Thank you for checking out ‘The Industry According To’. This series runs each Tuesday, and features radio and record industry executives, managers, programmers, talent, artists, and professionals from all areas of the business world. To be considered as a future guest, email me at keithblackboxgroup@gmail.com.
Today we hear from Rob Goldklang, SVP of Promotion at Warner Records. Rob has been a vital part of some of the biggest projects from the past few decades, so he’s no stranger to moving targets and the dynamics of breaking an artist in today’s industry.
So, let’s dive in.
The Promotion Machine
Keith: You’ve survived and seen the industry pivot in several ways from consolidating large promo staffs down to only a few, to mailing out CD singles to now just directing people to links for download — but how has radio promotion changed in the past 10-15 years?
Rob: At its core, radio promotion hasn’t really changed. It still starts with passion—for an artist, for a song—and the belief that it deserves to be heard. Our job has always been to champion that music, to stay with it, and to help break songs and careers. What has changed is how we get there. I’ve always believed in embracing evolution, constantly learning, and not getting stuck in how things used to be done. Being part of a song’s success—especially when it truly connects with a wide audience—is something that continues to motivate me, no matter how the tools shift.
Fewer Gatekeepers, Tougher Locks
Keith: There were days when PDs made most of their own music decisions and some still do, but you’ve heard PDs say, “I love the song, but I can’t add it right now.” That translates to needing corporate approval to put in a record — how do you handle that?
Rob: I actually think that idea is a bit of a misconception. The majority of the people I work with either have the ability to add a record or have significant influence in the process. Yes, within larger chains there can be format captains or centralized voices, but in most cases PDs are empowered and trusted to make decisions. The relationship and the conversation still matter—and that’s where real progress happens. Everything we do is building and telling a story. Luckily on Tuesdays, we get to hit reset every week!
Streaming vs. Strategy
Keith: How often do streaming numbers change your promotion plans versus sticking with what you believe you have?
Rob: Streaming doesn’t necessarily change the plan, but it absolutely helps inform it. We’ve seen plenty of cases where a strong streaming story opens doors at radio. It becomes another way to tell the artist’s story and build momentum. The truth is, we simply have more tools now—more data, more insight—and when used thoughtfully, they help us make smarter, more informed decisions.
Where Does Radio Fit
Keith: For a new artist, Radio used to reign as the top priority in gaining exposure, but where does radio fit today in the overall priority list of bringing newer artists to the forefront.
Rob: I actually feel radio is in a very good place. I see real collaboration across different areas at Warner. Even if radio isn’t always viewed as the #1 starter it still matters—locally, culturally, and deeply to artists and managers. Alongside other tools, radio remains an incredibly powerful force. 30+ years into my career at Warner, I can honestly say radio still truly matters.
Majors/Independents/Neither
Keith: Realistic scenario: hot new rock band, unsigned, does a showcase and all the majors and independents want to sign now but the artist knows they could also rely on other platforms to do a lot of the lifting. Why should the artist choose Warner Records?
Rob: I’ve always thought of Warner as a boutique major label. Aaron Bay-Schuck and Tom Corson have built a diverse roster and a real focus on artist development, with personalized attention at every stage. We work with stadium-level acts and baby bands, across multiple genres. Recently, I was part of an artist meeting with a band that had already built momentum but was ready for the next level. What Warner brings is a deeply experienced team across streaming, sync, A&R, physical, publicity, marketing—and radio. Having spent my career here doing radio and currently my dept under the leadership of GM Mike Chester, I’m proud of the role I’ve played in some of the most important moments in music culture, and that experience still carries weight.
Is “Regional” Still A Thing
Keith: There used to be a few radio brands that led the way in breaking new music — do you still see similar patterns regionally or nationally or has that influence been flattened by streaming?
Rob: One hundred percent. Local scenes are thriving in so many markets. We’ve had numerous plans that focused on breaking records regionally, and those grassroots successes often become the foundation for something much bigger.
Charts
Keith: Airplay, Spotify, iTunes — there are charts galore, but when you’re working a key project, which chart is the most important in telling you that you have a real winner on your hands?
Rob: Chart success is still an important part of my role, especially at Mediabase and Billboard. At the same time, I’m constantly watching Spotify, Apple Music, Pandora, SiriusXM—playlists, new music shows, and discovery moments. I don’t think there’s one definitive winner. Every chart and platform serves a purpose, and together they help paint the full picture.
Careers or Moments
Keith: Looking at it through a “promotion” lens, is your job more about building careers or creating moments in a chaotic space?
Rob: For me, it’s always been about building careers. Taking an artist like sombr, starting with “Back to Friends” going number one at Alternative, and then watching that success be a part of opening doors to multiple songs and new opportunities—that’s the goal. I remember the early days of Linkin Park, Muse, and The Black Keys, as well as career resurgences with Green Day, RHCP, and the Deftones. Every artist tells a different story, and every path looks different—but longevity is always the focus.
One Change
Keith: You can change one structural or procedural thing about how artist promotion works in the music and radio industry — what do you change?
Rob: I’d say: don’t be afraid of new music. It’s so important that we’re actively building the superstars of tomorrow. Somewhere out there is someone strumming a guitar who’s going to change the world, and we need to make sure we’re doing everything we can to help bring that voice forward.
What’s Harder
Keith: What’s more difficult today, breaking a new artist or keeping an older one relevant once the algorithm decides its bored?
Rob: That’s a great question. Established artists face the challenge of sustained relevance in a fast-moving world, while new artists face the fundamental hurdle of discovery—and the pressure to build both a sound and a brand. They’re very different challenges, which makes it hard to say one is definitively harder than the other.
Your Best Story
Keith: You’ve worked with some of the biggest artists of all-time. What’s the one story you love to tell that we should hear? It can be a success, flop, pure mayhem, etc..
Rob: There’s been plenty of pure mayhem over the years. I think that one might have to wait for the book someday.
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Keith Cunningham is a music industry and Rock/Alternative columnist for Barrett Media and the founder of Black Box Group, a modern-modeled creative & strategic consultancy built for brands that need strategies with teeth. He’s the former Master of Mayhem at 95.5 KLOS-FM in Los Angeles for over a decade, a nationwide consultant, and has been repeatedly voted one of America’s top Program Directors and strategic thinkers. Keith has built his career by taking multi-million-dollar brands from worst to first and leading Marconi & Gracie award winners along the way. A data nerd with a rock-and-roll heart, he is an advisory council member for St. Jude fundraising, a fantasy football champion, and lover of his daughters & dogs. Reach him at keithblackboxgroup@gmail.com or on LinkedIn or X.
