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How Sal Licata Balances Finding Independent Success With Emotions of WFAN Exit

John Mamola
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How Sal Licata Balances Finding Independent Success With Emotions of WFAN Exit

It’s been just over four months since Sal Licata signed off the airwaves of WFAN in New York City. The Audacy sports radio flagship announced a significant lineup change as Craig Carton prepared to make his return to the station. Carton’s return ultimately led station management to decide that Licata’s midday program with Brandon Tierney would be the casualty.

While time does eventually heal old wounds, Licata is still processing his exit from his beloved sports radio home. It’s a station he grew up listening to and where he began his career as an intern in 2003. The dream of a long-term future there suddenly faded.

“My whole life was WFAN, and my whole goal was to get to afternoon drive on WFAN. For the first time since I had that dream in 1995, I knew that dream was no longer a reality,” said Licata.

When The Athletic first reported that Carton would return for another stint at WFAN, the news broke while Licata and Tierney were live on the air. As the report became public, many speculated whether the duo knew what was coming and what it meant for their future.

At that moment, Licata and Tierney did not comment on the report despite growing chatter among listeners.

“Most people won’t have to handle situations like that. It was unfortunate. We were put in an impossible spot, but I think we handled it perfectly,” said Licata.

Leaving WFAN

Licata said he learned the night before The Athletic’s report that his show with Tierney would come to an end. He added that he had been part of conversations months earlier about potential other opportunities at WFAN.

Although BT & Sal lasted just over two years, the show’s approach in its final days remained professional. WFAN management allowed Tierney and Licata to close out their midday run on their own terms, a rare occurrence in sports radio.

“The final two weeks of our show is the work that I’m most proud of,” said Licata. “I appreciate WFAN for not yanking us off the air, but I’m also extremely proud of what BT [Tierney] and I did as a team in handling that under the most impossible of circumstances. We were as professional as can be although we were both hurting. But we knew we had a job to complete, and we did that.”

The end of Licata’s tenure at WFAN hit hard. He admits he no longer listens to the station. Not because he believes the product has declined, but because of the emotions it brings back. Licata compared leaving WFAN to moving on from an ex-girlfriend.

Going Independent

He launched his own podcast in mid-January, about a month after his departure. During that gap, he focused on next steps while working through the emotional toll of losing his job.

“I was sulking,” explained Licata. “There was a lot of re-evaluating and self-assessing. Trying to figure out what the hell just happened. I was in no space to go out there and do content, and needed time off. Honestly probably needed more time off. I knew I had to launch because I couldn’t wait much longer. But I still was not mentally one hundred percent ready. My heart wasn’t one hundred percent into it. I was still hurt, and I’m still going through those emotions.”

An independent podcast had always been on Licata’s mind, even while working at WFAN and SNY. In hindsight, he believes every media personality should consider building an independent platform.

However, Licata said he has no regrets about not starting sooner because his focus was fully on advancing at WFAN.

“It’s something that I thought about for a while but didn’t have a reason to do it. I was going to do it, but I never had to do it,” explained Licata. “It’s almost a blessing in disguise that in this case I was forced to do it. I still think it’s early in the game with podcasting where I’m not far behind.”

Licata stated that if he had launched the podcast while at WFAN, it likely would have fallen under the Audacy umbrella. Meaning he may not have retained ownership of his intellectual property after his departure in December.

He says the best part of going independent is controlling both the content and his future. The freedom to shape his show and decide when to go live has been liberating. Licata added that his content will remain heavily New York-centric, with occasional national topics.

A Potential Return To Sports Radio

Rather than casting a wide net, Licata wants to stay true to the approach that fueled his success.

“I haven’t lost my passion for sports radio. I still love it,” said Licata. “Truly, I don’t care if it’s a national opportunity, a local opportunity. I plan on getting back in radio at some point soon.”

Licata revealed that WFAN presented him with opportunities to stay in a different role before his exit. However, none of them felt like the right fit at the time. Still, he remains open to a return.

“I would be surprised if that was the last time I was behind the microphone at WFAN. I believe I have a good relationship with everybody there. It’s nothing that is imminent, but it was my understanding that we were trying to work on something to eventually have me back in some capacity,” said Licata. “I just don’t know if that’s going to be possible…. but I would be surprised if I never do a show on WFAN again.”

Following his departure, other outlets reached out about potential opportunities. Licata said he appreciated the interest, but none resulted in a full offer. He added that the best option at the time was to remain at WFAN, though not in a role he was willing to accept.

As he continues to process his exit, Licata still views WFAN as a major force in sports radio. He disagrees with former co-host Brandon Tierney’s recent claim that the station is “less relevant than it ever has been in his lifetime.” Instead, Licata believes the industry has evolved without losing its impact.

