Former 99.5 WRNN morning host Leanne Graham has returned to the Myrtle Beach news/talk station.
Graham will co-host morning drive alongside Joe Catenacci. The show will continue to be produced by DJ Slide.
The move marks a return for Graham, who worked on the show from 2019 to 2021. She helmed that show with Dave Priest, who also served as the program director of the station. Priest exited the company in 2024 amid a round of layoffs at Dick Broadcasting.
“Just when I thought I was out, they pulled me back in,” said Graham. “But seriously, the path of least resistance has a funny way of surprising you. Never in a million years did I imagine my ‘restart button’ would lead me back on air—but I know it’s because it brought me home to my long-lost family at WRNN. I feel like the prodigal daughter finally finding her way back.”
“We’re excited to have Leanne back in the family,” added Operations Manager and Program Director Charlie Steele. “Her energy and personality will be a great addition to the show, and I’m excited to hear where Joe, Leanne, and DJ Slide take the show next.”
The Hot Talk Morning Show on 99.5 WRNN airs from 6-10 AM.
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.
A group of golf’s most recognizable digital creators is coming together under one umbrella. Bryson DeChambeau and Grant Horvat are leading the debut of Source Golf, a new YouTube-based network designed to centralize popular golf content.
According to a report in the Sports Business Journal, the venture falls under the Source Media Group banner and also includes the Bryan Bros. The group has built sizable audiences online by blending instruction, entertainment and personality-driven storytelling.
Unlike traditional network launches, Source Golf will not require creators to produce new programming. Instead, the platform will serve as a hub that aggregates existing videos from its talent roster. That approach allows fans to access a wide range of content in one destination without disrupting the creators’ established channels.
Additionally, Source Golf plans to monetize through advertising tied to its YouTube distribution. The channel will remain free for viewers, a move that aligns with the broader shift toward accessible, ad-supported digital content.
The timing of the launch reflects a growing intersection between professional golf and the creator economy. Both the PGA Tour and LIV Golf have increased their focus on influencer-driven content in recent years.
The PGA Tour previously introduced a creator-focused event series to engage younger audiences and expand its digital reach. Meanwhile, LIV Golf has leaned into exhibition-style competitions featuring online personalities, aiming to blend entertainment with competitive play.
DeChambeau remains one of the most prominent figures in the space. His YouTube channel has attracted millions of subscribers, driven by long-form challenges and behind-the-scenes access. Horvat has also carved out a strong following with lifestyle-driven golf content, while the Bryan Bros continue to resonate with fans through trick shots and course vlogs.
As golf continues to evolve across both traditional and digital spaces, Source Golf represents another step toward blending competition, content and community into a unified experience.
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 Nielsen Company (US) LLC is an undisputed monopolist.” That’s the opening line of the introduction to Cumulus’ latest filing against Nielsen in the U.S. Second Circuit Court of Appeals for the Southern District of New York.
Pretty straightforward, wouldn’t you agree?
If you’re new to this imbroglio, Cumulus sued Nielsen on antitrust grounds because the latter required the former to buy local data for every local Cumulus market. Otherwise, the company couldn’t have access to the entirety of Nationwide, a requirement for selling network radio. There is no other national radio product. Cumulus owns Westwood One, one of the two biggest radio networks.
I continue to run up the bill in my PACER account, which is how to get access to publicly available files from federal court cases. If you want some nice bedtime reading, relax with 57 pages of Hogan Lovells nonfiction work, which could be entitled “Nielsen Bad.”
The reason for this filing is that Judge Vargas, who gave Cumulus a qualified win over Nielsen in the original case, put the case on hold while Cumulus goes through its prepackaged bankruptcy proceeding in the Southern District of Texas Bankruptcy Court. This being the second time around in less than ten years, Cumulus knows how to get the process completed quickly.
While I’ve written previously about some interesting nuggets from the earlier filings, this one has a couple of tasty bites concerning how Nielsen operates, which I assume is based on the discovery process. Not quite TMZ quality, but still…
For example, Cumulus cites Nielsen documents that “included statements like, ‘[we] will drive local subscription through this network policy'” and the policy will allow Nielsen to “command subscriptions in local markets.”
Cumulus’ attorneys also reviewed some elements of the negotiations between the parties. Cumulus states that their people ran a financial analysis, which revealed that in some markets:
“The cost of Nielsen’s local radio ratings data had outstripped the value Cumulus would receive in advertising revenue.”
Let’s think about that statement for a moment. Cumulus determined that the value of Nielsen data in many of their markets doesn’t work on an ROI basis. The filing doesn’t go into the details of the company’s analysis, but let’s dig a bit deeper.
