In our October Small Talk, we sat down with Hugo Chambre, producer at Times Radio, journalist at BBC Radio 4, and newsreader and presenter at TalkSport. With an impressive track record across several of the UK's major radio broadcasters, Hugo shared thoughtful insights into how PR professionals can build stronger relationships with radio producers, what makes a pitch land successfully, and why empathy and preparation go a long way in broadcast PR.
Hugo's career in radio began in 2020, when he completed a Broadcast Journalism Master's degree. Alongside his studies, he gained work experience at several broadcasters before landing his first role as an assistant producer at Times Radio.
It was the early days of the station's growth, and he soon found himself immersed in a fast-paced, close-knit newsroom.
Over the past 5 years, Hugo has worked across many of Times Radio's flagship shows, including Breakfast with Aasmah Mir and Stig Abell, John Pienaar's Drive, and Cathy Newman's afternoon programme. He has also produced for Andrew Neil, Mariella Frostrup, and a variety of other presenters, covering everything from hard news and current affairs to culture, lifestyle, and human interest features.
Hugo describes Times Radio as a dynamic, collaborative newsroom, one where the scale of the operation allows for creativity and flexibility. The relatively small size of the team means producers and assistant producers often move between shows, taking on a variety of stories each day.
For Hugo, that diversity has been one of the most rewarding parts of the job. Having worked with PR professionals across sectors, he's developed a clear view of what works, what doesn' t, and how to make the relationship between PR and producer genuinely productive.
What a sucessful broadcast PR pitch looks like When asked what defines a good broadcast PR pitch, Hugo identifies two core factors: relevance and strong spokespeople.
The first is all about timing and usefulness. A good pitch, he explains, is one that helps a producer do their job more easily by offering a story or guest that fits seamlessly into the news agenda. At Times Radio, the production team works quickly to put together each day's shows, often with limited resources compared to larger broadcasters like the BBC. That means a broadcast PR pitch that anticipates what the station might want to cover, and provides a guest or angle that adds real value, is far more likely to get picked up.
PRs who can offer subject matter experts at just the right moment, or who understand how their story fits within the day's broader narrative, make life much easier for producers. It shows awareness of the newsroom's needs, rather than a one size fits all approach. The best pitches tend to feel “oven ready”, something that can be dropped straight into a programme and sound like it belongs there.
The second ingredient is having compelling spokespeople. Hugo is clear that a great guest can transform a mediocre story into excellent radio. Charisma, intelligence, and the ability to speak naturally and engagingly are invaluable qualities. Whether the spokesperson is a household name or simply a passionate, articulate expert, the ability to communicate clearly and hold a listener's attention is non-negotiable. For a producer juggling multiple guests and tight deadlines, a strong talker is like gold dust.
When broadcast PR pitches miss the mark Of course, not every broadcast PR approach lands successfully. There are some pitches that immediately raise red flags, and Hugo admits that many end up deleted within seconds of opening. Often, these are stories that make little sense for the programme in question, or ones that seem completely disconnected from what the station is covering.
He describes receiving emails that make him wonder why the PR thought this particular story, guest, or product would work on Times Radio. The most common mistake, he says, is failing to consider the audience and tone of the show being pitched to. A soft lifestyle story or light branded feature might find a home on an entertainment programme, but it's unlikely to be suitable for a hard news slot.
The key is empathy and understanding. PR professionals should take a moment to put themselves in the producer's shoes and ask if they were producing this programme, would they put this story on air? Would it genuinely interest the audience? If the answer is no, it's probably time to rethink the approach or find a better fit elsewhere.
Targeting matters as much as timing too. A pitch that might fall flat one day could be ideal the next, or might work perfectly for a different show or network. For Hugo, thoughtful, tailored pitching demonstrates professionalism and increases the likelihood of repeat collaboration.
Working with brands on-air Brand involvement in radio interviews can be a delicate topic, but Hugo says Times Radio generally takes an open-minded view. The station regularly works with well-known companies, including those that sponsor specific segments or support campaign led features. When the brand aligns with the audience and the story adds value, there's usually no issue with mentioning it on air.
However, transparency is crucial. A brand should not expect its name to be mentioned repeatedly throughout an interview, nor should a guest sound as though they' re delivering a marketing script. PR professionals are encouraged to have open conversations with producers about how brand credits will be handled, to ensure everyone's expectations are aligned before the interview goes ahead. Ultimately, if the story and spokesperson are strong, the brand benefit follows naturally.
Small Talk audience Broadcast and online in 2025 In the digital age, radio is no longer confined to audio. Times Radio, like many stations, produces visual and social content to accompany on air interviews, sharing clips across YouTube, X, and other platforms. Hugo emphasises how important this has become and how PRs can help ensure their interviews make it online as well as on air.
Good video and audio setups are vital. A well-lit, quiet space with a clean background and strong internet connection can make all the difference. Poor sound or video quality can mean the clip never gets published, no matter how good the conversation was. Hugo explains that the station's social media team won' t post interviews that don' t meet a minimum production standard, so PRs who prepare their guests for these expectations do everyone a favour. Simple preparation steps, such as advising on background, lighting, or even microphone placement , can transform a remote interview from forgettable to broadcast quality.
The importance of empathy and confidence Finally, Hugo reflected on the relationship between PR professionals and producers. He sees it as a partnership built on mutual understanding and trust. Producers need good content, and PRs need platforms for their stories and when both sides respect each other's goals, the results are clear to see.
He said that if he could leave PRs with one overarching piece of advice, it would be to always consider things from the producer's perspective. Think about what the show needs that day, what will make good radio, and how your story fits into that picture. Avoid assumptions, stay flexible, and be ready to adapt when needed.
He also encourages PRs to believe in their pitches. Confidence matters, especially when dealing with more challenging campaigns that may not seem like an easy sell. If the pitch is well-prepared, carefully targeted, and thoughtfully constructed, there is almost always a home for it somewhere. But to succeed, every element from the news hook to the spokesperson and supporting materials needs to be as strong as possible.
