ARN Media Limited [ASX: A1N] has reported a strong financial performance for the year ending 31 December 2024, with group revenue reaching $365.6 million, up 9% from the previous year. The company’s EBITDA before significant items surged by 30% to $93.1 million, fuelled by robust performance in its Australian operations and a revitalised business in Hong Kong.

Key financial highlights:

• Group revenue: $365.6 million (up 9%)

• EBITDA before significant items: $93.1 million (up 30%)

• Net profit after tax (NPAT) before significant items: $12.0 million

• Fully franked final dividend: 1.1 cents per share, bringing total dividends for the year to 2.3 cents per share

• Transformation program: Expected to deliver $40 million in cost savings over three years (2025-2027)

Australian operations: Strong cash generation & digital growth

ARN’s Australian operations delivered solid results, generating $27.5 million in free cash flow after lease payments, interest, and tax. Despite challenging market conditions, revenue increased by $0.9 million, with digital audio emerging as a key growth driver.

• KIIS network: Maintained its position as Australia’s #1 national radio network, with The Kyle & Jackie O Show expanding to Melbourne and reaching 1.2 million listeners across Sydney and Melbourne.

• Digital audio expansion: iHeartRadio retained its #1 position as Australia’s leading podcast publisher, with registered users growing by 10% to 2.9 million. Digital audio revenue increased by 28%, delivering positive EBITDA in the second half of 2024.

• Regional strategy success: The ‘Leaders in Local’ strategy strengthened ARN’s position in regional markets, with 10 out of 12 stations achieving #1 ratings.

ARN Media CEO & managing director Ciaran Davis, said, “While the launch of The Kyle & Jackie O Show into Melbourne has generated significant attention, ARN remains focused on building audience loyalty and reinforcing its content leadership. The ongoing demand for digital and personalised audio experiences has positioned ARN as a leader in the evolving audio landscape.”

ARN chairman Hamish McLennan, added, “The enduring power of radio, combined with the increasing demand for digital and on-demand audio, presents significant opportunities for ARN. Our transformation program will position us as the most profitable audio business in Australia.”

Hong Kong Operations: Cody positions for future profitability

ARN’s Hong Kong outdoor advertising business, Cody, played a large role in the group’s revenue growth, contributing $47.0 million following the launch of two major contracts:

• Hong Kong Tramways advertising contract (May 2024) – providing large-scale visibility in the CBD.

• Kowloon Motor Bus advertising contract (July 2024) – covering nearly 4,000 buses across Hong Kong’s urban areas.

Despite upfront investment costs, Cody delivered cash-positive EBITDA in Q4 2024, with a target to be free cash-flow positive in 2025.

Looking ahead: Digital first & cost efficiencies

Looking ahead, ARN Media has set clear strategic priorities to drive future growth:

• Accelerated digital audio monetisation – The company is ramping up the commercialisation of live radio streaming and podcast assets, following the strong digital growth in 2024.

• Cost transformation program – Aims to deliver $40 million in savings over three years by leveraging AI, simplifying operations, and streamlining business processes.

• Stronger commercial performance – Revenue is expected to grow in the low single digits, with digital audio revenues projected to surpass 2024 growth levels.

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A ‘hair on fire’ moment.

That’s how radio industry expert Craig Bruce has described what he believes the behind-the-scenes atmosphere at Southern Cross Austero (SCA) would have been like in the immediate aftermath of Triple M host Marty Sheargold’s controversial on-air comments about the Matildas and women’s sport.

Sheargold and Triple M have since agreed to ‘mutually’ part ways, with the company’s chief content officer, Dave Cameron, saying: “It’s clear this is a moment for reflection and review” and that the company will “continue to take all necessary steps to support staff”.

In the statement, Cameron also revealed that “a new Drive show will be announced in due course” before ending his comments by acknowledging “Marty’s contribution over the past four years … we wish him well for the future.”

The comments

Sheargold made the remarks during a news bulletin on The Marty Sheargold Show on Monday afternoon off the back of a story about the Matildas’ recent defeats in the SheBelieves Cup.

“There’s something wrong with the Matildas. They had that wonderful tournament out here where we all fell in love with them, even though they didn’t make the quarters,” he began.

“You know what they remind me of? Year 10 girls. All the infighting and all the friendship issues, ‘The coach hates me and I hate bloody training and Michelle’s being a bitch.’

“Now, I’m sorry to undermine the whole sport, but that’s what I think of it so you can stick it up your arse.”

Sheargold ended his rant by again referring to the SheBelieves Cup saying: “she believes in what? It better be men” before adding, “got any men’s sport?”

The backlash

The comments quickly attracted outrage with Football Australia stepping in to release a statement saying the remarks “not only diminish the extraordinary achievements and contributions of our women’s national football team but also fail to recognise the profound impact they have had on Australian sport and society”.