Per the Cumulus corporate website, the company operates in 84 markets. A few of these are small markets where Nielsen does not offer local ratings. We can surmise that Cumulus found Nielsen data to be at least a marginally good investment in perhaps 32 of their markets, because while the number is “blacked out” in the filing, one line is not: “Nielsen would only sell the ‘Swiss cheese’ version of Nationwide, which omitted data from Cumulus’s four dozen other local markets.”
There you have it. It doesn’t make financial sense for Cumulus to buy Nielsen data in a majority of their markets. Some of those markets are easy to identify.
For example, in Los Angeles, Cumulus owns KABC-AM as a standalone. Then there are some small markets that Nielsen continues to measure, but you can imagine that the dollar volume of ratings-based buys is limited compared to the cost of Nielsen data. If you’re not a fan of Cumulus, you might suggest that the company doesn’t know how to use the data to the best effect and could get more value from it. That’s fair, but still — 48 markets don’t make dollars and cents sense?
The Cumulus filing notes that the company still has access to Nationwide until September 2026. Even in bankruptcy — Cumulus’ filing tried to shift some of the blame on Nielsen, but the company’s approximately $700 million in debt was a far bigger factor. Cumulus is requesting that Judge Vargas’ decision be taken off hold and that Nielsen be forced to offer a “reasonable” price for a full Nationwide service along with a limited number of local markets. The rest of the markets would use Eastlan or go without ratings data.
There is another option: if Nielsen is so recalcitrant, why not sell Westwood One? If a buyer could be found that doesn’t own local stations, the problem goes away. Let’s face it: although Cumulus’ network business is not growing, it may still be profitable.
If you track the reported network revenue for Cumulus from 2021 to the present, you’ll find some disturbing trends. Full-year results show revenue down over 30% from 2021 to 2024. While Cumulus did not release a full-year 2025 report, we can view the nine-month performance.
From 2021 to 2025, revenue in the first nine months was down by over 43%. Another way to look at it is that 2021’s nine-month revenue was higher than 2024’s total year. Not exactly a growth business.
Someone else might find a new way to make the Westwood One business grow again — or maybe not. Regardless, is it time to get this issue out of the courts and move on?
Let’s meet again next week.
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.
Eyes across the radio industry last week were on the Audacy news. Rightfully so. There was a lot happening.
When news like that breaks, many across the industry become consumed by it. Some even flock to social media declaring radio dead, trashing upper management or questioning individual decisions. Say what you will about individual companies and leaders, but most prefer revenue growth and retaining people over cutting staff. That may not be what you want to hear, but if expenses rise and revenue dips, it’s going to continue to happen. It sucks. I wish there was an end in sight, but there’s not.
If the Audacy situation had you distracted last week, I get it. You missed a few gems though, some of which we covered on BarrettMedia.com.
April Fool’s Prank Pays Off
First, let’s go back to April Fool’s Day. K104 in the Hudson Valley area of NY created and executed a bit that created some buzz.
The radio station created a satirical blog, styled as a breaking national story. The headline read, The Freedom Flag: Trump’s Bold Plan to Redefine America’s Greatest Symbol. A fictional “Freedom Flag Project” was introduced containing four eye-catching flag concepts—each pushing the boundaries of tradition. It sparked strong reactions from readers and listeners as expected.
The bit itself was fun and perfectly timed, but it was something that Pamal Broadcasting COO Chuck Benfer said in the company’s press release that got my attention.
“We wanted something that felt real, got people talking, and brought a little fun and creativity to an important milestone like America250,” said Benfer. “One of our missions is to bring radio back to the fun, irreverent and unpredictable days that made our industry great! Live, local, relevant and relatable are how we will cut through the noise and capture attention. I am so happy that our team is embracing our movement to making local radio amazing again!”
Photo Credit: K104
A Reminder of the Benefits of Being Bold
Elsewhere on April 1st, Q104.3 pushed out a video clip on Facebook from Q104.3’s Jim Kerr’s Rock & Roll Morning Show. Kerr was asked by Trevor Marden about great April Fool’s Day pranks he took part in during his career. Jim cited one specific instance in 1991 when for an entire morning, Kerr took his entire show to Z100 and broadcast live on the radio station. The Z Morning Zoo led by Gary Bryan took over the airwaves of WYNY, Jim’s radio station.
Making the feat especially impressive is that the two stations were owned by different companies at the time. This wasn’t a case of folks inside the same building working together to make it happen. Custom jingles were created to make both shows sound like they were airing on the right signals like usual. Audience members phoned in trying to figure out what happened.
