Member Info for TheBigShow

Framework Agreement: Signed with CC6 to develop Phase 1 of Balasausqandiq.

Feasibility Study: Expected completion in June 2025.

Production Outlook: Zero revenue expected in 2025-2026, rising sharply to $40m in 2027.

EBITDA: Turning positive to $21.3m in 2027.

Projected Capex: $101.7m in 2026 and $73.9m in 2027.

Long-term Growth: Revenue forecast to hit $307m by 2030.

Net Debt: Expected to swing significantly with funding requirements, reaching $127.1m in 2027.

People willing to pay over ask ahead of Feasibility Study - only 16 days to go

£14k delayed buy lets go

Strong buys continue

Chunky buys today, run at 10p tomorrow

2 x £10k buys just now

Another 62,000 shares for Dowgate in May 292k in total

People slowly building a position - wait for a the pop

Very positive

Feasibility + funding and we’re back in 20s

Maybe older reader base but I did the poll and 86% prefer audio only over video

Davenport said: “We started as very much audio-only. We could never work out how we would get paid for creating video. It was a lot more expensive to do, a lot more expensive to make — and we were a bootstrapped company.”

By 2022, when The Rest is History had been joined by The Rest is Politics and other podcasts, Goalhanger had some cash to deploy and so started to experiment with video, both for YouTube and to make social media clips. “Thank God we did,” said Davenport, “because it’s unlocked a lot for us.” Today he describes Goalhanger as “platform agnostic”, adding: “We try not to talk about ‘podcasts’ as much any more. We talk about ‘shows’.”

Despite its large cultural reach, Goalhanger, which has about 50 employees, remains a relative media minnow. The business has never reported annual revenues, but generated profits of £1.6 million last year. Davenport is hopeful that Goalhanger’s growing subscription business — through which it places some episodes behind a podcast paywall — will start to pay dividends soon.

or other producers at the Podcast Show, video is second nature. Among them is Matt Sayward, co-founder and chief strategy officer of Platform Media, which makes The Good, The Bad & The Rugby, hosted by Alex Payne and the former England internationals James Haskell and Mike Tindall. Sayward said he and his colleagues always tried to “sweat our assets” by using podcast recordings to make social media-friendly video clips.

He estimates that, for his rugby podcast, which has now branched into putting on events, as little as 10 per cent of revenue can now be attributed to “audio”. He added: “The best way to think of it is, the podcast is like the acorn that grows the tree.”

Sayward said that The Good, The Bad & The Rugby generated revenues of £3 million in the past year. He thinks that this figure, and other podcast revenues, should grow significantly in the coming years. “I think relative to the amount of attention that customers are giving podcasts, brands are underspending at a seismic level,” he said.

The naysayers’ argument, not aired by many of the trendy, young types who attended the Podcast Show, is that after years of growth, hype and over-saturation, the podcast market may be close to a peak. Wasenmüller laughed it off. “We have not reached peak podcasts,” he said.

Alex Mahon, the Channel 4 chief executive, said: “There’s a demographic shift where [younger] people just want to watch video, even if it’s something designed for audio, and Spotify is taking advantage of that by moving more and more into video. So it makes sense for us to be on that platform because of its young consumers.”

Video looks like the latest big shift in Spotify’s mission to establish itself as the undisputed global home of podcasts. Originally known solely as a music streaming service, Ek’s platform started hosting podcasts in 2015. But it trailed Apple, the long-established market leader, for years.

Was Harry and Meghan’s Spotify deal an expensive mistake?

To build an audience, Spotify spent big on bringing shows exclusively on to its platform. The reported $200 million that it splashed in 2020 on The Joe Rogan Experience, the world’s biggest podcast, looked good value for money — as of last year, he had amassed 14.5 million Spotify followers — nearly ten times the 1.6 million who followed The Diary of a CEO with Steven Bartlett.

But its $20 million deal in the same year with the royal family deserters Harry and Meghan flopped — and the Spotify podcast executive Bill Simmons labelled them “grifters”. Spotify later abandoned its plans to build up an exclusive stable of podcasts.

Wasenmüller is more diplomatic than Simmons when asked about the end of Meghan, Harry and Rogan-type deals. “We realised that exclusives are really not in the interest of most of the creators,” he said, explaining that podcast makers wanted their shows to be spread across all platforms.