Federal Sports Minister Annika Wells even got involved, calling Sheargold’s comments “boorish, boring, [and] wrong”.

The minister said: “Australia’s most-watched television event ever was the Matildas’ World Cup semi-final,” Wells said. “The Tillies’ quarter-final is the second most-watched event in Australian history, while Ash Barty’s Australian Open win and Cathy Freeman’s Sydney gold are in our top five, too.”

Triple M and Sheargold were quick to release an apology via social media. Hours later, with the collective outrage showing no signs of abating, a statement was issued confirming the network and comedian had “mutually agreed to part ways”.

On the front foot

Sheargold first made the comments on his Monday afternoon show. The ‘mutual’ decision to ‘part ways’ was made less than 48 hours later.

When asked how the network would have reacted to Sheargold’s comments in the immediate aftermath, Bruce responded “very seriously is the short answer”.

“Marty’s comments were unacceptable and hurtful to so many,” he said.

Despite the mea culpa, Bruce says that from his experience, managing possible client fallout would be one of the network’s main areas of concern: “That would be across multiple constituents – clients, listeners, staff, and the impact on the show’s presenting and production team.”

Damage control

Bruce further noted: “I’m sure the teams at SCA have really strong relationships with their clients and I’m guessing this will be a focus for them right now, to ensure that they feel comfortable having their brands attached to the show.”

He acknowledged that while edgy, live radio can sometimes tip over into controversy – “The show is edgy. On Monday it fell over that edge. These things can happen with live radio, and whilst it’s not a defence of the comments, it’s a reality that you just do your best to deal with the fallout.”

Bruce continued: “Sponsors and media partners are a key consideration – as soon as there’s revenue at risk, it becomes a much more highly charged scenario”.

For Bruce, Triple M made the right call in parting ways with Sheargold, although he adds the company would have had options, speculating that “Marty may have made the decision for them”

Moving forward

Looking ahead, Bruce anticipates tough internal conversations will take place about presenter expectations. “Once the dust settles, I’m sure there’ll be some conversations around expectations for all presenters,” he said. “Marty is a comedian – most comedians push boundaries, but he made an error of judgment that hurt a lot of people. There’s no exact science here; we’re fighting for consumer attention in a crowded market. We want our presenters to generate attention for the right reasons.”

Pictured: Marty Sheargold

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Foxtel Group and Warner Bros. Discovery have announced partnership for 2025 and beyond, with Foxtel serving as a launch partner for the new Max streaming app, set to debut in Australia on 31 March 2025.

As part of the deal, Foxtel’s 1.4 million residential subscribers will have access to Max’s expanded content offering at no additional cost to their existing subscription. The integration is designed to enhance viewer experience and extend advertising reach within an increasingly competitive streaming market.

Additionally, the Max app will be available on Hubbl, ensuring seamless access through its user interface. This strategic partnership highlights both companies’ commitment to innovation and offers advertisers fresh opportunities to engage with a broader, digitally connected audience.

Some of the content featured on the Max app will include HBO Originals, Max Originals, and shows from Warner Bros., Discovery, Cartoon Network and more. Key WBD franchises, such as Harry Potter and the DC Universe, underscore its high-value offerings.

The platform will also deliver current and returning seasons of popular series like House of the Dragon, The Last of Us and And Just Like That…, positioning Max as a strong contender in the competitive streaming market.

Chief executive of Foxtel retail and Hubbl, Hilary Perchard, said: “This renewed collaboration confirms our position as a partner of choice for the world’s largest entertainment studios who seek scale and reach for their premium entertainment content.

“We have always said optionality is central to our long-standing partnership. The strength of our products and much-loved brands means that we have been able to innovate and evolve our partnership with Warner Bros. Discovery in a unique model that enables mutual growth.”

Meanwhile, Warner Bros. Discovery GM – ANZ, Michael Brooks, said: “Through our long-standing partnership, Australians have enjoyed WBD’s world-class content through Foxtel Group platforms for many years. As we launch the Max app in Australia – and look to maximise its reach through partnerships – it makes perfect sense for us to create a unique option we know will resonate with Foxtel subscribers and Hubbl users.

Perchard continued: “We have been partners with Warner Bros. Discovery for over 20 years and are delighted that our world-class aggregation products will play key roles in launching Max in this market.

“As launch partner, our Foxtel and Hubbl customers will be able to seamlessly access the breadth of content across the Warner Bros. Discovery content slate, which has always been popular among audiences, ensuring we continue to deliver exceptional value for our subscribers.”

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Victoria Racing Club (VRC) CEO Kylie Rogers has appointed Nikki Clarkson as Chief Marketing Officer. Clarkson brings over 25 years’ experience in brand management, digital strategy, content creation and media commercialisation, most recently serving as CMO at Southern Cross Austereo.