“I don’t think WFAN or anything else is the same as it was twenty or thirty years ago. That doesn’t mean it’s a bad thing,” says Licata. “Everywhere I go, people say to me, ‘Miss you on WFAN.’ That’s the power of WFAN. There’s no dispute that the business has changed. When radio was the only game in town, it was a different feel. Now, there’s a million ways to get things. That’s what’s changed. It doesn’t mean WFAN is any less powerful.”

Today, Licata is focused on growing his podcast into a sustainable business. In the early months, his biggest challenge has been finding time to consistently produce content while balancing schedules with his producer, “Badaboom.”

Despite those hurdles, Licata is optimistic as the baseball season ramps up and the NFL season approaches. While discussions about a potential WFAN return linger, his focus remains on building what’s next.

Sal Licata is carving out a new lane—one that exists outside WFAN, but not far from it. The platform is different. The control is his. However, the voice, passion, and connection to the audience remain unchanged.

And while he’s focused on the future, the door to WFAN doesn’t appear fully closed.

So maybe this isn’t goodbye. It’s a pause, with the possibility that one day Licata’s voice finds its way back to where it all started.

Licata is no longer behind the microphone at WFAN—at least not today. However, if his story proves anything, it’s that in sports radio, as in sports itself, endings often turn into returns when you least expect them.

Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.

Quick Customer-Service Wins Music Radio Can Use to Secure Listener Loyalty

Kevin Robinson
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Quick Customer-Service Wins Music Radio Can Use to Secure Listener Loyalty

It’s been six years since we first learned of COVID-19. That era we plowed through seems to have warped time and certainly altered the way we—and everyone—does business. During that time, we held virtual events, perfected Zoom client meetings, and implemented on-site, no-touch contesting.

COVID also changed customer service. With the second survey of 2026 on the horizon, now is a great time to revisit how we treat our listeners through customer service.

Start with, “What can we do that Spotify can’t?” Local radio is the best at connecting with the community. SiriusXM—not so much. You might remind us that budgets have been slashed and our own people effort is vanishing. Our clusters are cash-strapped and time-starved.

However, let’s remind ourselves that local radio is still king at creating goodwill and making listeners “feel” great when executed properly. How about a few easy and affordable ways to make your brand experience stand out—and rise above your competitors?

Station Lobby Experience

This is the initial face-to-face touchpoint for your listeners and clients. Most broadcast lobbies resemble a mortgage or title company. Create a “wow” visual upon entry with industry snapshots and awards.

Radio is show business. Offer visitors a snack or beverage. The auto dealer that advertises on your stations does this—why not you?

Three simple tactics that will leave a lasting impression on in-station visitors.

The first is offer a brief station tour. The vast majority of listeners have never seen a broadcast studio. Have a talent or seller take a break and walk visitors through the hallways. What we do every day feels routine to us, but to a listener, our studios look like a NASA control center.

Secondly, when prize winners—big or small—arrive, surprise and delight them with an unexpected free item. This could be a station-themed product, a sponsor certificate, or even a local high school football schedule.

Lastly, have your talent write a handwritten thank-you note on a logo postcard for being a loyal listener. Include it with prizes. It’s something most people won’t discard. Encourage your sellers to send handwritten thank-you notes to clients when they book or renew a schedule.

On-Site Presence

    If you truly want to connect, remove anything that separates you from the listener. Tables create barriers. Staging puts you on an island, away from the people Spotify and SiriusXM can’t reach. Shake hands, take photos with listeners and their kids. Send instant thank-yous through your social platforms. Work the events.

    During my decade in Chicago, my night talent was the legendary Dick Biondi. He was a magnetic presence wherever he went.

    At on-site promotions and live events, he had the rare ability to turn even the simplest appearance into something unforgettable. What set him apart was his genuine connection with listeners. Dick engaged with each person one-on-one, creating moments that felt personal and authentic. Fans didn’t just listen to Dick Biondi—they experienced him.

    His legend was cemented through face-to-face interactions, where his love for radio came alive. He understood that great radio extends well beyond the studio. Dick Biondi made every handshake and every event an extension of his show.

    There’s a movie about Dick Biondi. Have your talent study it.

    Studio Communication

    Think of this as your customer service center. When a listener calls, what happens? At most American radio stations, it’s ringing, waiting, and frustration. In any other business, that’s unacceptable.

    When companies like Dell, AT&T, or Spectrum left customers hanging, they paid the price and improved their systems. Yet this still happens daily in radio stations, despite low-cost technology that can fix it.

    What’s even more ironic is how often on-air talent complains about poor service elsewhere while mismanaging listener expectations themselves.

    I once worked for a company in the pre-voicemail era where every phone had to be answered within three rings—no exceptions. If you walked past a ringing phone, you picked it up. Titles didn’t matter. Everyone, from the CEO to the newest assistant, was responsible for the customer.

