Top 10 Radio Stations in South Africa (2025): A Guide for Musicians and Marketers

South Africa’s radio landscape in 2025 remains vibrant and influential. Despite the rise of music streaming, radio still reaches a massive audience – about 75% of South Africans (aged 15+) tune in weekly, with an average of over 5 hours of listening per daychrisjordanmedia.net. In fact, local radio listenership here consistently outperforms global averagesradioinfo.africa. This wide reach, coupled with government-mandated local music quotas (public stations must play at least 60% South African music, commercial stations 35%musicinafrica.net), makes radio a crucial platform for promoting local artists. For independent musicians, record labels, and music marketers looking to get airplay, understanding which stations dominate and what content they favor is key. Below we rank the most-listened-to stations in South Africa, including their estimated audiences, genres, and regional strongholds, followed by tips on how to approach them and a look at how radio compares to digital streaming in 2025.

Top 10 Most-Listened-To Radio Stations in South Africa

The following are South Africa’s top radio stations by weekly listenership (past 7-day audience), along with the primary content and regions they serve:

1. Ukhozi FM – ~7.6 million weekly listenersthemediaonline.co.za. This isiZulu-language SABC public radio station is the largest in the country, broadcasting a mix of traditional and contemporary music, news, and talk. Ukhozi FM’s playlist features a lot of local genres – from Afro-pop and house to maskandi (traditional Zulu music) and gospel – catering to its vast Zulu-speaking audience. It dominates KwaZulu-Natal province (home to SA’s largest isiZulu population) and also attracts Zulu-speaking listeners nationwide. For independent artists creating music in isiZulu or in popular genres like Afro-pop, Ukhozi is a prime (though highly competitive) outletthemediaonline.co.zathemediaonline.co.za.
2. Umhlobo Wenene FM (UWFM) – ~5.3 million weekly listenersthemediaonline.co.za. Broadcast mainly in isiXhosa, Umhlobo Wenene is the second-biggest station nationally. It’s an SABC station focusing on Xhosa audiences, with content ranging from Xhosa-language pop and gospel music to talk shows and sports. UWFM is dominant in the Eastern Cape (and among Xhosa speakers in the Western Cape and Gauteng), making it the go-to station for reaching South Africa’s Xhosa-speaking communitythemediaonline.co.zathemediaonline.co.za. Artists recording in Xhosa or with gospel and Afro-soul tunes often find Umhlobo Wenene FM an essential platform.
3. Metro FM – ~4.2 million weekly listenersthemediaonline.co.za. Metro FM is the country’s largest English-language music station (part of the SABC). Branded as an urban contemporary station, it’s known for chart-topping R&B, hip-hop, Afro-house, Amapiano and pop hits. Metro has a national urban footprint – especially popular in major metros like Johannesburg, Pretoria, and Durban – and targets a younger adult audience. It’s a trendsetting station for urban music; many South African hip-hop and dance hits break on Metro. Independent urban artists (hip-hop, R&B, dance) covet Metro FM airplay, though competition is stiff and the station expects broadcast-ready, high-quality tracksthemediaonline.co.zathemediaonline.co.za.
4. Lesedi FM – ~3.0 million weekly listenersthemediaonline.co.za. Lesedi is a Sesotho-language SABC station serving the Sesotho-speaking population. Centered in the Free State and Lesotho region (with listeners also in Gauteng), Lesedi FM offers a mix of Sotho traditional and popular music, talk shows, and news. It’s especially known for playing Basotho gospel, Afro-traditional music, and local pop. For artists who perform in Sesotho or related styles, Lesedi FM is a crucial outlet to reach the large Sotho audience in central South Africathemediaonline.co.za.
5. Thobela FM – ~2.7 million weekly listenersthemediaonline.co.za. Thobela FM broadcasts in Sepedi (Northern Sotho) and is the largest station in Limpopo province. Also part of SABC’s public radio portfolio, Thobela features Sepedi-language content, including contemporary Sepedi music, local gospel, Kwaito/house, and talk programs relevant to Northern Sotho culture. It’s a key platform for reaching Limpopo’s population. Independent musicians from Limpopo or those creating music in Sepedi (or a similar style) should consider Thobela FM for its strong regional influencethemediaonline.co.za.
6. Motsweding FM – ~2.2 million weekly listenersthemediaonline.co.za. This SABC station caters to Setswana speakers, primarily in the North West province (and parts of Northern Cape and Botswana). Motsweding’s programming includes Setswana-language music (from traditional Setswana ballads to Tswana hip-hop and gospel) as well as talk segments. It’s the top station for the Tswana demographic. Artists making music in Setswana or aiming to engage North West audiences will find Motsweding FM to be highly influential in that regionthemediaonline.co.za.
7. Gagasi FM – ~1.6 million weekly listenersthemediaonline.co.za. Gagasi is the largest independent commercial station on this list, broadcasting in a mix of English and isiZulu. Based in Durban and focused on KwaZulu-Natal’s urban youth, Gagasi FM plays a vibrant mix of hip-hop, R&B, Afro-house, and popular dance music (often with local KZN flavor). It ranks as the province’s top regional station after Ukhozithemediaonline.co.zathemediaonline.co.za. Gagasi is known for breaking local gqom and Amapiano hits. For emerging KZN artists – especially those in urban and dance genres – getting a track on Gagasi can build significant regional buzz.
8. RSG (Radio Sonder Grense) – ~1.3 million weekly listenersthemediaonline.co.za. RSG is the SABC’s national Afrikaans-language station. Its programming spans Afrikaans pop music, adult contemporary hits, radio drama, news, and talk – all in Afrikaans. RSG has a loyal following among Afrikaans-speaking listeners countrywide (with strong audiences in the Western Cape, Northern Cape, and parts of Gauteng). It’s a key outlet for Afrikaans artists; Afrikaans pop, gospel, and even crossover Afrikaans dance tracks often find a home here. Record labels marketing Afrikaans content will prioritize RSG for its reach in that community.
9. Munghana Lonene FM – ~1.1 million weekly listenersthemediaonline.co.za. Another SABC station, Munghana Lonene broadcasts in Xitsonga, primarily serving the Tsonga communities in Limpopo and Mpumalanga. It features Xitsonga music (from traditional Shangaan disco to contemporary Tsonga pop) along with talk shows and news in Xitsonga. Munghana Lonene’s rise into the top ranks underscores the demand for Tsonga-language content. Musicians who perform in Xitsonga or aim to connect with Tsonga-speaking audiences should not overlook this influential station in the north-eastern regions.
10. East Coast Radio (ECR) – ~1.1 million weekly listenersthemediaonline.co.za. ECR is a major English-language commercial station based in Durban, and the leading English station in KwaZulu-Natal. It broadcasts a hot Adult Contemporary and Top 40 format – think international pop hits, South African pop/rock, and some urban dance – combined with popular DJs and news. East Coast Radio’s audience spans KZN’s English-speaking and multicultural listeners, especially in urban centers. It’s one of the few non-SABC stations to crack the top ten nationwide by audience size. Independent pop and crossover artists often target ECR to build a fanbase in KZN’s coastal cities, and the station does support local music that fits its sound (e.g. English or bilingual pop tracks)themediaonline.co.za.