In her new role, Clarkson will lead VRC’s marketing, communications, content, digital, production and social media functions, driving brand growth and innovation across all Flemington assets year-round – most notably the Melbourne Cup Carnival.

According to Rogers, Clarkson’s extensive experience and strategic insights will be pivotal in helping the VRC meet its commercial objectives, reinforcing the club’s commitment to delivering cutting-edge advertising and trade opportunities.

“We are thrilled to appoint Nikki to the role of Chief Marketing Officer. Nikki has extensive experience in understanding the wants and needs of customers, the power of media and content and the importance of storytelling.

“Nikki shares our enthusiasm for the future of Flemington Place and recognises the huge opportunities that lie ahead for the VRC. She will be an asset for our club, VRC partners and the wider racing industry,” Rogers said.

Clarkson said she was looking forward to joining the VRC: “I am thrilled and proud to be joining one of the world’s greatest sporting and entertainment institutions, and look forward to working with Kylie, the board and the wider VRC team to contribute to an exciting future for the club and the Flemington Place precinct.”

In 2022, Clarkson was recognised as one of Australia’s top 50 marketers on the 2022 CMO50 list.

Pictured: Nikki Clarkson

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It’s the end of an era for at the ABC, with election aficionado Antony Green choosing to step away from the camera and focus his talents behind-the-scenes.

Green, who has spent more than three decades informing and entertaining Australians on election nights, has decided his on-air tenure as the ABC’s chief elections analyst will come to an end at this year’s federal poll.

Since his debut in 1991, Green has offered expert commentary on over 90 Australian elections – including 13 federal polls, numerous by-elections, local contests and even overseas events in the UK, New Zealand and Canada.

Although stepping back from the microphone, Green will continue contributing as a behind-the-scenes consultant. His ongoing involvement ensures that his expertise remains a vital asset for the ABC, reinforcing the broadcaster’s commitment to evolving its approach and opening new avenues for trade and advertising engagement.

Of his decision to step away, Green said while “covering elections for the last 36 years has been a wonderful and at time exhilarating experience”, he was finding that with each passing year the ritual was becoming a “more exhausting experience”.

“There are so many who’ve helped and backed me in my career. So many have trusted my knowledge, analytical skills and judgment on election night and backed me on ideas for the internet and in developing my results touchscreen. It is impossible to name them all,” he said.

Green also touched upon the enjoyment covering elections brought to him: “I used to say election night was like bungee jumping for intellectuals. You leap into the election night void hoping the thin stream of data from the Electoral Commission doesn’t snap. Election night still provides that adrenalin rush.”

Green will still stay at the ABC albeit in a behind-the-scenes roll which has not been announced. Stepping into his shoes will be Casey Briggs – who will take on the title of the ABC’s chief election and data analyst and continuing to work closely with Green.

Briggs said that working with Green has been “a privilege”, adding that he was lucky to have “had a front row seat to watch and learn from the master at work”.

“We will all miss him from our screens, but I’m thankful that at least we get a couple more chances to celebrate his monumental contribution to Australia and its democracy,” he said.

Born in the UK and relocating to Australia in 1964 at age four, Green later earned a degree in science and working as a computer programmer, he returned to The University of Sydney to study economics with a major in politics – a blend that would later underpin his innovative approach to election analysis.

Green joined the ABC in August 1989 as an election researcher for the 1990 election, making his on-air debut during the 1991 NSW state election. His first federal election night appearance in 1993 marked a pivotal moment as he helped design the ABC’s inaugural election computer system – a technological milestone that coincided with the Labor Party’s victory under Paul Keating.

In recognition of his contributions, Green was awarded an Order of Australia in 2016 for his distinguished service as a broadcaster and key interpreter of Australian democracy.

Green’s appeal transcended generations and social media trends, with the ‘Antony Green called it’ meme flooding timelines during elections.

The ABC’s news director, Justin Stevens, said Green is both an “Australian institution and much-loved figure with the public”.

“For more than three decades he has performed one of the ABC’s most important roles with precision, impartiality, dedication and unprecedented expertise. He has the ABC’s immense gratitude and respect,” he said.

Stevens went on to congratulate Briggs on his appointment saying “it’s fantastic to have someone of (Briggs) calibre step into this key role.”

Pictured: Antony Green

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The Australian Influencer Marketing Council (AiMCO) has welcomed four new industry partners, bringing the member base to 120 global and Australian brands, national media and marketing agencies and partners aligned with the influencer marketing sector.

Joining the council are independent media agency, This is Flow, creator management specialists, RMK Creators, content marketplace, Creator Flow, and influencer talent managers, Skygate Media.