    That customer service mindset still works. A true customer service culture doesn’t happen by accident—it’s built, reinforced, and led.

    In retail, it’s obvious. At Trader Joe’s, you can ample anything (uncooked) on demand. How about Costco, where you can return anything without questions asked. Amazon has made billions because they’re “customer obsessed” according to Jeff Bezos with any lost package gets a next day replacement.

    The good news—this is fixable. Start small. Improve one aspect of customer service each week. Begin at the front desk and work your way through the building. Involve your team. Build a culture where everyone owns the listener experience.

    Remember these simple actions to improve your customer service.

    Return each voicemail, email, and direct message. Have your morning show do free Cameos—perhaps with a sponsor. You can mail prizes to winners when more convenient—creating an easy fulfillment path. Always respond to every social media message quickly. Lastly, form a small circle of fans and reach out regularly for feedback. Every little bit helps.

    This short list—though it could be much longer—requires little investment. The emotional equity you build will be significant.

    In 2026, listeners have exponentially more choices than even a decade ago. Customer service must be a core part of the brand experience. From streaming platforms that resolve billing issues instantly via live chat to radio clusters engaging listeners in real time on social media, the end user has set the expectation. Fast, human, and frictionless service gets noticed.

    Companies that empower their teams with tools to actively listen and respond effectively deepen listener loyalty.

    This may serve as a refresher for those already prioritizing audience engagement, or it may introduce new ideas to others.

    Know this: when it comes to serving the customer, we endorse what we allow.

    Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.

    The Industry According To….Randy Lane, The Randy Lane Company

    Keith Cunningham
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    The Industry According To….Randy Lane, The Randy Lane Company

    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 check in with one of the most decorated talent coaches in radio and television, Randy Lane — someone who’s worked with giants like Ryan Seacrest, Jimmy Kimmel, and Kidd Kraddick.

    He was coaching talent before the digital boom, and now in the middle of it, which gives him a rare view of what’s truly changed, what hasn’t, and how to navigate and grow amongst all the noise and competition.

    So, let’s dive in.

    What Do You Hear First

    Keith: New client, your first listen. What do you listen for or what do you just naturally hear first? What tells you quickly you’ve either got a lot of work on your hands, or something different?

    Randy: What tone or emotion is coming through each character’s voice? Are they authentic? Likable? Playful and fun? Funny? Edgy?

    Overall, I listen for the Characters, the Content, and the Execution.

    Does the content hold my attention? Is there an emotional impact? Are their viewpoints clear and strong? Is the content sticky?

    Do they execute the content effectively with headline setups, resets, and teasing? How is the cast interacting with one another and with callers?

    If the host or hosts aren’t interesting and the content doesn’t grab me, I know there’s a lot of work to get this show to compete.

    Today’s Real Timeline

    Keith: “Give a new show at least 18-months before you make any decisions based on ratings” — that’s what programmers and consultants tell the higher ups. But in 2026, few have the patience to wait 18 months. What’s a realistic timeline today to determine whether a show is going to work?

    Randy: I intuitively know within 90 days, with consistent coaching, whether the show or a player will make it. Conversely, I would give it two years in PPM markets if everyone involved with the show believes in it and it’s getting considerable audience response.

    Nielsen now allows meter holders to keep them up to three years! First, the sample is too small to be consistently stable; second, when meters fall within a station’s non-target demographics or metro area, the ratings can be inaccurate for up to 3 years.

    It would be foolish to cut a show in less than a year if you believed that it sounded great and was gaining an audience despite wobbly ratings.

    The “Good Enough” Era

    Keith: There’s a creeping sense that “good enough” wins in many cases because budgets are tighter and expectations are lower. Has the industry quietly lowered its product standards… while still expecting premium revenue?

    Randy: None of the NBA teams going into the playoffs think “good enough” is going to win a championship.

    Yes, the industry has lowered its standards for attracting top talent and for expecting big returns from average talent. Many stations/corporations simply won’t or can’t pay to get the best talent, even when they’re available in their own market.

    The “X-Factor”

    Keith: I’ve been a long believer in the “X-Factor” — that human brain or voice-trait that can’t be taught or bought, but that some people have and some just don’t. Give us the names — past or present — that have it. And what specifically makes them different?

    Randy: There are gifted personalities like Kidd Kraddick and Bob Rivers who naturally had charisma that attracted mass ratings. Charlamagne tha God and Jamie White (BJ & Jamie) are two of several current personalities who have it too.

    I have also seen personalities who have the X-Factor not succeed because they wing it, don’t do the work, or can’t get along with their cast and management. On the contrary, there are talented people who don’t have the X-Factor, but adequately prepare, create compelling content, execute it effectively, develop their character, and hit home runs.

