learned that her son Will would be born with dwarfism. With little more than a Wikipedia printout in hand, she and her husband Paul stepped into a world they hadn’t prepared for, full of questions, fears, and the unknown.

The early days were overwhelming, marked by a lack of clear guidance or support. But amid the uncertainty, Christy and Paul found their footing in something far more powerful: unconditional love and the belief that Will was exactly where he was meant to be.

What began as a daunting journey became one of strength, purpose, and deep connection, a story of two parents learning as they went, and a little boy who changed everything.

Beyond the early challenges, Christy has channelled her journey into a powerful drive to educate others about dwarfism and push for a more inclusive world, starting with her son, Will. What began at home has grown into a broader mission that now shapes her work in diversity and inclusion.

Her lived experience gives her a unique lens in the professional space, where she advocates for environments that truly embrace difference. For Christy, inclusion isn’t a checkbox, it’s deeply personal, and it’s the fuel behind her commitment to change.

Christy’s story is one of growth as much as resilience. With every hurdle, she chooses to move forward, seeking not just to adapt, but to learn, lead and create space for others along the way.

Christy’s journey is a testament to the quiet strength that emerges when life throws the unexpected. Faced with uncertainty, she didn’t just endure, she transformed it into purpose, becoming a powerful advocate for inclusion and understanding.

Listen Here

Learn more about Uncomfortable Growth® & Rowena here.

The world doesn’t need more stories of success; it needs real conversations about resilience, vulnerability, and the human spirit’s incredible capacity to turn trials into triumphs.

That’s why the Uncomfortable Growth Uncut podcast was born. It’s a reminder that struggle and success are intrinsically linked, that growth is rarely easy, and that the moments we feel most uncomfortable are often where our greatest breakthroughs lie.

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Warner Bros. Discovery (WBD) has launched its All Killer, No Filler campaign ahead of the launch of its premier new streaming service, Max, on Monday 31 March, 2025.

The centrepiece of its campaign is its TVC ad, which pokes fun at the current over saturation of streaming products available.

Sasha Mackie, Warner Bros. Discovery’s senior director, marketing, took to LinkedIn to praise the team behind the campaign writing: “Launching Max in Australia is a defining moment – I’m extremely proud of this campaign, the world-class work behind it, and the team that made it happen. The partnerships and relationships built along the way have been just as important as the creative itself”.

Max will serve as the central hub for a diverse range of content, bringing together HBO Originals and Max Originals, including highly anticipated series such as The Last of Us, House of the Dragon, Euphoria, and Peacemaker.

A major part of Max’s Australian launch strategy is its partnership with Foxtel, which will provide Foxtel subscribers access to the Max app at no additional cost. This collaboration ensures that existing Foxtel users can seamlessly transition to Max’s extensive content offering while maintaining their current subscriptions.

The introduction of Max is set to shake up the Australian streaming market, intensifying competition among established platforms such as Netflix, Stan, Disney+, and Amazon Prime Video. With Max now serving as the exclusive home of HBO content in Australia, it could also lead to changes in the content available on other local streaming services like Binge, which has traditionally hosted HBO programming through its partnership with Foxtel.

Max will be available for subscription at www.max.com and via app stores, including the Apple Store and Google Play Store.

Agency credits:

Creative Agency: Special

Media Agency: EssenceMediacom

Social Agency: Present Company

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By Daniel Van Vorsselen, business director and CX lead, TRA

Surprise and delight are seen as the ultimate goal for brands. Get it right, and you’ll build salience and loyalty. But could continuously striving to delight your customers do more harm than good?

Customers don’t judge brand interactions in isolation, they benchmark them against broader interactions with big brands across industries. Which is why, at its core, CX is about managing and delivering on expectations. Meeting the expectations set by your brand will consistently build trust. There’s a reason we expect more from Air New Zealand than Jetstar.