This is Flow specialises in influencer management, working with a host of popular brands like Air Asia, King Gee, Hard Yakka, Sky Dive Australia and John Deere. The agency’s senior partnerships leader, Lauren Pearce, said: “We’re excited to join AiMCO at such a pivotal time, and to collaborate with the industry’s best in influencer marketing. At This Is Flow, we’re eager to continue showcasing the powerful impact influencers have in shaping the entire media landscape.”

RMK Creators is the newest division of RMK Management. RMK Creators is focused on connecting clients with Australia’s top creative talent and looks after a roster of Australian talent including actor Gyton Grantley, Pass Around the Smile creator Cleo Massey and broadcaster/DJ Faustina Agolley.

Emma Pearce, creators manager at RMK Creators, said: “RMK Creators are excited to join AiMCO and champion the power of authentic creator partnerships in Australia.”

Creator Flow helps brands produce high-performing UGC ads through more than  500 top-vetted creators. In the past year alone, its creators have produced over 2,500 UGC videos, driving results for over 1,000 brands across industries.

Mustafa Kassim, CEO of Roar Global and owner of Creator Flow, said: “Joining AiMCO is a proud milestone for Creator Flow. We believe in building a strong creator economy and empowering brands with authentic, creator-led content.

“We’re excited to connect with industry leaders, share insights, and help brands grow through UGC. We are proud to innovate the way brands and creators collaborate. As a brand leading the UGC segment, we look forward to driving more exciting initiatives and shaping the future of creator-led marketing.”

SKG (Skygate Media) is a global influencer talent management firm, renowned for being experts in crafting bespoke partnerships and deals for their celebrity clients. Assisting with creating deals, personal branding and talent management, SKG works with leading TikTokers, YouTubers, influencers, streamers and podcasts. Its clients include the content creators, OGCrew, Stimpee, OfflineTV, Aimsey and many more. Its roster of clients reaches more than 11.3 million views per month.

SKG managing director, Joel Collie, said: “At SKG, we are committed to setting the benchmark for excellence in influencer marketing. Joining AiMCO reinforces our dedication to industry best practices, transparency, and fostering meaningful brand partnerships. As the digital landscape continues to evolve, we’re excited to collaborate with AiMCO and its members to drive innovation and deliver impactful campaigns that elevate both creators and brands alike.”

Patrick Whitnall, AiMCO managing director, said: “It’s fantastic to kick off 2025 strongly with four new members joining AiMCO. There is already significant momentum among Australia’s influencer sector for the year ahead, particularly as we ready for our annual AiMCO Awards, which are set to be held in Sydney tonight.

“We’re anticipating another landmark year for AiMCO and the wider influencer marketing industry as more and more brands invest heavily in content creator and influencer partnerships. The global influencer marketing industry is set to reach $US31.2 billion by 2027*, fuelled by advancements in AI, social commerce expansion and data-driven influencer campaigns and Australia is on a strong growth trajectory.”

The 2025 partners follow a record number of new members joining AiMCO in 2024, which included Subway, furniture company Koala, global travel platform Klook, talent management agency Mushroom Connect, and gaming agency Click Media.

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Enero Group has reported a 52% drop in net profit after tax for the first half of FY25, alongside a 12% decline in revenue and a 31.5% fall in EBITDA. The company attributes its weak performance to macroeconomic pressures and challenges in the technology and AdTech sectors, which have weighed heavily on its financials.

Despite reducing overall expenses by 6% year-on-year, the company posted a net loss of $800,000, impacted by $2.6 million in restructuring costs and $1.4 million in value markdowns. Enero’s shares fell by 7% within the first hour of trading following the results announcement.

Performance across Enero’s agencies

Enero owns BMF, Hotwire Group (which includes Hotwire and ROI DNA), digital and experiential agency Orchard, and AdTech platform OBMedia. While the company faced headwinds, its Technology, Healthcare, and Consumer (THC) Practice, which includes BMF, Hotwire, and Orchard, was a notable bright spot, achieving 17% EBITDA growth in the half.

The THC Practice delivered some of the Group’s most awarded work to date, with:

• BMF named Australia’s Most Effective Creative Agency at the Australian Effie Awards

• Orchard emerging as the most awarded healthcare agency at the PRIME Awards

• Hotwire winning Best Account-Based Marketing Campaign at the B2B Marketing Awards

The Group also secured major new business wins, including OpenAI, GSK, Tourism Tasmania, and Westpac, with BMF’s appointment as Westpac’s strategic brand and creative agency marking the agency’s biggest win in its 28-year history. Enero added that 56% of its revenue in the half came from clients working across multiple THC brands or markets, signaling a growing integration strategy.