    The Pipeline Problem

    Keith: The industry talks about talent as its secret sauce, but very few are developing young talent with real intent. Is this an internal development problem… or a recruiting problem? And which one becomes the bigger issue a few years from now?

    Randy: It’s a recruitment and internal development problem. It’s a recruitment problem because the talent pool is shallow. It’s especially difficult to find talent for young-targeted formats like Top 40/CHR. Of course, technology has eliminated the training grounds of overnights, weekends, and fill-ins.

    One easy way to address the recruitment issue is to extend the geographic pipeline. Allow talent who don’t want to move from Tucson to Louisville to do the show virtually. Now we must look outside radio at podcasters, influencers, and college radio stations.

    Developing talent internally is problematic for two reasons: one, programmers generally oversee multiple stations and have little time to devote to talent development. Two, many of them lack the skill set to coach talent effectively.

    There are plenty of talent coaches available, and many shows and programmers want it and know they need it, but tight budgets often prevent outside consulting.

    The Randy Hiring Filter

    Keith: When recruiting for a client, what do you look for first?  Humor, point of view, personality traits, work ethic, digital presence? What’s the one trait that matters most, and the one people overvalue?

    Randy: The trait that matters most is a tie between authenticity and humor. Authenticity and humor in one performer are the Holy Grail of media talent!

    Funny is gold, and it transcends many shortcomings. However, funny personalities are an elite group.  

    Being real, relatable, and a good storyteller are skills I always look for in talent. If you have those key abilities, you can be fun even if you’re not laugh-out-loud funny. Fun is essential to personality morning and afternoon shows.

    Digital presence is important; however, a talent can have a strong online presence and still not attract high ratings. The content, execution, and character development must be there to win.

    You also want to be sure a talent is coachable and collaborative with their teammates and management, or the show will eventually implode.

    Not The First Destination

    Keith: Radio used to be the first destination for need-to-know information. News, concert announcements, community buzz, breaking moments. That has changed. How has it shifted the way you coach shows on their purpose and content?

    Randy: Listeners come to the radio first for their favorite personalities. People are not coming to music radio stations for information. Info is all at your fingertips.

    My coaching partner, Jeff McHugh, coined the content rule we use to coach talent: “Go short on information and long on stories.” Information is forgettable; stories stick with people. We advise shows to either eliminate announcement stories (concert dates, etc.) or keep them brief, followed by a story or strong point of view.

    The Consultant Question

    Keith: You’ve been on both sides of it. When does a consultant truly help, and when do they just become expensive reassurance?

    Randy: Talent coaches truly help when they are players on the team.

    We collaborate with the show and management, evaluating talent on their strengths and minimizing their weaknesses. An effective talent coach listens to the show, contributes ideas, best practices, and is always available for counsel.

    Consultants who are not involved and contributing players on the team are expensive reassurance.

    Digital Mania

    Keith: Today’s talent is expected to do everything: radio, podcasting, YouTube, TikTok, all of it. How do you keep them focused on what actually matters?

    Randy: If you want ratings and revenue, the radio show must be priority #1. The ROI still favors the show first and digital as an important second.

    Ratings are a game of inches, and every tune-in and quarter-hour helps, particularly in condensed PPM markets. It’s crucial for shows to make their content available on demand. That means posting show highlights, benchmarks, and the full show daily (coded for Nielsen credit).  

    Progressive shows post both audio and video highlights daily. The KVJ Show in West Palm Beach streams its morning show live on YouTube as KVJ TV. They also have a highly downloaded After the Show podcast to expand their brand.

    Digital is also an essential vehicle for deepening your personality brand and expanding your audience reach. Unfortunately, there are many solo and team shows with zero extra help. Their real-time online engagement is minimal. We encourage them to have a digital presence, with as much time and help as they can devote to it.

    Check This Show Out

    Keith: What show should we all listen to right now? What should we listen for to understand what makes them great?

    Randy: Way to put me on the spot, Keith! I could list an elite group of shows and why you should listen, but you don’t have the space.  So, I’ll mention an up-and-coming show that hits all the marks.

    Tino Cochino Radio is a young show that’s up to 100 syndicated affiliates. Tino doesn’t do legacy bits like War of the Roses, prank calls, and 2nd Date Update. The show thrives on real-life content executed in concise form for a young audience.

    Tino is a successful touring comedian, so humor is a cornerstone. The cast has distinct, likable characters who consistently share personal stories and sharp viewpoints. They interact throughout the show with listeners on the phone and online. Tino has also mastered the essentials of PPM execution.

    Tino has an outstanding online video presence. He’s funny, vulnerable, and real with the short videos he posts primarily on Instagram and TikTok.

    2036

    Keith: What do radio morning shows sound like 10 years from now? Will “War of the Roses” and “Florida News” still be staples? Is the talent even live… or human?