Loyalty isn’t realised through one-off moments or grand gestures. It’s built on consistent and reliable delivery. Exceeding expectations might be momentarily exciting, but it isn’t sustainable. Once a customer experiences an elevated level of service, they expect it every time. At best, occasionally over-delivering will risk setting brands up for expectations they can’t sustain. At worst, trying too hard to surprise and delight could interrupt the ease of an action or a task – increasing frustration.

Failing to meet expectations, especially after overpromising, will drop customer satisfaction below the baseline and risk destroying trust. It raises the bar for future interactions, and that’s why it’s risky. Customers value predictability more than surprise. So, rather than constantly trying to ‘delight,’ invest in delivering on brand promise.

Take the Prime delivery promise. Amazon customers know exactly what to expect from this promise – fast and free delivery. So, as long as those expectations are met, customers remain satisfied. But if a Prime package arrives late? The emotional response is disproportionate as the experience falls below expectations.

Daniel Van Vorsselen

The case for good enough

For brands, the real opportunity isn’t in ‘over-the-top’ – it’s in ‘good enough’. It might sound counterintuitive, but trying too hard can lead to over-investment or too much focus on the wrong areas.

Good enough experiences emotionally resonate. They validate a brand’s promise time and time again, with consistently reliable experiences that meet expectations across the entire customer journey. That’s everything from communications and advertising to product experience and sales conversations. It’s the anticipation leading up to an interaction, the feelings during an experience and the memories that linger long after the experience has ended. When customer expectations are validated, their experiences evoke positive emotions, and they’re remembered.

So, how can brands mitigate the risk of unintentionally creating high expectations that are hard to maintain? In the words of Matt Watkinson, “be simply better”. Watkinson argues that brand loyalty doesn’t come from advocacy or grand gestures – it comes from simply being better than the competition at a given job.

That’s because customers don’t stay loyal just because they love a brand, they stay because it’s the best option for them – because it meets their needs in the best way. So, make it easy for customers to come back again and again. To keep choosing you.

Apple is a good example of what it means to be ‘simply better’. Instead of ‘delighting’ customers with surprise perks, the brand makes it easy to integrate new hardware. Apple’s frictionless ecosystem is seamless and integrated, allowing users to quickly set up new products and transfer information. So, customers stay loyal – it’s inconvenient for customers to switch to other brands.

Introducing emotion

Consistent doesn’t mean emotionless. Emotions play a crucial role in how experiences are remembered. While delight may fade, consistency and regular emotive connection is powerful.

Well-placed emotions such as motivation, inspiration, or a sense of accomplishment can elevate even functional experiences.

Consistency isn’t the opposite of emotion, it’s the foundation for it. By consistently meeting expectations, brands will have the trust needed for emotional impact to the land. That doesn’t mean surprising customers randomly – it means creating emotional resonance at the moments that matter most. That could be a sense of relief when a task is completed effortlessly, helping build motivation at the start of a journey or a feeling of closure when an issue is resolved smoothly. Think of emotion as a design input, not just an outcome.

Ultimately, the best experiences balance emotion and ease. To make the experience both meaningful and predictable, be intentional. Curate smooth, intuitive experiences by setting clear expectations and delivering consistently. Engage customers emotionally, not just efficiently. Think of it this way – consistency earns the right to create emotion. And when expectations are met and emotions are stirred at the right moments, that’s what makes experiences memorable.

The best brands don’t chase grand gestures – they engineer seamless, frustration-free experiences with just the right amount of emotional resonance. By focusing on expectation management, reducing friction, and crafting purposeful emotional highs, brands can create lasting loyalty. Not just momentary delight.

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The Australian Influencer Marketing Council (AiMCO) has appointed content creator, Brad Canning, as the chair of its new Influencer Advisory Sub-Committee, dedicated to advocating for its influencer and creator members.

Canning will oversee the sub-committee, while acting as a conduit between the body and the AiMCO board. He will also work closely with AiMCO managing director, Patrick Whitnall, to help develop and advance the sub-committee’s efforts.