Other Notable Stations: Just outside the top ten are several important stations that, while slightly smaller in audience, carry significant influence in their markets. Jacaranda FM, for instance, is a Gauteng-based commercial station (also heard in parts of Limpopo and Mpumalanga) with roughly around 1 million weekly listeners. It specializes in adult contemporary hits (a mix of pop from the ‘80s, ‘90s and today) and commands a large bilingual (English/Afrikaans) audience in Pretoria, Johannesburg and beyond. Notably, Jacaranda’s digital presence is huge – its online platforms attracted over 5.6 million users in Q2 2024, the highest of any SA radio station’s websitebizcommunity.com. 5FM (SABC’s national Top 40 youth station) is another key player for new music, focusing on pop, rock, and hip-hop (with an estimated 800k listeners). In Cape Town, KFM 94.5 leads the market with about 1.1 million listeners in the Western Caperadioinfo.africa, playing a mix of pop and feel-good hits. Johannesburg’s 947 (formerly Highveld Stereo) similarly dominates the English pop/rock segment in Gauteng. And for the hip-hop/Amapiano scene, YFM (a youth station in Gauteng) – while smaller (600-700k listeners) – is famed as a trendsetter that helped launch many local urban artists’ careers. In short, South Africa’s radio ecosystem is diverse: the stations with the biggest numbers are often vernacular (African-language) stations each owning their region, but a variety of commercial and community stations also thrive by super-serving specific demographics and music tastes.