    Randy: The future of radio is talent.

    Yes, radio will be human 10 years from now. As futurist John Naisbett predicted in his 1980s book Megatrends, with high-tech, you need hi-touch. We already see that with the shift in appeal of authentic media hosts. It’ll become even more important as technology continues to advance rapidly.

    Humanity, captivating storytelling, and vulnerability will continue to win in the future. Technology will be used smartly as a tool to create entertaining content…I hope!

    War of the Roses types of features may still be around, with different names, different implementations, and new technology.

    Radio content will be on a higher level with more multimedia stars. There will likely be fewer shows on fewer radio stations.  There will be a continued expansion of syndicated shows, both nationally and regionally, as well as within companies.

    Personality brands build trusted relationships with listeners, fostering long-term loyalty, while music will continue to be even more ubiquitous. North America would be wise to follow the UK and Australia by making personalities the face of their brands in marketing, research, and revenue.

    The One That Went Wrong

    Keith: Keep names anonymous if needed, but we’ve all had that one encounter with talent that went badly. Give us one you’d want a do-over on?

    Randy: I won’t name names to protect the guilty! A host abruptly walked out of a workshop I was leading.

    It was in New York many years ago, on a major station with a new host. I was leading a character definition exercise in a workshop. The host refused to allow me and the cast to describe his personality because he thought I was going to psychoanalyze him by running his character traits through a computer program.

    He abruptly walked out of the room, his arm being pulled by his high-spirited female program director. She dressed him down and ordered him back in the room to participate in the exercise. He totally opened up and revealed one of the best character descriptions I’ve experienced!

    In retrospect, I could have read him better and gotten to know him as a personality type before going into a vulnerable exercise that mirrors group therapy.

    Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.

    How to Build a News/Talk Radio Brand That Actually Means Something

    Peter Thiele
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    How to Build a News/Talk Radio Brand That Actually Means Something

    What is your brand? What differentiates your news/talk radio station from the tens of thousands of podcasts? Can you tell me what makes you essential?

    If I ask that question of a news talk host, I get this common and sadly insane answer… I am a conservative Gen Z host who breaks down the issues in my community. That is not an answer. It is a word salad of mediocrity. We all want the Halo Effect. I’ll break that down for you.

    Your brand should be an easily digestible theme for your show. It also should be centered around your opinions and observations. Just because you have a radio station’s microphone and transmitter doesn’t mean that you have a successful brand.

    In my first program director position, the radio station’s owner and market manager had a line of wisdom: If someone spoke with him about a show and said that the host is just ok, there was a huge problem. The reaction should be a passionate. “I love that show.” “I hate that show.” “It makes me happy. It makes me mad.” There should be some emotional reaction to it.

    If he ever heard a bland response, this boss shared his worries with me. He was quizzed about how he hadn’t corrected a host that had an unpopular position, and his standard answer — with a smile on his face — was, “I couldn’t agree with you more. Imagine trying to argue with that host.” It was a smart answer. It also empowered the host to continue with hot takes.

    You have likely had a manager tell you — or a host on your staff — to change a position because of complaints. I don’t write about this enough: Be fearless. If you believe it and can support your argument, say it. So, what is your brand? Can you define your brand in a short sentence? What makes your brand new, better, and different?

    What is your differentiation? Considering that there are millions of distractions, what is your unique market position? I will give you a hint: Your unique market position should center on your opinions and observations. Because of the glut of available information, just giving the latest update on a committee hearing over tort reform in the legislature is not content, and it is no longer an exclusive avenue for audience interest or growth. I can assure you — unless you are in your state’s capital — zero people at lunch today are discussing the legislature’s dull ins and outs. If people are not discussing the legislature or city council meeting, why are you?

    Why are you discussing things that have very limited appeal? We have all done this, but we should really ask ourselves that question. Don’t live by confirmation bias. If someone comes up to you at a restaurant or the grocery store to discuss something that has limited appeal, don’t think that you are speaking to the masses. Here is a little truth bomb: you are likely recognized in public more often than you think. The people who interrupt your meal are quite often unicorns and eccentrics who don’t necessarily reflect the majority of your fans.

    Every brand desires the Halo Effect. Your show’s fans or station’s fans probably have some of this. As a cub program director, I worked in a building with an awesome country station. It sounded better than the competition. The personalities were better. But here was the problem — the vast majority of country music fans absolutely adored the station across town. Following normal competitive strategies, my station’s country station added classic country songs. The big brand across town did the very same thing and just mirrored what our little station was doing. The big brand kept chugging along with big ratings and revenue.

    When the Halo Effect is built, it is very tough to tell the market to hate what they love. There was a recent news story saying that when people are confronted with facts that contradict their point of view, they often double down on their position.