The advisory body was established late last year to advance the position of creators in the influencer marketing industry, addressing the unique challenges facing creators, particularly issues around transparency, best practice and leadership.

Canning, a Melbourne-based home, tech and lifestyle creator, more than 700,000 followers across TikTok and Instagram. He received the AiMCO Award for Best Home, Lifestyle, Travel and Auto Creator in 2022, and was featured in TikTok Australia’s first national TV campaign. His work has also led to collaborations with brands like IKEA and Amazon. Canning also has extensive agency experience, having worked as social creative lead for DDB Group Melbourne.

Whitnall said: “When looking for a Chair for our new sub-committee, we wanted someone with a clear understanding of AiMCO’s purpose, and the ability to lead by example, and encourage and influence – Brad has all these qualities and more, and his fellow committee members clearly agreed.

“Brad is a market-leading and award-winning creator, with a deep understanding of the industry and its unique challenges. He is someone who has always leaned into the sector, taking the time to understand the business and best practices. He has always championed his peers and the growing creator community – I am looking forward to working with him to create new pathways, structures and opportunities to support creators – the true heartbeat of our industry.

Canning said of his appointment: “The influencer marketing industry is ever evolving – that’s why having a dedicated space where creators can come together to discuss challenges and drive meaningful change is so important.

“This sub-committee isn’t just about conversations – it’s about making things easier for creators and marketers alike, ensuring the industry continues to grow in a way that benefits everyone.”

Other members of the 2024/25 sub-committee include influencers Matty J, Madeleine Spencer and Taz & Alessia, Spawnpoint Media CEO, Jordan Barclay, and creators Vanessa Li and Nicole Wade, owner of Princess Honeybelle.

Top image: Brad Canning

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MESHKI has teamed up with This is Flow and JCDecaux to launch an Out-of-Home and social integration campaign.

The MESHKI Real-Time Race Day Looks campaign marks is the first major Out-of-Home campaign for the Australian fashion e-commerce brand and is its first time advertising beyond digital and social platforms.

Flow, who recently welcomed MESHKI as a new client with global buying responsibilities, identified a unique opportunity to evolve the role of Out-of-Home beyond branding.

Targeting the growing female interest in Formula 1 and engaging racegoers during one of Melbourne’s biggest sporting weekends, the campaign leveraged JCDecaux SMARTFRAME – its small format digital network – at Spencer Street, in the heart of Melbourne’s CBD.

Featuring dynamic creative that updated in real-time with user-generated social content, photos of influencers and F1 WAGs (wives and girlfriends) wearing MESHKI outfits to the race were streamed to the SMARTFRAMES bringing immediacy and relevance to the campaign. QR codes were embedded in the campaign’s influencer content, driving audiences to MESHKI and allowing customers to shop outfits directly.

“We are beyond proud of this innovative work with MESHKI and JCDecaux,” Jimmy Hyett, CEO of This is Flow said. “It is testament to the energy and hard work of the team to deliver a media first activation during the sought-after Melbourne F1 period. It is representative of the incredible work possible with a brand and business like MESHKI, who are always leading from the front.”

Alex Rushton, MESHKI’s head of marketing, added: “Our Real Time Raceday looks campaign represents a major step forward in how MESHKI connects with audiences beyond digital and social platforms.

“We’ve always been at the forefront of engaging our community where they are most active, and through this dynamic Out-of-Home activation, we bought that immediacy and engagement into the real world. By integrating real-time influencer content with a high-impact presence in Melbourne’s busiest locations, we reinforced our brand’s ability to lead and innovate in new spaces.”

In another first, MESHKI led the first ever tram shelter takeover at Spencer Street featuring branded tram shelters along the busy commuter hub with digital screens taking 100 percent of share time. Designed to fully immerse audiences in MESHKI’s brand world, the campaign extended across JCDecaux’s Yarra Trams network with a tram wrap, amplifying MESHKI’s presence across the F1 weekend.