In this particular instance, two groups pushed aside concerns about local ratings and revenue, and focused instead on the bigger picture; creating radio buzz. By taking a risk, the two brands created a moment that has stuck with Jim for 35 years.
What’s Holding YOU Back?
As I thought about Chuck’s quote, and Jim’s reflection on how that 1991 prank connected, I couldn’t stop asking myself, ‘when did the radio industry that I love become so damn risk adverse?’ Can you image what type of excitement the audience and advertisers would feel if WFAN and ESPN NY or 104.3 The Score and ESPN 1000 traded places for a day? Or if HOT 97, Power 105.1 or WBLS swapped shows? Imagine if you turned on your TV and two networks changed locations for an hour. It’d have everyone talking. That’s a great support tool for sales too the next time a client says your medium isn’t cool and can’t create buzz.
Dan Patrick and Chris Russo agreed last week to host each other’s shows before DP retired. How come they’re willing to try something fun, but so many on local levels are timid? What’s standing in your way of making things happen? Is it a lack of creative ideas or executives or legal professionals putting handcuffs on your ideas?
Radio is at its best when it’s fun, unpredictable, and showcasing its creativity and connection. Earlier in my career, I worked for Chuck Benfer, and he encouraged and expected creativity. I worked on a rock morning show at WPDH that couldn’t back time or tell time but was good at creating moments and reactions. The hosts could see a story about a sign coming down and turn it into an issue that backed up traffic across a bridge. They could see a street teamer standing near a puddle and turn it into a bit that became radio gold. I learned a lot about allowing your imagination to run wild in order to create memorable content.
It doesn’t have to be crazy, outlandish or original to make a mark either.
Borrow From the Best
When we launched 95.7 The Game in San Francisco in 2011, I introduced a promotion called Lucky Break. The concept wasn’t original, it was a talent show to give an undiscovered talent a chance to become a sports radio host. I took parts of The Voice, American Idol, The Ultimate Fighter, etc. and put a sports radio spin on it. The promotion had different challenges, celebrity judges, station coaches, live shows on location featuring 16 contestants, with the audience having a voice in the process.
When I told the staff about the promotion, a few rolled their eyes and under their breath uttered, ‘this is amateur hour’. I reminded everyone that Taylor Swift, Kelly Clarkson, Chris Daughtry and Carrie Underwood were successful artists who started the same way and nobody from the competition would stay if they didn’t earn their keep.
Over the next 8-9 weeks, that promotion created a lot of buzz. The audience, talent, and sales team all took notice. The first person to audition showed up 7 hours early, wearing a custom made “F**k KNBR’ shirt lol. Madison Bumgarner, Brandon Belt, David Lee, Owen Nolan and Jacoby Ford served as judges alongside John Lund and I. Brandon Tierney and Dan Dibley were the Coaches, Brodie Brazil was the host, and after picking our field of 16, a live weekly 2-hour show started, and put 5 contestants up for elimination each week, giving the audience a chance to vote until 5pm the next day to save 1 of them. Thousands of texts poured in, video clips ran across all shows, talent talked about it, Jeff Schmidt showcased the drama in promos, and it caught on.
Daryle ‘Guru’ Johnson won that promotion, and now co-hosts the midday show 15-years later. Others from that competition (Rudy Ortiz, Zakariah, and Brandon Santiago) went on to work in radio too. The San Francisco Chronicle also did a full story on it. It was a memorable promotion that started in my head and became successful because everybody involved brought it to life.
Doubling Down on Creativity
People outside your walls think you have the coolest job in the world. A company pays you to play in the toy department. So while you’re in it, why not create memorable moments and experiences? I’m not talking about watch-parties at a bar on election night, a charitable golf tournament or on-air trivia either. Those may make you money but they’re not memorable. A Jim Kerr April Fool’s Day stunt, iHeartRadio Music Awards, Mandy Awards, Z Morning Zoo John Cena phone scam, Boomer & Gio Live or Wing Bowl are.
Too many people bury themselves in process, meetings, and paperwork instead of creating powerful content, moments, promotions, and events. You can be great at scheduling clocks, writing promos, PPM ratings analysis, and assigning tasks, but that doesn’t earn you multiple contracts and raises. Big ideas that generate big buzz and bigger dollars do.
I started my career during an era where the craziest shit happened inside of a radio studio. Every day was an adventure. It was exciting, fun, chaotic, messy, but man did it make you feel like you were doing what everyone else wished they could. Where is that passion, spark, and creativity? Does it exist in your building? Inside your soul? Are you continuing to look for ways to educate and challenge yourself or are you doing what you’ve done for years because ‘it’s good enough’? If you’re looking for new ideas and information, I trust I’ll see you at our Summit in NYC June 30-July 2.