Leadership and future direction

Enero’s results come amid a leadership transition, following the appointment of Ian Ball as chief operating officer earlier this month. Ball replaces Brent Scrimshaw and brings extensive experience across Asia, the UK, Europe, Australia, and the U.S. in professional services and growth strategy.

Ball said, “I am excited to have joined Enero Group and have already seen the depth of talent and creativity that exists across the business. There is significant potential for future growth and value creation, and I look forward to working closely with the leadership teams to unlock new opportunities and drive the business forward.”

Despite the challenging market conditions, Enero has declared a 1.5 cents per share interim dividend, fully franked, with a 42% payout ratio, which the board attributes to a strong balance sheet.

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The Hallway has revealed new additions to the leadership team with the return of Dan Saunders as executive creative director and appointment of Phoebe Keogh as head of media and connections, and chief creative officer Simon Lee’s departure.

Saunders joins the agency having tenured as creative director at some of Australia’s biggest agencies including TBWA, DDB, and Dentsu, working on global brands, such as McDonald’s and Amazon, and international experience in the US and London.

He previously spent two years at The Hallway creating famous and awarded work for brands like Boody, Smooth FM and Anytime Fitness. Whilst also picking up a Cannes Lion for The Cardboard Cake in 2024.

Keogh recently joined The Hallway after eight years with UM Australia where she was strategic lead for Menulog, ING and Chery Motors. She will overssee the continued growth of The Hallway’s connections department.

“I’m incredibly excited to have Phoebe join our team and to welcome Dan back. Dan has been the architect of some of our most famous and impactful work in recent times. We’ve got a shared view on the type of work that drives brand growth, and the ways to deliver maximum value to our clients,” Jules Hall, founder and CEO of The Hallway, said.

“Phoebe is a critical part of our next chapter. She’s one of Australia’s best communication strategists, whip-smart and loved by her clients. Her ability to find the most impactful moment to connect with customers, combined with Dan’s creative leadership, is a rare and very exciting combination.”

The agency also announced the departure of Simon Lee from The Hallway to pursue a new opportunity. Hall said: “When I founded the agency, way back in 2007, I had no partners, limited experience, but a hell of a lot of ambition. Simon joined me three years later. Together we’ve built a brand and business that we are both incredibly proud of.

“Fast forward fourteen years and the time has come for us to forge new paths. I’d like to extend a sincere thanks to Simon for his contribution and wish him the very best in his next adventure. We’ve had a wonderful time in business together and part ways as firm friends wishing the very best for each other.”

Lee said of his exit: “Building and running The Hallway with Jules for the past 14 years has been an extraordinary journey that has shaped me both professionally and personally. I’m immensely proud of what we’ve achieved together – the work that we’ve created, the culture we’ve fostered and the impact that we’ve had on our clients’ brands and businesses.

“I’ve been blessed to work alongside some uniquely talented creative and strategic people on this journey and want to take this opportunity to acknowledge and thank you all (you know who you are) for our shared laughter, tears and unrelenting unreasonable commitment to bringing work that matters into the world.

“And as I embark on a new adventure, I wish Jules and The Hallway all the very best,” he added.

Top image: Jules Hall, Phoebe Keogh, Dan Saunders

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The City of Parramatta has awarded its bus shelter advertising network to oOh!media following a competitive tender. Under the long-term agreement, oOh!media will manage installation, cleaning, and maintenance while introducing a major digital screen upgrade.

The company says the refreshed network will offer enhanced advertising opportunities for brands eager to connect with a diverse, rapidly growing audience.

Parramatta’s economy is valued at $32.3 billion, and a projected population of 450,000 by 2050, the city is fast becoming a commercial hub. With over $10 billion in recent public and private investments and marquee projects like Powerhouse Parramatta set to attract two million visitors annually, the urban centre is also emerging as a prime market for advertisers.

As part of the deal, oOh!media will refurbish more than 200 bus shelters and deploy double-sided digital panels at new greenfield sites, along with freestanding digital screens along major CBD thoroughfares.

The company says the strategic upgrade not only expands the network’s reach but also provides the City Council with a versatile platform for important community messaging, ensuring a win-win for advertisers and public stakeholders alike.

Chief commercial operating officer at oOh!media, Robbie Dery, said: “Parramatta is one of the fastest developing business and cultural centres in Australia, and we’re delighted to continue our partnership with the City of Parramatta to deliver best-in-class Out of Home infrastructure.

“Our significant investment in digital upgrades and new free standing digital assets in key CBD locations in the heart of western Sydney will provide unrivalled opportunities for advertisers to connect with its rapidly growing and increasingly affluent population at scale, making public spaces better to commuters and visitors and brands unmissable,” Dery said.

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Telstra and +61 have teamed up with director Dan Tobin Smith and art director Rachel Thomas to bring Telstra’s Home Internet experience to life with a visually striking campaign.