Kristian Muhllechner, Victorian sales director at JCDecaux Australia, said: “MESHKI’s campaign is a prime example of a truly immersive brand experience and innovative Out-of-Home execution designed to be both highly visible and memorable. By leveraging JCDecaux’s SMARTFRAMES in the heart of Melbourne and the iconic Yarra Trams network, we delivered a campaign that was not only visually striking but also contextually relevant, aligning MESHKI’s real-time content with the energy of the F1 weekend.”

This is Flow:
Catherine Rushton – CSO
Sarah Kent – Business Director
Caitlyn Grant – Performance Lead
Lauren Pearce – Partnerships Director

JCDecaux:
Sales, Creative Solutions, Commercial,
Campaign Delivery, Technology, Operations

MESHKI:
Alexandra Rushton – Director of Marketing
Katie Lin – Digital Marketing Manager
Vendela Byrnes – PR and Marketing Specialist
Niamh Kenny – Graphic Design Manager

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We Are Social has promoted Suzie Shaw to Asia-Pacific CEO and launched its new offices in Bangkok, Thailand.

Shaw moves into the new position after 10 years as CEO of We Are Social Australia. As APAC CEO, Shaw will be responsible for driving the creative agency‘s growth across Asia-Pacific, fostering regional partnerships, and strengthening capabilities.

She will drive innovation to meet the evolving needs of brands navigating an increasingly complex social and cultural landscape. Shaw will also drive innovation to meet the evolving needs of brands navigating an increasingly complex social and cultural landscape.

She has grown the Sydney team to over 60, delivering award-winning, culturally relevant campaigns for brands such as Samsung, Audi, adidas, and TikTok. Shaw is also part of We Are Social’s executive management board and reports to Global Group CEO, Toby Southgate.

We Are Social takes Thailand

We Are Social has launched of its office in Bangkok, Thailand, with inaugural clients including L’Oréal, KFC, Warner Bros. Discovery, and T&B Media. It offers full-service capabilities and has a team of 19 people from creative, strategy, PR, influencer and client services disciplines, with open roles in technology and gaming.

To date, the team has worked on a broad range of creative services, including always-on social, gaming and cultural insights-led activations, engaging with subcultures and passion-based communities, as well as utilising web 3.0 technology.

Led by Patt Nitikarn as managing director and Nutchanun Chiaphanumas as executive creative director, who collectively have extensive global creative credentials, with multiple wins from Cannes Lions, Clios, D&AD and more.

Nitikarn commented: “Bangkok has always been a creative driving force, and there is now also a huge appetite for a culture and community-led approach to social-led creative. What’s really exciting for us as a team is being able to take the global vision of We Are Social – to lead the evolution of marketing – and make it culturally relevant for our market, whether that’s using cutting-edge technology to engage with consumers and subculture communities, or bringing creativity to always-on social. As an agency of pioneers and creative innovators, we’re excited to be working with brands that share our ambition.”

The agency’s launch in Bangkok further strengthens We Are Social’s footprint across Southeast Asia, with the agency already operating in Singapore and Indonesia. In order to build upon this success, We Are Social has promoted Naiyen Wang to the new role of managing director, Southeast Asia.

Previously managing director of Singapore, Wang will now be responsible for overseeing the agency’s presence in the region, identifying growth opportunities and building close relationships between its teams to service its roster of regional clients. Nitikarn will report to Wang; Wang will report to Shaw.

Shaw said: “I’m excited to step into this role and work alongside our incredibly talented teams across Asia-Pacific. We have a huge opportunity to help brands not just join the conversation but lead it in a way that truly resonates with their communities. Nowhere is this better reflected than the success Patt and the team in Thailand have had so far.

“Their social expertise in subcultures and innovative technology, combined with extremely impressive creative credentials is compelling, and resonating with forward-thinking brands. The growth from the team so far has been exceptional, and there is a lot more to come. I’m looking forward to rolling up my sleeves and pushing the boundaries of what social-first creativity can achieve.”