Today, there is more creativity available on X, TikTok, Instagram, Facebook, and YouTube than on most radio stations. There is also more competition for eyes and ears. Radio can’t afford to restrict creativity. Too many brands are becoming the equivalent of elevator music. It’s comfortable and convenient, but few would notice if the channel were changed. Magic can still be created on your airwaves. The question is, what’s stopping you, and do you have ideas to move people and the guts to bring them to life?
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.
If you’ve been checking out the Barrett Media 4-Cast over the past three months, you understand my stance on radio brands utilizing artificial intelligence (AI). It’s another tool in the tool bag, no different than a prep service. The difference is that it has nearly limitless possibilities and continues to expand what AI can do to assist radio brands in providing content.
From time to time, however, radio forgets the words of everyone’s favorite Uncle Ben. “With great power comes great responsibility.”
Mistakes happen; no radio brand is perfect. But every mistake should serve as a lesson on how to improve. Lord knows I’ve made plenty of mistakes in my media career, and I’ve attempted to be better the next day because of them. However, is a mistake worthy of a life sentence of ridicule if a radio brand gets “caught” using AI? Also, is it even fair to use the word “caught” anymore when it comes to media and AI?
I’ve made no secret of my use of AI while programming a sports radio brand in Tampa, FL. When I needed different angles for writing promos, AI was there to help. When identifying keywords for search optimization on articles where we posted podcasts, AI assisted. Even when reworking a social media post to gain more traction in the algorithm, AI provided value.
Any programmer or talent not thinking about how to use AI to benefit the brand they represent is holding themselves back while the rest of the world continues to sprint ahead.
When KNBR host Adam Copeland “caught” cross-town rival 95.7 The Game and their “fourth period” post on Facebook (which has been deleted), I didn’t laugh. In fact, it was a positive. A sign that a sports radio brand attempted to use AI to benefit the overall product.
AI isn’t perfect, and a mistake was made. That’s where the lesson comes into play.
From the first day I sat at the controls of a soundboard to my last day as a programmer with iHeartMedia. There was one principle I understood: content doesn’t reach the audience unless you allow it to. Talent is the starting point—the voice that delivers. Digital teams and producers are the last line of defense. They decide if the content is fully meets audience expectations.
Herm Edwards once proclaimed, “Think before hitting send.” Again, AI isn’t perfect, and mistakes happen when you don’t double-check the output of the tool you’re using.
AI in radio is becoming increasingly common. When it comes to social media, radio brands need different strategies for different platforms. Too many radio brands still keep their digital presentation uniform and assume that simply posting the samecontentin the same manner is enough to drive engagement.
If you scroll through 95.7 The Game’s Facebook page, you’ll notice major differences in captions between shows and live events. That’s strategy—not a flaw.
Videos from live events feature simple, straightforward, one-sentence captions that allow the visuals to tell the story. From pregame walks around Oracle Park to postgame interviews with the Golden State Warriors, the approach is clean, simple, and direct. These clips consistently generate high engagement because they provide an IRL (in-real-life) perspective fans enjoy.
Meanwhile, show clips produced as reels from Steiny & Guru and Willard & Dibs include the show’s name in the caption, whereas The Morning Roastdoes not (at least tillFridaymorning following the “catch”). Instead, The Morning Roast reels include more detailedwrittencontext, often revealing the subject matter and takes before the viewer even presses play.
From the Facebook page alone, it’s clear there are different tools and approaches being used to maximize success. Even before Copeland “caught” The Game, clips from The Morning Roastfeatureddifferentcaptions across platforms.
That’s strategy.
Different social platforms attract different audiences with unique preferences and habits. That requires radio stations to adopt platform-specific strategies. Using AI to assist in that strategy isn’t negative; it’s experimentation in the name of progress.
Sure, sports fans know there aren’t four periods in a hockey game. Rival stations and talent are always looking for opportunities to take shots at the competition and highlight a “fail” to gain social clout. But does that mean KNBR isn’t using AI in some capacity to enhance its product? If not, how long until it does?
Radio utilizing AI isn’t a negative, but it must understand that AI isn’t human. The tool is widely available, but it comes with flaws. The time saved by using AI should always be reinvested into ensuring the final product meets expectations.
That’s where this mistake becomes a learning opportunity as brands continue to adapt.
At some point, the radio industry has to decide what it wants the story to be. Is it that radio got something wrong on a Facebook post? Or is it that radio is finally embracing tools that can help it evolve in a media landscape that isn’t slowing down?
Because the truth lies somewhere in the middle.