While the exclusive deals strategy has been interpreted by some as an expensive mistake, from Spotify’s perspective, it has left Apple Podcasts in its wake. In April, the industry regulator Ofcom published figures from Edison Research showing that 29 per cent of UK podcast listeners most often used Spotify, versus 11 per cent who said Apple.

The problem for Spotify is that into Apple’s place has stepped YouTube. A lesser 19 per cent of UK podcast listeners named YouTube as their favoured platform — but in the larger US market, Edison found last year that YouTube had overtaken Spotify as more podcast consumers embraced video.

Spotify’s video strategy looks like an attempt to challenge YouTube. But Wasenmüller said: “I don’t think it’s about taking on YouTube … we’re not chasing competitors.”

The Rest is History started in 2020, and … the rest is history

When Lineker and Goalhanger started in the podcast sector in earnest, with the November 2020 launch of The Rest is History, video was not viewed as an option as it fought for advertising money in a still-young market. At the time, the Reuters Institute for the Study of Journalism reported that 22 per cent of UK respondents to a survey had listened to a podcast in the previous month, versus 36 per cent in the US. Last year, the UK figure had risen to 3

Gary Lineker, the BBC’s recently red-carded football presenter, was notable by his absence at last month’s Podcast Show in north London. He had been lined up as a star speaker, so his presence loomed large.

Goalhanger, the start-up production business that he co-founded with friends Tony Pastor and Jack Davenport, has established itself as a dominant force in the podcast sector, at the expense of mainstream broadcasters such as, awkwardly, the BBC.

Now Goalhanger, which makes shows including The Rest is History and The Rest is Politics, has its sights set not just on competing with broadcasters on your headphones — but on living-room television sets, via YouTube and Spotify.

According to Davenport, Goalhanger’s podcasts are “consumed” — industry jargon for viewed or heard — up to 65 million times a month. A quarter of this figure is accounted for by YouTube and, in the case of The Rest is History, “something like 40 per cent of the [YouTube] viewing is done on the full-screen TV”.

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Davenport said: “The implication of that number for the media industry is just massive. This is one of the things I’m talking about a lot … This is not like some weird, small part of the media. This is, like, the future of mass-media consumption. This is the future of TV.”

Race to record podcast videos for millions of viewers

Goalhanger is not alone. Most big podcasts, including The Royals from the stable of The Times, now record videos to serve audiences who want to watch screens and observe the expressions and mannerisms of their programmes’ hosts and interviewees.

And it is in this context that Spotify, led by the Swedish billionaire Daniel Ek, is attempting to transform itself into a home not just for music and podcasts, but for music videos and visual podcast recordings.

Roman Wasenmüller, Spotify’s 32-year-old global head of podcasts, came to last month’s Podcast Show armed with some impressive stats — among them his estimate that, in the Spotify office, peers listen to their podcasts at an average speed of about 1.3 times normal.

Wasenmüller claimed: “Over the past year, video consumption [on Spotify] has grown 95 per cent in the UK. Eight out of the top ten shows [include] video.”

You might assume that Spotify’s video-watching community skews young. Wrong. “To be quite transparent, we expected video to maybe be a growth driver for younger audiences,” Wasenmüller said. “It’s not the case. Adopters are pretty much the same across age groups, which is cool to see.” He added that young people tended to watch podcasts on their phones, while older people watched them on TV.

As if to emphasise the growing significance of Spotify in the TV sector, Channel 4 last month struck a deal under which it will begin broadcasting youth-focused shows — Minor Issues, Hear Me Out and Secret Sauce — on Spotify to find new audiences.

Max 21 trading days for long awaited FS

Couldn’t they have just got a US grant without diluting existing?

https://energycapitalpower.com/blencowe-resources-ugandan-graphite-project-secures-additional-u-s-funding/

Win some lose some on AIM - you not made your money back on other shares since you guys posts like you are experts

Womp womp so many losers on here

Flying now

Moving up

Don’t know why people say he has no relevance to AB

Whether he holds, sells or buys more will affect the SP

Also mentions he’s still going after Bonnier

https://www.ft.com/content/4617815b-4177-49dd-b557-c44534b1f46e