+61, the bespoke partnership with independent creative studio Bear Meets Eagle On Fire, powered by the full integrated capability of TBWA and Telstra’s existing media agency OMD, uses a practical theatrical set and thousands of colourful dominoes, celebrating beautiful internet performance.

“This distinctive campaign is designed to capture the imaginations of Aussies and stand out in a market where everyone continues to focus on tired rational proof points,” Brent Smart, chief marketing officer of Telstra, said.

“With the help of a team of domino experts (yes, that’s a real job), we built a bespoke set with a series of elegant domino runs using more than 20 thousand real dominos. Beautiful.”

Micah Walker, chief creative officer of Bear Meets Eagle On Fire, added: “It’s a very simple idea where the elegance of the execution reinforces the message.”

+61 is a bespoke partnership that brings together the world-class thinking and creativity of independent creative studio Bear Meets Eagle On Fire, powered by the full integrated capability of TBWA and Telstra’s existing media agency OMD.

+61 will form a seamlessly integrated way of working on the Telstra business.

Telstra is now moving away from a traditional agency roster with specialist agencies that focus on brand, customer communications and retail scopes.

At the time of launch, Smart said: “This is not just another standalone one-client agency built to deliver efficiencies. We have big creative ambitions and this is about the best talent and thinking from three agencies at the top of their game, collaborating on our business as one team with one commercial arrangement.”

Credits
Agency: +61 with Bear Meets Eagle On Fire
Media: OMD Australia
Client: Telstra

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In this episode, Philippa Moig opens up about the reality of uncomfortable growth—how it challenges us, reshapes us, and forces us to redefine success on our own terms.

For years, Philippa thrived in a role she loved. But over time, that spark faded. She craved something new, something bigger. When the opportunity to lead a massive team of 70 people with 250 stakeholders came her way, it seemed like the perfect next step. But stepping into the role wasn’t just a promotion, it was a wake-up call.

The pressure was relentless. Managing expectations, motivating a large team, and balancing the demands of work with life as a mother of young kids left her stretched thin. She found herself constantly on edge, questioning if this was the kind of growth she really wanted. The tension between career ambition and personal fulfillment became impossible to ignore.

Philippa shares the moment she made the bold decision to step away—with no job lined up, just a deep conviction that she needed to realign with what truly mattered. She talks candidly about the fear, the uncertainty, and ultimately, the clarity that came from trusting herself.

She also reflects on what leadership really means—how managing a small team is entirely different from leading at scale, the importance of influence over authority, and why onboarding and relationships matter more than people think.

Most importantly, she reminds us that growth isn’t just about pushing harder. Sometimes, it’s about stepping back, reassessing, and having the courage to pivot.

Philippa’s story is an honest, inspiring look at career transitions, leadership, family and the messy, beautiful process of figuring out what really matters – when.

Tune in for a conversation that might just change how you think about success as well!

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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Leo Australia has appointed Hilary Badger as executive creative director in Melbourne, alongside the promotions of group creative directors Tommy Cehak and Tim Woolford to executive creative directors in Sydney.

Badger joins the Publicis Groupe agency from Ogilvy in Melbourne, bringing more than 20 years of experience to the role. She has worked with globally recognised brands across financial services, FMCG, automotive, retail, government and tourism sectors.

She is an AWARD jury chair and lecturer, with work recognised at the highest level at Cannes, AWARD, Spikes and OneAsia; her work also took home the 2024 Grand APAC Effie.

In addition to her industry accomplishments, Badger has a best-selling book series, Zac Power, translated into over ten languages and set to be adapted into an animated feature film in 2026.

Badger of her new role: “With new business wins, new energy, even a new name – what an exciting time to join Clare Pickens, Andy Fergusson and the team. Creating transformative work for Australia’s biggest brands is what drives me. And to do so at Leo where diversity and humanity are recognised as essential to creativity – I’ve found the right home.

“With the seamless integration of agencies in Publicis Groupe elevating Leo’s own creative and strategic prowess, there’s a clear path forward to achieving the biggest, bravest and most effective creative work with the team at Leo.”

Since joining in 2023, Cehak and Woolford have crafted award-winning work for Diageo, Amazon, and DNSW, with projects like Bundaberg Rum’s “Wedding that Fans Built” and Johnnie Walker’s “In Her Boots” gaining international recognition at Cannes, Spikes, One Show, AWARD and D&AD.

As newly appointed executive creative directors, Cehak and Woolford will continue to push creative boundaries and expand their impact across AAMI, GIO and Suncorp Insurance following the recent consolidation of the Suncorp portfolio.

Andy Fergusson, chief creative officer at Leo Australia, added: “I’m very excited that Hilary is joining the team. I’ve been a big fan of her work for a while now. She has a proven track record as a creative leader and is respected throughout the industry. She is the right person to build on the momentum in our Melbourne office; we are lucky to have her.