AI isn’t the enemy, but it isn’t the savior either. It’s simply the latest extension of what radio has always done best—adapt. The brands that win won’t be the ones that avoid AI out of fear of being “caught.” They’ll be the ones that use it, refine it, challenge it, and, most importantly, take responsibility for it.
That’s the part that can’t be automated. Judgment. Accountability. Understanding your audience. Knowing when something is ready—and when it’s not.
Those are still human traits. They always will be.
So if there’s a lesson in all of this, it’s not about avoiding mistakes. It’s about owning the process. Use the tools. Push the boundaries. Try different strategies across platforms. But never forget that the final call still belongs to you.
To error is human. The fail is never evolving.
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.
This summer is bringing us some amazing classic rock tours. This self-proclaimed “Rock Chick” is psyched to see three of my all-time favorite bands in concert. Each playing huge venues to fans of multiple generations.
Tickets are going for big bucks and are in high demand. Rush, AC/DC, Iron Maiden. All coming—and all still cool. Let’s face it. Rock and Roll has always been about cool. You can be a great classic band. But cool? That’s different.
But who is the coolest in my opinion? Cheap Trick from Rockford, Illinois. The rockers who invented the ‘70s power pop, hard-banging guitar rock sound. They creates an arsenal of anthems, ballads, covers, and decades of new music. They are probably the coolest classic band.
From their 1977 debut to their most recent 21st album—All Washed Up—they remain one of the most in-demand touring bands. They are still so cool, and certainly not All Washed Up.
Three out of the four original members still actively touring (Robin Zander – vocals, Rick Nielsen – guitar, and bassist Tom Petersson). I’ve seen Cheap Trick dozens of times since the early 1980s. I booked them when I was program director at WDHA for radio shows in the 2000s. Every young band wanted to play on a bill with Cheap Trick, because they are so cool.
I’ve always noticed how current artists I’ve interviewed continue to mention Cheap Trick. Even their simple logo is cool. They still sound great, their catalog is epic—and they are still cool.
Two weeks ago, I headed to Starland Ballroom in Sayreville, New Jersey, for a Cheap Trick underplay with some of my NJ Rock Coalition Concert buddies. My boys who have been industry and radio partners—and more importantly, pals—for over 20 years. Tyson Haller from Shelter Music (Cheap Trick’s management company), and Gary Jay and Rob Baldwin from Landshark Promotion Studio.
When Cheap Trick hit the stage, it was instantly cool. Robin’s vocals are still spot on, and still looks great. Rick has always been a cool character and master showman. His arsenal of custom guitars swinging everywhere, and the band’s catalog is beyond impressive.
Cheap Trick is also known for designing the perfect setlist. Mixing their mega classics that are still heard daily on rock radio everywhere, with deeper cuts that you never hear on the radio. My personal favorites include I Can’t Take It, Hello There, and Auf Wiedersehen, and a sprinkling of new tunes from their latest albums.
You feel cool watching them. Cheap Trick shirts everywhere—from 18 to 65. Everyone was representing the iconic yet simple logo. It still looked cool.
I caught up with the coolest member of the band—guitarist Rick Nielsen. Not long ago, I asked him if he understood that the band was still one of rock’s coolest acts.
*Editor’s Note: Answers have been edited for clarity and length.*
Terrie Carr – You are a humble guy. Do you still feel like one of the coolest bands, because you are still one of the coolest bands?
Rick Nielsen – I’m 30 and I feel like 16. That was on our first album. I’m 130 now and I feel like 16 until I look in the mirror. So, I tore all of the mirrors out of my house.
TC – Are you looking forward to getting out there and touring again? You are a touring band, a working band, and a working rock and roll band.
RN – That’s what we like to do. Thank God we have fans that come to see us, promoters that want to book us, and other bands that still want us to play with them. It’s great. It’s the life that I wanted my whole life. I didn’t want to be anything else. This is what I do.
Rick discusses Robin Zander as his “favorite singer,” and how the band is “too dumb to quit” while never trying to be “something they were not.” Watching the entire crowd two weeks ago in New Jersey chant, “We’re all alright” during Surrender over and over was a moment. Doing what rock does: transporting us and making us feel cool.
What does it take for a classic band to still be cool? Massive catalog. At least two original members. A killer logo. Overall, it has to feel cool, something you just can’t fake.
Cheap Trick’s All Washed Up tour runs through September 2026. If they are playing near you, don’t miss them. It’s a cool night that’s good for the soul.