    For news/talk radio, we should focus on building that connection with our audience. The spoken word hosts that I have observed building a strong Halo Effect are Howard Stern, Sean Hannity, and Dan Patrick. Yes, these shows are very different. Next time you speak with a fan of these shows, ask open-ended questions about why the listener loves the show. You will learn that they are entertained and love the opinions and observations of the host. Dan, Sean, and Howard have built the Halo Effect with their audience.

    Practical application time. Has your station built the Halo Effect with your audience? I can guarantee that some listeners feel that way. Is it a high percentage of your audience? Be honest with yourself. The worst lie you can ever tell is to the person in the mirror. Don’t live in a fantasyland.

    Are your radio listeners evangelists for your show or station? Probably the biggest reason that Apple has done so well is that the users of their products are preachers of the good word to everyone they meet. Are your fans that dedicated? Perhaps in a future column, I will share my ideas on how to build that loyalty. The best way to build the Halo Effect for your show or station is to appeal to your target listener. Too many hosts and stations are focused on the exceptions instead of the majority. In today’s segmented media landscape, the more focused you are on your ideal listener, the more successful you will be.

    Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.

    How iHeartMedia And NBC News Built One Of Radio’s Most Powerful News Operations

    Garrett Searight
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    How iHeartMedia And NBC News Built One Of Radio’s Most Powerful News Operations

    NBC News Radio has quietly become one of the most formidable forces in the radio news world, and iHeartMedia’s Executive Vice President of News, Talk, and Sports Chris Berry, is eager to explain why.

    Berry traces the foundation of the partnership back a decade.

    “In 2016, we started a partnership that’s been 10 years now, where we provide the distribution and production of the NBC newscasts,” said Berry. “And 24/7 News, which is part of iHeart. It’s really a content partnership with them. We work with them to curate the content. We have a radio producer at the NBC newsroom. So if something happens, breaking news or something else, we’re tied in with NBC, the mothership through that.”

    The reach of the operation extends far beyond a simple news feed. Berry describes a robust infrastructure built to serve stations of all formats and sizes.

    “We’ve got eight regional newsrooms across the country. And there’s a regional news director in each one of those. So if something happens in Louisville, Kentucky, our regional news director, who is in Cincinnati, would be responsible for marshaling the troops so that we’re providing that content. Not only to iHeartRadio stations, but really to any of our other affiliates out there. We’ve got about 1,000 radio stations in the United States that we provide news to,” the iHeartMedia executive said.

    Content volume is equally staggering. Berry points to the 24/7 News Source wire as a cornerstone of the offering.

    “We obviously can provide you with stories as they’re unfolding — which I think is great — either through our newscast, or also through the 24/7 News Source news wire, which moves about 10,000 stories a week, which is more localized. We do summaries for local markets. Whether it’s Baltimore or Denver. We do national summaries. We provide sports audio. We’re pretty much in every locker room or clubhouse that’s out there. So if, for example, the Philadelphia Eagles are playing in Los Angeles, we’re going to be in the locker room there and provide the actuality of the coaches and players to the stations that would be interested in that,” stated Berry.

    Breaking news coverage is where the NBC News partnership truly shines. Berry said affiliates get the best of both worlds: the newsgathering power of NBC News and the radio experience seen in the 24/7 News and iHeartMedia newsrooms.

    “When the war started a month ago, on the weekend, we were able to utilize some of the resources of NBC News so that stations, if they wanted to carry long-form coverage, they had that as an option,” Berry said.

    Ultimately, Berry sees iHeartMedia‘s role as a versatile partner for any station looking to strengthen its news presence.

    “We’re committed to this,” Berry shared. “We’ve got a great distribution platform through the iHeartRadio stations, but we’re in many ways like Switzerland. We provide content to all kinds of formats, all kinds of stations, and pretty much every market in the United States. And really offer a Chinese menu of options for stations to provide the news that is most appropriate for their listeners.”

    Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.

    With The Late Show with Stephen Colbert Going Away, Did CBS News Miss a Golden Opportunity?

    Garrett Searight
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    With The Late Show with Stephen Colbert Going Away, Did CBS News Miss a Golden Opportunity?

    When CBS announced it would end The Late Show with Stephen Colbert, the network faced a genuine crossroads. It could’ve used that 11:35 PM ET slot to do something bold. Instead, it chose to essentially rent the timeslot out, announcing back-to-back episodes of Comics Unleashed — with Byron Allen buying the time — followed by the comedy game show Funny You Should Ask in the hour after. That’s not a programming strategy. That’s a white flag.

    Maybe Comics Unleashed is a terrific show. Honestly, it might be. But there’s a fundamental problem here that no amount of quality can fix — CBS isn’t airing it because the network believes in it. It’s airing it because someone paid to put it there. So should CBS realistically expect a paid-placement comedy program to go toe-to-toe with Jimmy Kimmel and Jimmy Fallon every single night? That’s a tough case to make.