Regional Dominance and Station Genres

The dominance of particular stations often aligns with South Africa’s linguistic and provincial demographics. In KwaZulu-Natal, for example, isiZulu powerhouse Ukhozi FM vastly outperforms any other station, reflecting the province’s majority Zulu audience. Yet KZN’s urban listeners split between Ukhozi and popular English offerings like East Coast Radio and Gagasi FM – meaning an English pop song might fare better on ECR or Gagasi than on Ukhozi, whereas a Zulu ballad or gospel track is ideal for Ukhozi’s playlist. In the Eastern Cape, the Xhosa-language Umhlobo Wenene FM reigns supreme, while an English community station like Algoa FM (Eastern Cape’s commercial station) caters to English speakers with pop music. Gauteng, the country’s economic hub, is a melting pot with no single vernacular station dominating; here the audience is fragmented among many players – Metro FM and 5FM (national stations), Lesedi FM (Sesotho, for the large Sotho community in Gauteng), Ukhozi (for Zulu speakers who have migrated), as well as commercial music stations like 947 and Jacaranda FM. In the Western Cape, a large Afrikaans-speaking population enjoys stations like RSG and local Afrikaans music stations, while English-speaking Capetonians tune into KFM or CapeTalk (for talk) and Heart FM (which focuses on R&B/urban adult contemporary). North West and Northern Cape are strongholds for Motsweding FM (Setswana) and RSG (Afrikaans), whereas Limpopo is uniquely split among three big SABC stations by language: Thobela FM (Northern Sotho), Munghana Lonene FM (Tsonga), and Phalaphala FM (Venda – not in the top 10 nationally, but very popular among Venda speakers).

These patterns mean each station has a clear content focus shaped by its audience. Local-language stations tend to favor music of that language or culture: e.g., Ukhozi FM’s lineup will include Zulu gospel, maskandi, and Afro-pop that appeals to Zulu listeners; similarly, Phalaphala FM plays a lot of Venda traditional and gospel. Stations like Metro, 5FM, YFM, and Gagasi lean into contemporary urban genres (hip-hop, gqom, Amapiano, R&B) in English or slang that appeals to youth. Adult contemporary stations (Jacaranda, 947, KFM, East Coast) play more pop/rock and throwback hits that appeal to 25-49 age groups, with a mix of local and international tracks. As an independent artist, it’s crucial to identify where your music fits. A trap or hip-hop artist might prioritize Metro FM or YFM; an Afrikaans folk singer would aim for RSG or Cape’s Bok Radio; a house/Amapiano producer from Durban might target Gagasi or even Ukhozi’s youth shows. In other words, matching your genre and language to the right station is the first step to cracking the radio market.

How to Get Your Music Played on South African Radio

Getting airplay on major stations can be challenging, but it’s achievable with the right approach and preparation. Here are some tips for independent musicians and labels to improve your chances of being playlisted:

1. Target the Right Stations for Your Genre: Do your research and make a list of stations whose format aligns with your musicmusicandlife.co.za. Radio stations adhere to specific formats and target audiences – for example, SAFM or talk stations won’t play hip-hop, and an isiZulu station won’t play an English rock songmusicandlife.co.za. Be realistic and selective: if you produce Afro-pop or gospel in Xhosa, focus on Umhlobo Wenene and other Xhosa-language stations; if you’re a new rapper or Amapiano DJ, focus on urban music stations like YFM, Metro, 5FM, or community youth stations. Many station websites or press kits describe their music style – use that info to guide your choices.
2. Ensure Your Music is Broadcast-Ready: Before sending anything out, polish your product. This means professional production and clean editing – no swearing or offensive content in the radio editmusicandlife.co.za. Have your track in high-quality MP3 or WAV format as required (typically 320kbps MP3 or WAV). It’s also important to take care of the administrative side: register your song with a performance rights organization (like SAMRO) and obtain an ISRC code for the trackmusicandlife.co.za. These steps ensure you can earn royalties when your song gets radio play and that it can be tracked properly. Radio stations often ask for the ISRC and proof of registration upon submission. In short, come prepared as a serious professional.
3. Follow Each Station’s Submission Procedure: Every major station has a specified process for music submissionsmusicandlife.co.za. Some have online portals or forms (e.g., SABC has a centralized Music Submission Portal for its stationsmusicsubmission.sabc.co.za; YFM and Gagasi FM accept uploads via their websitesyfm.co.zagagasiworld.co.za), while others use email (e.g., 5FM accepts songs via email to their music compiler5fm.co.za). Find these instructions (usually on the station’s official site under “Submit Music” or FAQs) and adhere to them exactly – correct format, file naming, metadata, etc. Many stations have weekly playlist meetings; they often require submissions by a certain day to be considered for the next week’s playlistmusicandlife.co.za. Timing can matter, so try to submit ahead of those deadlines. And don’t spam every DJ at the station – use the designated channel unless you have a personal relationship with someone there.
4. Include a Brief, Compelling Pitch: When you submit your music (whether via email or form), treat it like a mini press kit. Include a concise artist bio and any notable achievements. Explain in a few sentences who you are, the genre of the song, and any buzz it’s already generating. For example, mention if the song has gained streaming traction or if you’ve performed at known events – any social proof that shows the song has appealmusicandlife.co.zamusicandlife.co.za. Attach or link a high-quality cover image and your social media/website, so compilers can quickly learn more if they’re interested. The key is to sell your song’s potential – remember that big stations are looking for music that resonates with their audience and keeps listeners engagedmusicandlife.co.za. A polite, professional approach will set you apart from amateurish submissions (avoid gimmicky subject lines like “🔥 This is the next big hit!” – let your music and stats speak for themselves).
5. Leverage Local and Digital Buzz: Stations, especially commercial ones, are more likely to playlist a song that’s already proving popular. Before targeting top national stations, it can help to build momentum via streaming platforms and smaller radio outlets. If your song is doing well on Spotify, Apple Music, or YouTube (e.g. thousands of streams or trending on social media), mention that in your pitch. Likewise, try getting airplay on community radio or campus stations first, which are often more accessible for emerging artistsmusicandlife.co.za. Success there can be used as a stepping stone – for instance, “our single is getting strong rotation on XYZ Community Radio and has 50,000 streams” adds weight to your submission. Many major station compilers scout social media and YouTube for trending local songs, so a strong online presence can actually draw radio’s attention to you.
6. Be Persistent and Patient (but Professional): After you’ve submitted, be prepared to wait a few weeks. Some stations explicitly say that “if you don’t hear back in 6 weeks, consider it a no”musicandlife.co.za. In reality, you’ll often know sooner – if the song gets picked up, you might hear from the station’s music compiler or just catch it on air in the next 1-2 weeks of release. If you don’t get a response or airplay, don’t be discouraged. It’s common to be rejected or not make the cut for playlist rotation, since the competition is fierce. You can politely follow up once (after a few weeks) to ask if they had a chance to listen and if they have any feedback. If you still get nothing, move on and try again with a new track down the line. Sometimes tweaking the song or building more buzz will make a difference on your next attempt. Above all, maintain good relationships – today’s “no” could turn into a “yes” for your next release if you stay on their radar in a positive way.
7. Utilize Networking and Promotion: While cold-submitting is the standard route, also look for networking opportunities. Engage with station personalities on social media (tastefully and without pestering), attend music industry events or workshops (radio stations sometimes hold these for unsigned artists), and consider reaching out to radio pluggers or PR agents who specialize in music promotion. They often have established contacts and can pitch your song to multiple stations more efficiently – though this can be costly. Even without a plugger, building a story in the press (e.g., local news features, music blogs) can make your song more appealing to radio. When a station sees that an artist is getting media attention, they know there’s listener interest. Essentially, think beyond just the MP3 – build a mini-campaign around your single release, as this improves your odds of getting noticed by both radio programmers and new fans.

By following these steps and tailoring your approach to each station, independent artists significantly improve their chances of securing radio airplay. Remember that South African stations want local music – they have quotas to meet and audiences that love homegrown hits. In 2025, many stations report playing well above the minimum local music requirements because listener demand for local genres (like Amapiano, SA hip-hop, Afro-pop, gospel, etc.) is high. Your goal is to convince them that your track is the next local hit that their listeners will enjoy.

Radio vs. Digital Streaming in 2025: Which Matters More?

With the explosion of platforms like Spotify, Apple Music, YouTube, and TikTok, one might wonder how radio stacks up against digital streaming in South Africa’s music scene. The reality is that radio and streaming now coexist as complementary avenues – each with its own strengths.

On the one hand, streaming has become the dominant force in music revenue. By 2024, streaming made up nearly 75% of all music income in South Africachrisjordanmedia.net, reflecting how listeners (especially younger ones) are consuming music on-demand in huge numbers. South Africa’s smartphone penetration and affordable data packages (along with free YouTube access on some mobile networks) have led to millions of users curating their own playlists and discovering new artists online. For independent musicians, streaming platforms are indispensable for distributing music globally at low cost and building a fanbase through algorithms and virality.

However, radio remains unparalleled in its mass reach and local influence. While someone might have 100,000 streams online (which is great, but could be from a niche global audience), a single play on Ukhozi FM or Metro FM instantly exposes the song to millions of South Africans in one go. Radio is accessible for free across the country, including areas with limited internet access or where streaming is not the norm. Notably, a significant portion of South Africans still rely on radio for music discovery and news, as evidenced by that ~75% weekly listenership figurechrisjordanmedia.net. In 2025, about 3 in 4 social media users and even 76% of active music streamers also listen to radio weeklychrisjordanmedia.net – showing that even tech-savvy audiences haven’t abandoned radio. It’s often in the car during commutes, in taxis, in workplaces, or at home that radio continues to score ears.