Set List – Sayreville, NJ – 3/20/2026
Dream Police Elo Kiddies Stiff Competition Big Eyes Heart On The Line Twelve Gates Ain’t That A Shame That ‘70s Song High Roller Downed I Know What I Want The Flame I Want You To Want Me Surrender Never Had A Lot To Lose Auf Wiedersehen Goodnight
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.
Any discussion about the strengths of radio and how the medium will survive into the future inevitably comes around to the importance of being local. I mean, c’mon. As someone reminded me the other day, it’s exactly what the broadcast license calls for — serving your local community.
For stations that play Classic Rock and Hits music, that’s not always easy to do. Not every metro area is a bustling metropolis with lots of unique stories to talk about. Not every station has a fully local air staff out experiencing things that are going on in the area. A lot of events and happenings that do occur don’t always fit with your target audience.
But there has always been, and continues to be, one consistent topic that is incredibly local. And from research I’ve seen, information on this topic is something listeners say they want — and if you deliver, they will give credit to your station for being local and part of the community.
Concert information.
Attacking the Concert Promotion
But here’s the rub: as stations have gotten increasingly lax about features like concert calendars, or promoting that there is information on their websites and apps, Apple and Spotify are swooping in trying to steal this valuable territory.
Just last week, Apple Music announced a partnership with Ticketmaster with the goal of improving how users discover live music events that are relevant to their listening habits. With this new integration, there will be links on the homepage carousel, in the dedicated “Concerts” tab, and on artists’ pages, along with push notifications that connect consumers directly to Ticketmaster where they can purchase seats.
This integration comes just a month after Spotify teamed up with SeatGeek to provide direct ticket links to fifteen major U.S. venues. That partnership was revealed soon after Spotify announced it had already helped artists generate over $1 billion in concert ticket sales through partnerships with more than 45 ticketing partners.
And while it might be easy to dismiss the issue of concert information as being relevant only for stations that play newer music, the fact is Classic Rock and Hits artists continue to tour and do huge business.
Fighting On-Air
This summer alone brings us Rush, AC/DC, Bon Jovi, Mötley Crüe, Journey, Rod Stewart, the Black Crowes, Santana, Foreigner, Lynyrd Skynyrd, Styx, Alice Cooper, Chicago, Cheap Trick, John Oates, Toto, and many others — all on the road.
That makes it important to consider what radio stations can do to hold off Apple Music and Spotify and remain the source of local concert information for their listeners. Here are some of the basics to get you started:
Concert Calendar Promos: Whether live or recorded, this is the simplest way to be sure your station is talking about the concerts coming to the area.
Sweepers: Short produced pieces that play in front of artists who have concert dates in your area can be a quick and easy way to incorporate more local information without disrupting the flow of the station.
Fighting Onlineand In-Person
Social and Digital: If you don’t have a dedicated spot on your website and app for concert information, find a way to create one. Then find interesting content to post on social media about shows that are coming to town. It will make your social posts more valuable to listeners.
Be On Site: I realize radio stations are shorthanded. This isn’t as easy to do as it used to be. But you won’t find a more concentrated group of potential listeners all in one place than at concerts that fit your format. When it comes to allocating resources, this should be a priority.
Giveaways: Your listeners are struggling to make ends meet. And ticket prices are skyrocketing at the same time as the cost of necessities like gas and groceries. Free tickets to these shows represent a bigger opportunity than ever to win over listeners. Don’t just bury the tickets you get inside existing features. Turn them into big, memorable promotions right when your listeners need them most.
Those may not be the five most original ideas, but I’m surprised at how many stations fail to even execute the fundamentals that can make a big difference in how listeners perceive their station. For music stations that want to be local when budgets and other resources are tight, concerts are a golden opportunity.
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.
Reports emerged last week that CBS News Editor-in-Chief Bari Weiss isn’t happy with the direction of 60 Minutes. She wants harder hits, more scoops, and less of what insiders are calling “soft programming.” That’s an understandable instinct. But it’s also, potentially, a fatal one.
Let’s start with what’s fair. Weiss isn’t wrong that scoops matter. Breaking news, holding the powerful accountable, and delivering stories that move the needle — those are the cornerstones of great journalism. If 60 Minutes isn’t delivering on those fronts, she’s right to notice. So, yes, the impulse makes sense.
Here’s the problem, though. 60 Minutes isn’t just another news program. It’s the biggest news audience of the week, almost without exception. It’s a platform built specifically for long-form storytelling — the kind of reporting that can’t be crammed into a two-minute hit or a screaming cable segment. That distinction isn’t a weakness. It’s the entire point.
News viewers deserve more places to see great storytelling, not fewer. When done well, a 60 Minutes profile or investigative piece can stay with you for years. The show has earned its place in television history because it slows things down. It lets stories breathe. Stripping that away to create another fast-paced, high-volume “here’s the news of the day” program isn’t an upgrade — it’s a fundamental misreading of what the show even is.