    Here’s where the missed opportunity really stings, though. CBS News already runs a re-air of the CBS Evening News on its CBS News 24/7 streaming platform. Why couldn’t that same broadcast — or a version of it — run at 11:35 PM ET on the network itself? Sure, producing a brand-new, half-hour, late-night newscast from scratch probably isn’t financially viable. But it’s hard to imagine it’d cost more than The Late Show with Stephen Colbert did. It’s also hard to imagine advertisers wouldn’t find a late-night newscast more appealing than a paid-placement comedy block.

    Two things consistently hold their own on linear television right now — live sports and news. That’s not an opinion. It’s just simply the reality. So why wasn’t a news program the first name on the whiteboard when CBS started mapping out Stephen Colbert’s replacement? The CBS Evening News already airs at 6:30 PM, right after local newscasts wrap up across the country. Doesn’t a late-night newscast at 11:35 PM — again, following local news — fit that same logical pattern? The audience handoff practically writes itself.

    There’s also a more creative option CBS apparently didn’t seriously consider. The Takeout with Major Garrett is an established CBS News property with a built-in identity. Expanding something like that into a proper late-night slot — even a slimmed-down version — would’ve at least given CBS News a genuine presence in the window. Instead, the network handed the keys to an outside buyer and moved on.

    Now, to be fair, if the numbers genuinely don’t work for any news-based programming — if the production costs outpace what advertisers will pay and what the audience will deliver — then CBS is stuck in an uncomfortable corner.

    But if the choice is truly between “take Byron Allen’s money” or “do nothing,” then maybe it’s time to have an honest conversation about whether the network should simply sign off after the local news and fire the transmitter back up at 5 AM. At least that’s an honest outcome. Airing paid programming and calling it a late-night strategy isn’t.

    It’s genuinely strange to think we’ve reached a point where a Big Four broadcast network’s late-night plan amounts to “well, at least something’s on the screen.” CBS spent decades building a legitimate late-night brand — from David Letterman to Stephen Colbert — and now it’s essentially subletting that legacy. That’s a tough thing to watch.

    The broader issue isn’t just about one timeslot. It’s about whether CBS News sees an opening to matter in a window where it could actually reach people. Late-night used to be where networks made statements. Whether it was Nightline redefining what news on television could look like, or Letterman turning a timeslot into a cultural institution, somebody always cared enough to try. Right now, it doesn’t feel like CBS is trying. It feels like CBS is billing the timeslot by the hour — and hoping nobody notices.

    Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.

    790 KABC Program Director Luis Segura Named PD of 105.9 WMAL

    BNM Staff
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    790 KABC Program Director Luis Segura Named PD of 105.9 WMAL

    790 KABC Program Director Luis Segura has been named the new Program Director of 105.9 WMAL in Washington, D.C.

    Segura originally joined KABC in Los Angeles as a producer in 2013 before rising to the role of Program Director in 2023. In 2022, he added PD stripes at 560 KSFO. That station moved to the 810 AM signal under his tutelage.

    “I’m incredibly excited to work with the legendary staff of Cumulus’ flagship News/Talk,” said Segura. “WMAL is packed with national names like Larry O’Connor and Chris Plante, and I can’t wait to join the team.”

    He steps into the role previously occupied by longtime program director Bill Hess. Hess announced his retirement at the conclusion of 2025.

    “We’re excited to have a programmer of Luis’ caliber to take WMAL forward,” said Cumulus Washington VP/Market Manager Jeff Boden. “As an added bonus, he’s spent more than a decade with Cumulus, and I am sure he will hit the ground running.”

    “Among our strong field of Cumulus programmers, Luis leapt from the pack as the person possessing the energy and imagination to lead WMAL,” added Cumulus Chief Content Officer Brian Phillips. “Luis visualizes the multi-dimensional future of this big brand. The immense benefit of keeping Luis ‘in house’ is that he will continue to offer expert counsel to our revitalized operations in San Francisco and Los Angeles, as needed.”

    In addition to his time at 790 KABC and 810 KSFO, Luis Segura also spent 15 years working at CBS Radio Chicago for B96. Cumulus Media is in the midst of seeking the replacement for Segura for its California news/talk stations.

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    CNN to Host California Gubernatorial Primary Debate

    BNM Staff
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    CNN to Host California Gubernatorial Primary Debate

    CNN is bringing a major moment to the 2026 California governor’s race. The network will host a two-hour California Gubernatorial Primary Debate on May 5th at 9 PM ET, broadcasting live from the Los Angeles area.

    Anchors Kaitlan Collins and Elex Michaelson will moderate the event. The debate will air on CNN, CNN en Español, and via streaming for subscribers.