Southgate said: “This is an exciting moment for us, not only in Thailand, but also across Asia-Pacific where we see significant growth opportunities for socially-led creativity. Suzie’s exceptional track record and passion make her the perfect leader for our Asia-Pacific region.

“Likewise, Naiyen has been instrumental in establishing and growing our team in Singapore, and will be crucial in connecting our teams across Southeast Asia. And Patt is someone whose work speaks for itself. We Are Social is the world’s leading creative social agency and with people like Suzie, Naiyen and Patt leading us forward, our position will only continue to strengthen.”

Top image: Patt Nitikarn and Suzie Shaw

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Racing South Australia (Racing SA) has teamed up with independent creative agency, Emotive, to launch its first-ever national marketing campaign.

This new campaign is designed to inject fresh energy into the brand, deepening its connection with thoroughbred racing fans and attracting a new generation of enthusiasts.

The driving insight behind this campaign was positioning SA as the place where racing legacies are forged and legends take flight. The campaign takes on even greater significance as South Australia’s sport and entertainment scene becomes more competitive than ever. High profile events like the AFL’s Gather Round and LIV Golf aren’t just drawing crowds, they’re dominating media attention and government investment, making it crucial for racing to stake its claim in the spotlight.

“With this campaign, Racing SA is taking charge of its story, reinforcing its position in the SA events calendar, and making a stronger impact on the national racing scene,” Nick Bawden, CEO of Racing SA, said.

Maddie Hassett, marketing and brand manager of Racing SA, added: “The campaign encapsulates the passion, dedication, excitement and true spirit of our sport. It isn’t just about the races; it’s about the people, places, and energy that make racing an integral part of our cultural identity and pride as South Australians – we’re so proud to celebrate and remind people of this.”

Emotive’s creative response is led with a cinematic TVC featuring the visually stunning Lake MacDonnell, iconic to the South Australian landscape. It showcases the raw power and elegance of thoroughbred horses while immersing the audience in the visceral sounds of racing – the pounding hooves, rhythmic breathing, and the rush of the wind around both horse and jockey as it gallops down the causeway. The poetic script has a hint of nostalgia, paying homage to SA racing’s legacy. Momentum builds, in sync with the horse and rider, and with it, a sense of confident anticipation for the future.

“We wanted to craft a campaign that taps into the raw emotion of racing and honours the deep connection South Australians have with it,” Darren Wright, group creative director at Emotive, said.

“We’ve aimed for something raw, real and unforgettable which celebrates South Australia’s distinct character in the world of racing – from the emerging talent, such as Rochelle Milnes who features in our film – to the thrill of sprint races, and the deep connection to the land. It’s an invitation for the community to reconnect with South Australian racing.”

The campaign rolls out nationally across TV, print, radio, OOH and social from today.

Credits

Creative Agency: Emotive
CEO: Simon Joyce
CSO & Managing Partner: Michael Hogg
Strategy Director: Gerad Petherbridge
Group Creative Director: Darren Wright
Creative Director: Rupert Taylor
Associate Creative Director: Edward Macaulay
Senior Account Director: Zoe Hartas
Account Director: Aoife Lehane
Head of Production: Hayley-Ritz Pelling
Senior Producer: Cate Hartmann
Head of Design: Daniel Mortensen
Production Company: Clockwork Films
Sound Studio: Electric Sheep Music
Online and VFX: White Chocolate

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carsales has appointed Craig Fraser as managing director, following the departure of Paul Barlow after more than 15 years with the business.

Fraser joins the CAR Group Global Leadership Team and steps into the role having joined carsales in 2008. He has since held a number of senior leadership roles, most recently serving as Executive General Manager – Automotive, Corporate, Industry & Leisure.

Cameron McIntyre, CEO and managing director of CAR Group, praised both leaders: “Paul was a valued contributor to the carsales business, and I thank him for his leadership, commitment, and the support he has provided to everyone across the business over many years.”