I’m reminded of something Ken Charles — Director of Branding and Content at 95.5 WSB and one of the sharpest media minds I know — told me once. I asked Ken — who I have more respect and admiration for than almost anyone in the media space — why he didn’t immediately start making changes when he first arrived at WSB, to put his own stamp on things.
His answer was blunt and brilliant: that’s a fatal flaw many people make. They step into something successful, they don’t fully understand what makes it great, and so they try to reshape it in their own image. Then they break it.
That’s the risk here. To be fair, it’s anonymous sources making these claims, not Weiss herself. We don’t have her on record saying she wants to gut the show’s identity. But if the characterization is accurate — if the vision is truly to harden the program and move away from its signature style — then it suggests she hasn’t yet grasped what’s made 60 Minutes endure for decades. And she’s about to break it.
Then there’s this quote, reportedly from someone close to the situation: “Bari wants to make the show harder. No one is talking about 60 Minutes on Monday morning.”
No one’s talking about almost anything on Monday morning anymore. That’s not a 60 Minutes problem. That’s a media landscape problem. The monoculture is gone. There are too many streaming services, podcasts, social media rabbit holes, and video games competing for everyone’s attention on any given Sunday night. The days of walking into the office and asking “did you see what was on TV last night?” are largely over — and they’re not coming back.
Millions of people still tune in to 60 Minutes every week. Millions. By any modern measurement, that’s a staggering number. The idea that those millions don’t count because nobody’s dissecting the episode at the water cooler reveals a shaky understanding of how media consumption actually works today.
Beyond that, think about what tends to dominate Monday morning conversation. It’s the outlandish moment, the unexpected twist, the ridiculous clip that went viral. Should 60 Minutes really be chasing that? That’s not the show’s lane, and it shouldn’t be. The program has always stood apart precisely because it doesn’t pander.
Look, changes can be good. Evolution is healthy. If Weiss wants to sharpen the editorial standards or push producers toward more accountability journalism, that’s a conversation worth having. But there’s a difference between sharpening something and dismantling it.
60 Minutes works because it’s 60 Minutes — long-form, deliberate, and built for storytelling. You don’t fix that. You protect it.
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.
As a radio programmer, there are ingredients you die for when looking for the right records to add. You dream of that perfect mix: a catalog-level artist who still matters today, a superstar whose every move makes headlines, a household name, an artist doing such massive promotion for themselves that you can draft off the momentum and go along for the ride.
Then, on the rarest of occasions, all of those things happen, and the most important part follows: the data comes in. You hope and pray that the mix of celebrity, relevance, and music all lands.
This week, it did.
285 Million Streams in One Week
The first batch of numbers arrived, and radio programmers watched as this artist’s new album cleared more than 285 million streams in a week.
To put 285 million in perspective, that is nearly twice the number of people who voted in the last U.S. presidential election. It is the equivalent of 14,600 sold-out nights at Madison Square Garden. That is more than twice the audience of the Super Bowl. It is also larger than the entire population of Indonesia, the world’s fourth-most-populated country.
Any artist who can put up those kinds of numbers clearly has a place on the radio.
Unless that artist’s name is Kanye West.
Or Ye, if we are being current.
The Kanye Conundrum
If this were anybody else, programmers would be sprinting toward the record, calling the label for edits, instrumentals, drops, and flyaways, emailing each other subject lines like “massive reaction,” and building imaging around the moment before calling the team at Gamma to tell them how smart, fast, and connected they are.
Let me be clear, because this part matters. I have real issues with things Kanye has said, things he has done, and positions he has taken. I am not pretending otherwise nor am I asking anyone to ignore that. And I am not suggesting controversy should be waved away simply because the streams are large. Bipolar disorder and a brain injury do not excuse his behavior. None of his choices should be minimized.
But mainstream music radio has a different job than personal absolution. Radio is not a church tribunal. It is not a moral project for programmers who want their playlists to double as personal statements. Or at least it is not supposed to be.
Type “Ye” into Mediabase and RAYE and KATSEYE load well before Mr. West. The same Mr. West who, just two albums ago, flew programmers to Wyoming on a charter plane, invited them into his home, took photos with them, handed out merch, had his wife at the time, Kim Kardashian, come out and greet people, let programmers mingle around his ranch with Chris Rock, Nas, Jonah Hill, Big Sean and others, and then parked a semi-truck full of Yeezys next to the private plane as everyone flew home. Was he not being a “good partner”?