“I also couldn’t be happier to announce Tim and Tommy’s promotion. Since joining Leo, they have made a huge impact on the work, the people, and the culture. They have been instrumental in strengthening the agency’s position, and I am excited to see them grow into their new roles moving forward.”

Top image: Hilary Badger, Tommy Cehak and Tim Woolford

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TikTok has revealed the top 10 songs of the summer in Australia, which have amassed 3.4 billion views between them.

Leading the charge was ‘La La La’ by DJ Naughty Boy and Sam Smith. The song became hugely popular, with TikTok users lip-synching to the sped-up version of the track whilst switching between the foreground and background. The 2013 track has been viewed more than 600 million times in Australia.

M.I.A.’s ‘Paper Planes’ took #2 on the list after gaining over 585 million views between December and February thanks to an intergenerational dance trend jumped on by The Wiggles and Kat Clark. Diplo, the song’s producer, posted a throwback from the studio with M.I.A. adding, “Internet is wild but I love it”.

‘Messy’ by Lola Young became Australia’s #3 most popular song over the summer, racking up over 450 million views thanks to Aussies posting their own takes of Sophia Richie’s dance moves.

‘She Looks So Perfect’ by Australia’s own 5 Seconds of Summer gained over 327 million views. Its resurgence in popularity is credited to the “You’re So Funny” trend, led by 5SOS lead singer Luke Hemmings along with actress Brooke Shields, NSW Police, and DJ Tigerlily, with users spilling tea about their lives as a form of trauma bonding.

Hemmings said: “Australia – thanks so much for making ‘She Looks So Perfect’ one of this year’s Songs of the Summer. It’s 11 years since that song came out and I can’t believe people are still and loving it and enjoying it. From me and the 5SOS boys, thank you very much, we love you, and see you soon.”

TikTok’s Songs of the Summer is based on the songs with the most video views in Australia between December 2024 to February 2025, with tracks amplified through Apple Music and Amazon Music.

From timeless classics, such as Earth, Wind & Fire‘s ‘Let’s Groove’, to new hits like Gracie Abrams‘ ‘That’s So True’, the first Australian Songs of the Summer showcases a diverse array of artists while capturing the evolution of music.

During the campaign, local artists were also encouraged to promote their songs using #SongOfTheSummer and nearly 1,000 acts from Australia and NZ took part, seeing an additional 13 million views on their content locally.

Ollie Wards, director of music for TikTok Australia and New Zealand, said: “Music takes on an extra special place in our lives during summer, soundtracking the best time of the year over holidays with family and beach time with mates. As the #1 platform for music discovery, TikTok introduced an eclectic set of Songs of the Summer that’ll likely remain in playlists until next year.”

TikTok also showcases local artists to the world – most recently Australian Jude York amassed over 38 million views with his heart wrenching cover of ABBA’s song ‘Slipping Through My Fingers’, dedicated to his mother.

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TBWA Sydney has appointed Elektra O’Malley as managing director and Michael Hogg as chief strategy officer for the Group, which includes TBWA, Eleven, Fleishman Hillard, Fabric, +61 for Telstra and TBWA/Media Arts Lab.

She returns to Australia after over a decade in New York working at creative agencies including TBWA, Johannes Leonardo and Anomaly, partnering with iconic brands such as Diageo, Kraft Heinz, Amazon, Gap, Revlon, H&M, Adidas, and PepsiCo.

O’Malley’s most recent role was as head of account leadership at Anomaly NYC where she led business initiatives for Bud Light, Amazon Ads, and Ferrero Group. Under her leadership, ABI won Creative Marketer of the Year at Cannes for two consecutive years and launched two Super Bowl ads for Bud Light.

O’Malley said of her new role: “This opportunity is truly a homecoming for me, both professionally and personally. My time at TBWA New York was a fundamental building block in my career and shaped my belief in creativity and Disruption as a transformative force for growing brands and businesses. I’m so excited to return home to TBWA Sydney and work with its incredible people and brands to disrupt the future of creativity.”

Hogg joins the agency as chief strategy officer from creative independent Emotive after spending the last five years as managing partner and chief strategy officer. He helped lead the transformation of Emotive into a leading integrated creative agency working with clients including Optus, Google, Unilever and Breville.

He was head of strategy at The Monkeys/Accenture Song (now Droga5), where he led strategic planning on major clients including NRMA Insurance, Qantas, Ikea and MLA, earning multiple Effies including a Grand Prix and Effective Agency of the Year. Before The Monkeys, Michael spent five years at Fallon London.