“I am proud to be announcing Craig as the new Managing Director – carsales. Craig is a strategic thinker and highly respected leader within carsales. Having led automotive, non-automotive, media, product and technology areas of the carsales business, Craig has a deep understanding of our dealers, clients, and products and is incredibly well positioned to take on this role and drive carsales into a new phase of growth.”

Fraser said of the appointment: “carsales is an exceptional business with a fantastic culture, and I have been fortunate to be a part of its growth journey for many years. I’m thrilled to be taking on the role of Managing Director – carsales, and I look forward to maximising the opportunities ahead of us and continuing to make buying and selling a great experience for our consumers, customers, dealers and OEMs.”

carsales is part of CAR Group Limited, an ASX50-listed global digital marketplace company with operations in Australia, South Korea, the US, Chile, and Brazil. The carsales platform has become Australia’s #1 digital auto marketplace, expanding its offering to include bikes, boats, trucks, and more.

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Total People TV Ratings

Nine’s Married at First Sight recorded a total TV national reach of 2,729,000, a total TV national audience of 1,815,000 and a BVOD audience of 490,000.

Nine’s 9News recorded a total TV national reach of 2,087,000, a total TV national audience of 1,252,000 and a BVOD audience of 119,000.

Seven’s Seven News recorded a total TV national reach of 2,065,000, a total TV national audience of 1,295,000 and a BVOD audience of 85,000.

Also on Nine, A Current Affair recorded a total TV national reach of 1,839,000, a total TV national audience of 1,108,000 and a BVOD audience of 124,000.

Nine’s Tipping Point Australia recorded a total TV national reach of 1,365,000, a total TV national audience of 737,000 and a BVOD audience of 65,000.

Total People 25 March 2025.

People 25-54

Nine’s Married at First Sight:
• Total TV national reach: 1,167,000
• National Audience: 834,000
• BVOD Audience: 309,000

Nine’s 9News:
• Total TV national reach: 664,000
• National Audience: 366,000
• BVOD Audience: 62,000

Nine’s A Current Affair:
• Total TV national reach: 623,000
• National Audience: 335,000
• BVOD Audience: 70,000

Seven’s Seven News:
• Total TV national reach: 538,000
• National Audience: 312,000
• BVOD Audience: 43,000

Nine’s Scrublands:
• Total TV national reach: 529,000
• National Audience: 158,000
• BVOD Audience: 41,000

People 25-54 25 March 2025.

People 16-39

Nine’s Married at First Sight:
• Total TV national reach: 600,000
• National Audience: 437,000
• BVOD Audience: 209,000

Nine’s 9News:
• Total TV national reach: 293,000
• National Audience: 150,000
• BVOD Audience: 32,000

Nine’s A Current Affair:
• Total TV national reach: 284,000
• National Audience: 143,000
• BVOD Audience: 40,000

10’s Australian Survivor:
• Total TV national reach: 243,000
• National Audience: 136,000
• BVOD Audience: 29,000

Nine’s Scrublands:
• Total TV national reach: 221,000
• National Audience: 67,000
• BVOD Audience: 24,000

People 16-39 25 March 2025.

Grocery Shoppers 18+ TV Ratings

Nine’s Married at First Sight:
• Total TV national reach: 2,140,000
• National Audience: 1,451,000
• BVOD Audience: 394,000

Seven’s Seven News:
• Total TV national reach: 1,657,000
• National Audience: 1,045,000
• BVOD Audience: 68,000

Nine’s 9News:
• Total TV national reach: 1,635,000
• National Audience: 996,000
• BVOD Audience: 97,000

Nine’s A Current Affair:
• Total TV national reach: 1,439,000
• National Audience: 871,000
• BVOD Audience: 100,000

Nine’s Tipping Point Australia:
• Total TV national reach: 1,108,000
• National Audience: 607,000
• BVOD Audience: 53,000

Grocery Shoppers (18+) 25 March 2025.

Data © OzTAM and Regional TAM 2025. Not to be reproduced, published or communicated (electronically or in hard copy) in whole or in part, without prior written consent of OzTAM and Regional TAM.

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