Audiences Will Find Great Content Elsewhere
Ye’s radio spins and terrestrial audience fell after his controversies, and I agree on why, at that time, that response was appropriate. But the audience reaction to this new album gives you the opportunity to reevaluate what to do next.
Some people cannot separate the art from the artist. I respect that. For others, the song still wins. But when radio omits what millions of people are actively seeking out, it does not make the music disappear. It just sends the audience somewhere else: to Spotify, to Apple, to YouTube, places where brand managers are not standing at the door believing they are protecting the audience from its own taste. That is the last thing traditional media needs in a world where a handful of Nielsen meters decide who wins, who loses, and who gets the “we wish them well in their future endeavors” email.
There is also the small matter of history. The music industry has never applied moral standards consistently. Eric Clapton’s 1976 extremely racist remarks did not get him banished. The Rock & Roll Hall of Fame still describes him as its only three-time inductee. Morrissey’s anti-immigrant opinions and support of the far right did not end his career. Morgan Wallen was canceled, only to watch his consumption spike and later win Entertainer of the Year.
Radio’s Role
That is not a Kanye defense. It is not a co-sign of any artist. It is an observation.
There have always been artists whose beliefs, behavior, public comments, or personal lives could have changed how they were viewed. Sometimes it did. Sometimes it barely mattered. And sometimes it became what we writers call a “complicated legacy.”
If anyone in any genre can generate this kind of consumption, this kind of conversation, this kind of turnout, and this kind of gravitational pull, then the story is no longer about Kanye West. If you need a visual, just look at the stage tonight at SoFi Stadium. The story is about what radio thinks its job is.
Is it to reflect the audience? Or to correct the audience? Is it to spot demand? Or to lecture demand?
An Important Lesson
We teach kids not to judge people by their worst moment and that hurt people hurt people. We teach them that accountability matters, but so does context, growth, and grace. Then the grown-ups get involved, and grace becomes branding, judgment becomes policy, and exclusion gets dressed up as principle, ironically wearing free promo clothes from the Gap and maybe some Yeezys.
Kanye West is not owed your forgiveness. He is not owed your acceptance. But he’s earned at least some consideration for your playlist.
On several Apple Music charts, “All the Love” is at the top. It is more 808s than Pablo, and it sounds like the kind of record CHR should at least be seriously discussing. With the André Troutman collaboration, it also feels like a natural fit for Urban AC.
Yesterday was Good Friday, and the artist of the moment is the same one who founded G.O.O.D. Music. If that timing is not at least a little fitting, nothing is.
If programmers still value household names, headline makers, built-in promotion, and stadium-level star power, they cannot spend all year viewing songs through that lens and then suddenly pretend it no longer applies.
That is not a programming strategy.
That is just being a playlist bully, and that may be the most ironic part of all.
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.
Audacy is expanding its women’s basketball coverage with a new daily podcast series centered on a pivotal moment for the WNBA. The company announced that The Women’s Hoops Show, hosted by Jordan Robinson, will partner with MOSH Audio to launch “On the Clock,” a limited-run series focused on free agency, expansion activity and the college draft.
The series debuts April 4 and will run through April 17. Episodes will be released daily and run approximately 15 minutes. The show will be available across major podcast platforms. Audacy positions the project as a quick-turn, news-driven offering.
Each episode will highlight player movement, roster decisions and league developments as they happen. It will also examine how the WNBA’s newly ratified collective bargaining agreement is influencing team-building and player opportunities.
The timing aligns with what many around the sport view as a defining stretch for the league. Increased visibility, rising investment and structural changes have created heightened interest in offseason activity.
Robinson will lead the series with contributions from analysts, insiders and other voices across women’s basketball. The format aims to blend breaking news with informed discussion while maintaining a fast pace.
MOSH Audio co-founder Sarah Hack said the project fits the company’s approach to storytelling.
“‘On the Clock’ is exactly the kind of project MOSH exists to make,” Hack said. “We’re moving quickly to help fans understand what this new CBA means, both on the court and culturally. There’s no better person to guide that conversation than Jordan.”
Audacy Head of Podcasts Leah Reis-Dennis pointed to the league’s momentum as a driving factor behind the series.
“With unprecedented momentum behind women’s basketball and a new CBA shaping the league’s future, this is one of the most consequential free agency periods in WNBA history,” Reis-Dennis says. “This series is built to deliver fast, informed coverage of every major development.”
Robinson brings a wide-ranging background to the role. She has worked across multiple platforms, including the PAC-12 Network, Big Ten Network and Women’s Sports Network. Her experience spans hosting, reporting and play-by-play duties across both college and international competitions.
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.