    It appears as if at least five candidates will qualify for the stage: Republicans Steve Hilton and Chad Bianco, and Democrats Eric Swalwell, Tom Steyer, and Katie Porter. To earn an invitation, candidates must have raised at least $1 million for their gubernatorial campaign and hit 3% support among likely primary voters in two qualifying polls.

    The eligibility window closes April 27th at 6 PM PT. Qualifying polls must have been conducted between February 1st and April 27th, 2026.

    The debate will also be made available on the network’s website, mobile apps, and connected TV offerings.

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    Cumulus Media Announces ‘Country Kickoff Concert’ to CMA Fest Week in Nashville

    BMM Staff
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    Cumulus Media Announces ‘Country Kickoff Concert’ to CMA Fest Week in Nashville

    Cumulus Media is bringing two of its Nashville stations together for a high-profile live event ahead of one of country music’s biggest weeks. The company announced that 103.3 Country WKDF-FM and 95.5 WSM-FM will co-present the Country Kickoff Concert on Tuesday, June 2.

    The show will serve as an unofficial launch to this year’s CMA Fest in downtown Nashville.

    The event will take place at Skydeck on Broadway. A rooftop venue that has become a popular destination for large-scale live performances. Organizers say the setting will offer fans a close-up concert experience in the heart of Music City.

    The lineup features a mix of established acts and emerging talent. Chase Matthew, a Nashville native, joins Dustin Lynch, who has delivered multiple chart-topping hits. Rising performers Vincent Mason and Alexandra Kay are also scheduled to appear.

    With Broadway’s nightlife as a backdrop, the stations aim to create a high-energy showcase that highlights the genre’s current momentum. The concert also reflects radio’s continued role in curating live experiences that connect artists with listeners.

    Travis Daily, vice president of Country for Cumulus Media and operations manager for both stations, said the company wanted to raise the bar for this year’s event. He said the rooftop setting will add a unique element and encourage fans to capture and share moments from the night.

    Jennipher Miller, marketing and promotions director for WKDF-FM and WSM-FM, pointed to strong fan response from last year’s event. She said the team focused on building a lineup that blends fan favorites with newer voices gaining traction in the format.

    “After seeing the incredible energy the crowd brought last year, and feeling the buzz already building in Nashville ahead of CMA Fest, we couldn’t be more excited to roll out an all-new lineup,” said Miller.

    The concert arrives as Nashville prepares for CMA Fest, which draws thousands of fans and industry stakeholders each year. Events like this help extend the celebration beyond official festival programming.

    Doors at Skydeck open at 6 p.m. CT. Tickets will go on sale Friday, April 10, at 8 a.m. CT.

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    Audacy Announces Two New Women’s Sports Partnerships in Portland

    BSM Staff
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    Audacy Announces Two New Women’s Sports Partnerships in Portland

    Audacy is expanding its presence in women’s sports with a new multi-team partnership in the Pacific Northwest. The company announced it will serve as the official radio home for both the Portland Fire and the Portland Thorns.

    The agreement marks the first time both teams will have consistent radio broadcasts in the market.

    Under the deal, Audacy’s 910 ESPN Portland will act as the flagship station for the Fire. Coverage begins May 9 when the team opens its regular season against the Chicago Sky. Select games will also air on 105.1 The Fan. Broadcasts will include pregame and postgame shows, along with on-site coverage throughout the season. The added programming signals a broader commitment to shoulder programming and storytelling beyond live play-by-play.

    Meanwhile, every Thorns match will air on KNRK-2 (KNRK-HD2). Ten matches will also simulcast on 910 ESPN Portland. Coverage began March 13 with a match against the Washington Spirit. Play-by-play voice Lily Crane will call all Thorns games this season. She will be joined by a rotating group of analysts, including former University of Portland standout Angela Harrison.

    In addition to traditional radio distribution, fans in the Portland area can stream games through the Audacy app. Audacy Portland leadership framed the partnership as both a business move and a reflection of the region’s sports culture.

    “Our city has long been a leader in supporting women’s sports,” said Ryan Cooley, senior vice president of sales for Audacy Portland. “We’re especially excited to welcome the Fire back to Portland after over two decades.”

    Cooley added that the agreement creates more access for fans while continuing to elevate women’s sports across the region.

    Michael Whitehead, sports managing director for RAJ Sports, said the partnership aligns with the organization’s goal of improving accessibility and connection.

    “This partnership reinforces our commitment to bringing fans closer to the team,” Whitehead said. “It also makes games more accessible than ever.”

    The move adds to Audacy’s already sizable sports portfolio. The company operates dozens of sports radio stations and hundreds of digital channels nationwide. It also serves as the audio streaming partner for Major League Baseball and maintains relationships with more than 75 professional and collegiate teams.

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