Creating an engaging podcast creates a unique challenge: finding a way to engage an audience purely through audio without the beats and melodies that typically make music interesting.

Limetown relies on the same concept that originally made Orson Welles’ radio broadcast The War of the Worlds so sensational, making fiction seem authentic. Dropping a narrative that relies on a traditional narrator (“X saw Y and said hello. X and Y walked down the street”) and instead utilizing audio from “real” people makes a listener doubt if what they rationally know to be fiction, really is. The audio recording of the 911 call between operator and caller makes listeners question its authenticity. The lack of clarity of the audio lends itself to making the podcast seem authentic. The orchestrators of Limetown recognizes that just as there are certain benefits to utilizing clear, easily understandable audio, clouded, “chaotic” audio can also help create a certain mood and atmosphere. The difficulty understanding the 911 caller causes a listener straining to hear what’s wrong, just as an operator would. We’re desperate to understand, both as an intrigued audience member and as the 911 operator as we put ourselves in their place. It’s a moment that has us looking over our shoulder as we listen to make sure everything is as it should be.

In contrast, Radio Lab utilizes not a contrast between clarity and chaos, but an insertion of additional sound into dialogue to maintain the listeners attention. What could be a dry retelling of a political tale is instead the adult version of a children’s picture book with sound effect buttons. Radio Lab uses sound to contribute to the narrative, in Limetown the sound is the narrative. Radio Lab makes the use of outside sounds obvious, while Limetown tries to integrate the sound. Ultimately, Limetown’s method proves most advantageous. It creates a stark realism that sets it apart from other podcasts.