For artists and music marketers, this means radio play and streaming are both critical. A song that trends on TikTok or charts on Spotify can catch the attention of radio programmers (who scour digital trends to keep their playlists fresh). Conversely, heavy rotation on radio can drive people to look up the song on streaming platforms – boosting your digital numbers and sales. In South Africa, we’ve seen examples of this synergy: a track like Master KG’s “Jerusalema” blew up internationally via YouTube/streaming, then got extensive radio play locally and globally, further propelling its success. Likewise, many Amapiano hits circulate in the townships and on TikTok first, but once radio picks them up, they reach an even broader mainstream audience, including demographics that might not be on TikTok.

It’s also worth noting that radio offers a form of credibility and emotional connection that is different from streaming. When listeners hear a local artist’s song introduced by their favorite DJ on a popular show, it can lend a sense of validation (“if it’s on Station X, it must be a hit”). Radio DJs and personalities often engage with music in a storytelling manner – through interviews, song backstories, shout-outs – which can humanize the artist to the audience in ways a cold algorithmic playlist doesn’t. For independent artists, an interview or live performance on air, or even just the mention of your social media handle by a presenter, can significantly boost your profile.

From a regional perspective, radio is crucial for targeting specific provinces or language groups, whereas streaming is borderless. If your strategy is to become big in KwaZulu-Natal, getting on Ukhozi or Gagasi will move the needle far more than just hoping KZN folks find you on Spotify. On the flip side, if you aim for international exposure, streaming (and the internet in general) will be the main vehicle – but having a strong home base via local radio success can actually make you more attractive on the world stage (as it shows you’ve “made it” in your own market).

In 2025, the smartest approach is a hybrid one: use digital platforms to build momentum and engage fans (there’s no gatekeeper there – you can drop music anytime and promote it), and use radio to amplify that success to a wider South African audience. Neither can be ignored. In fact, many record labels in SA coordinate release strategies that involve pushing a single to radio and streaming simultaneously. They might release a song to radio a week before it’s on streaming to generate buzz, or vice versa drop it online and let viral growth convince radio to add it. As an independent artist, you can adopt similar tactics on a smaller scale.

To summarize the comparison: Streaming is where new music often breaks first and where monetization is rapidly growing, but radio is where you still achieve massive mainstream reach and validate your hit with the general public. South African music consumers are enjoying both worlds – they’ll jam to their personalized playlists, but they’ll also tune in to radio for shared experiences (like call-in shows, news, traffic updates, and the joy of not having to choose the next song). For music marketers, radio isn’t an old relic; it’s a powerful ally that can propel a track from being a niche online favorite to a cross-country smash.

Conclusion

The South African radio landscape in 2025 is a rich tapestry of big national broadcasters and vibrant regional stations, each with dedicated audiences in the millions. From Ukhozi FM’s Zulu-language dominance to Metro FM’s urban hits, the top stations offer something for every segment of the population. This presents both opportunities and challenges for independent musicians and labels. The opportunity is that radio stations need local music – they have large appetites (and quotas) for South African content, and a hit song in any language has the potential to captivate a huge listenership. The challenge is that competition is high and each station curates carefully to satisfy its listeners’ tastes.

By understanding which stations align with your genre and target fanbase, and by following best practices in approaching music compilers with a professional pitch, you can significantly improve your odds of getting airplay. We’ve seen that success on radio often goes hand-in-hand with success on streaming – rather than choosing one over the other, smart artists leverage both traditional and digital media. For example, you might use a viral TikTok moment to catch a station’s attention, or use a radio appearance to spike your streaming numbers. In a country as diverse as South Africa, this multi-pronged approach is key: you want to reach fans in the taxi ranks via radio and fans on their smartphones.

In closing, radio in South Africa is far from “old school” – it’s evolving and still immensely impactful. Top stations now simulcast online, engage listeners on social media, and even influence trending charts. For independent artists and music marketers, radio remains an essential part of a well-rounded promotional strategy. A catchy song, a clear plan, and a bit of persistence can eventually echo through the speakers of a minibus taxi in Soweto, a farmer’s pickup in Free State, or a beachside cafe in Durban – uniting South Africans in enjoying your music. And that is a uniquely powerful experience that streaming alone might never fully replicate. So, tune in, put in the work, and don’t underestimate the microphone in 2025 – because when your song is playing on South African radio, millions are listening. Good luck, and happy broadcasting!