Hogg of joining TBWA Sydney: “Having spent a career in independent creative agencies, I never imagined taking a network job. But it feels like a unique moment in time at TBWA. The agency has incredible momentum, a renewed creative ambition and Paul’s brought together a group of people in Elektra and our new CCO who made it impossible to say no to. Plus I get a car park.”

Paul Bradbury, CEO & President, TBWA\Australia and New Zealand, added: “The appointments of Elektra, Michael and our soon to be announced chief creative officer mark the start of a very exciting new chapter for TBWA Sydney.

“We have incredible clients, capabilities across the totalbrand experience and the full force of TBWA & OAG to accelerate our innovation and creativity.”

Hogg’s creative partner and the new chief creative officer for TBWA Sydney will be announced in the coming weeks.

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MYOB has launched its new app, Solo by MYOB, to help sole operators escape the burden of work-related admin.

The campaign is the start of work developed by M&C Saatchi Group, iProspect, Sparro, Dentsu and MYOB’s in-house agency. M&C Saatchi’s ‘NMBL’ integrated agency model led the brand creation, PR, and a high-impact launch campaign featuring comedian Tom Cashman.

Kwik Kopy has launched its new campaign Project Facelift, highlighting the design, print and signage solutions provider’s commitment to empowering businesses through impactful signage and design, via Nibble Edge.

The campaign centres around a contest that offers five lucky Australian businesses the chance to each win a $5,000 signage makeover, plus weekly instant prizes.

To enter, participants have to submit photos of their existing signage and explain why their business deserves a “facelift.” The competition aims to generate significant leads for Kwik Kopy centres as well as foster deeper engagement between Kwik Kopy Australia and the SME community.

“A strong first impression makes all the difference for small businesses. It can give them that distinct edge compared to their competitors,” Panteha Jadidi, national marketing director of Kwik Kopy Australia, said.

“We want to equip small to medium enterprises with the right tools for a brand refresh and to garner their market’s attention. We are excited to see how these facelifts will positively impact their businesses.”

The creative agency spearheaded the entire campaign, from concept to execution, across media and creative. This included developing the overarching creative strategy, national and localised strategy, crafting engaging content, and executing the media plan.

The campaign features a hero 30-second social video designed to capture attention and drive contest entries alongside targeted display advertising, digital video and social media.

“We’re incredibly excited to have partnered with Kwik Kopy on ‘Project Facelift,’” Deepika Rodrigo, managing director at Nibble Edge, said.

“By bringing creative and media under one roof, we were able to develop a cohesive strategy that will not only drive tangible results for Kwik Kopy but also elevate their brand presence within the competitive landscape. We are confident that this campaign will make a significant contribution to Kwik Kopy’s continued growth and solidify their position as the go-to partner for businesses seeking powerful Design, Print and Signage solutions.”

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Triple M and broadcaster Marty Sheargold have mutually agreed to part ways.

The announcement from the Southern Cross Austero (SCA) owned network comes after Sheargold faced a storm of criticism for controversial on-air remarks he made about the Matildas and women’s sport.

Sheargold made the remarks during a news bulletin on The Marty Sheargold Show on Monday afternoon off the back of a story about the Matildas’ recent defeats in the SheBelieves Cup.

“There’s something wrong with the Matildas. They had that wonderful tournament out here where we all fell in love with them, even though they didn’t make the quarters,” he began.

“You know what they remind me of? Year 10 girls. All the infighting and all the friendship issues, ‘The coach hates me and I hate bloody training and Michelle’s being a bitch.’

“Now, I’m sorry to undermine the whole sport, but that’s what I think of it so you can stick it up your arse.”

Sheargold ended his rant by again referring to the SheBelieves Cup saying: “she believes in what? It better be men” before adding, “got any men’s sport?”

The comments quickly attracted an online backlash with Football Australia even stepping in to release a statement saying the remarks: “not only diminish the extraordinary achievements and contributions of our women’s national football team but also fail to recognise the profound impact they have had on Australian sport and society”.

Sheargold was absent from today’s show sparking rumours surrounding his future at SCA.

In a statement, SCA’s chief content officer, Dave Cameron, said the company and Sheargold had “mutually agreed to part ways”.

He continued: “SCA takes its responsibility to listeners, shareholders, and clients seriously and its programming should align with the standards and expectations of its audience.

“Right now, it’s clear this is a moment for reflection and review. Triple M, and the wider SCA network, will continue to take all necessary steps to support staff. A new Drive show will be announced in due course. Triple M acknowledges Marty’s contribution over the past four years, and we wish him well for the future,” he said.

The statement also contained comment from Sheargold who said that “I fully understand the gravity of my comments”.

He continued: “I’d like to sincerely apologise to the Matildas and the broader organisation. I would also like to thank my immediate team for their hard work and apologise for the situation they now find themselves in.”

Pictured: Marty Sheargold

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