Tony Romo remains on indefinite leave from CBS Sports. But Jim Nantz says their friendship hasn’t skipped a beat despite the distance between them.
What We Know: Nantz and Romo have called NFL games together since 2017, forming CBS’s top broadcast team alongside sideline reporter Tracy Wolfson. CBS placed Romo on leave “until further notice” after his July 23 OWI arrest in Wisconsin. J.J. Watt has since stepped in as the network’s top analyst alongside Nantz for the 2026 season. Meanwhile, CBS Sports president David Berson says no final decision has been made on Romo’s future.
What They Said: Jim Nantz (via Awful Announcing): “Tony is a great friend of mine and has been for years. He and I go back to 2011 when he got married, I was invited to his wedding. So, this was not someone in 2017 when he entered the booth I was just getting to know for the first time. So he’s a great friend, continues to be, always will be. I adore his family, his wife is awesome. They’re the ones that are on my mind right now. The contents of what we talked about, I’m just going to leave that private, and I think that’s the only way and the appropriate way for me to look at it.”
What Remains Unclear: Whether Romo returns to the booth this season is still up in the air. Berson called the situation “evolving” and declined to set a timetable. Additionally, Romo hasn’t publicly addressed the arrest, so his own plans remain a mystery.
What It Means: Nantz’s comments suggest CBS’s top broadcast voice isn’t distancing himself from Romo personally. However, that loyalty doesn’t guarantee Romo’s professional future at the network. With Watt already paired alongside Nantz for Week 1, CBS appears to be moving forward regardless. Ultimately, Romo’s next steps depend on decisions well beyond Nantz’s control.
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.
Podcast Advertising spending climbed 23% in the 2nd quarter, according to new data from Magellan AI. The increase came as advertisers expanded podcast campaigns and added thousands of new brand commitments.
What We Know: Advertising load also reached 8.75% of all podcast content during the quarter. Meanwhile, 1,297 brands advertised on podcasts for the first time, signaling continued interest in the medium. Quince led all advertisers with an estimated $19 million in spending. Insurance posted the fastest growth, while several other industries also accelerated their podcast investments. Podcast advertising continued its upward trajectory during the 2nd quarter. Magellan AI found that spending increased 23% from the previous quarter. Additionally, the number of brands entering podcast advertising for the first time points to a broader advertiser base. As more companies enter the space, podcasts are becoming a larger part of media strategies across multiple industries.
What the Numbers Show: Insurance spending jumped 60% quarter-over-quarter, making it the fastest-growing industry tracked by Magellan AI. Energy followed with a 52% increase, while jewelry spending rose 47%. VPN advertisers also increased spending by 42%. Meanwhile, Quince ranked as the quarter’s biggest podcast advertiser, spending $19 million. Advertising load reached 8.75% of total podcast content, showing that commercial inventory continues to expand alongside audience demand.
What Remains Unclear: The latest figures don’t indicate whether higher advertising loads will affect listener engagement or consumption. It’s also unclear whether the rapid growth across industries will continue through the second half of 2026. Additionally, the number of first-time advertisers could fluctuate as marketers evaluate campaign performance.
What It Means: Podcast advertising continues to attract larger budgets and a broader group of marketers. Moreover, growth across insurance, energy, jewelry, and VPNs suggests advertisers see podcasts as an effective way to reach targeted audiences. If spending momentum continues, podcasting could capture an even larger share of advertising budgets.
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.
Pillar Media revamps lineups at three Christian AC stations. Skip Mahaffey exits as Creative Director and morning host.
What We Know Mahaffey’s departure triggers major format shifts across 93.3 WAKW (Cincinnati), 99.1 WAWZ (New Jersey), and 101.5 KSRC (Denver). Kristen James transitions to middays across all three outlets. The Brant Hanson Show returns to morning drive from its previous midday slot. Chad Mitchell continues afternoons (3–7 p.m.), while the Kevin & Amy Show anchors evenings. James started as an intern at WAWZ and climbed through promotions, weekends, and weekend hosting before co-hosting mornings in April 2020. Mahaffey spent seven years in mornings at K-Love, building a deep country radio pedigree across Dallas, Tampa, Columbus, and markets nationwide.
What’s at Stake The morning show restructure risks disrupting audience loyalty built since September 2024. Mahaffey told HisAir he took pride in “an incredible staff.” James’s move to middays positions her as a key afternoon voice. The Christian AC format increasingly depends on syndication, and reshuffling on-air talent creates temporary instability. Ratings continuity becomes critical as Brant Hanson’s return competes for listeners accustomed to Mahaffey’s approach.
What Remains Unclear The reason for Mahaffey’s exit remains unconfirmed. Whether Pillar will promote internally or recruit external talent for future leadership roles stays unknown. James’s Music Director responsibilities transition unanswered. Audience reaction to syndicated programming replacing locally-created content remains to be measured.
What It Means Pillar Media signals confidence in established syndicated content over unproven morning partnerships. Market stability depends on whether listeners follow James to middays. This shift reflects broader Christian radio’s reliance on proven talent and format consistency over experimental programming strategies.
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’s 101.5 Lite-FM Miami adds two hosts to fill the midday slot vacated by longtime APD/MD Gayle Garton. The shuffle brings back a familiar face while expanding the roster with fresh talent.
What We KnowGayle Garton departed from WLYF after 34 years at the station. Her role spanned both on-air duties (12–7pm) and music direction responsibilities. Audacy subsequently split the position. ‘Ashley O’ Owen returns to the Miami cluster, hosting 10am–3pm middays at WLYF after her September departure from Alternative WSFS (formerly “The Shark”). Additionally, Jessica Bonilla adds WLYF afternoon duties while maintaining her Mix 105.1 Orlando midday show. Bonilla has worked within Audacy’s Orlando cluster since 2005.
What’s at Stake The two-person approach suggests WLYF is investing in continuity and competitive positioning within Miami’s crowded AC market. Ashley O brings format familiarity; she previously hosted mornings at WSFS (2016–2020, 2023–2024) and tracked mornings at Alternative WOCL Orlando. Bonilla offers deep organizational knowledge, having worked across multiple Audacy properties. Together, they represent internal talent development rather than external hiring.
What Remains Unclear It’s unknown whether WLYF plans permanent or transitional arrangements. The station hasn’t announced whether one host will eventually consolidate the midday block. Additionally, music direction succession remains unaddressed; Garton handled that role alongside on-air duties.
What It Means Audacy is leveraging existing talent to manage talent departures—a cost-conscious strategy that signals confidence in internal development. Morning talent Julie Guy and Tamara G remain unchanged. Veteran John Tesh continues nights. Therefore, the cluster stabilizes its brand while testing whether a split shift can maintain audience momentum.
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.
Frank Copsidas and the LPTV Broadcasters Association filed a critical FCC petition. They’re pushing low-power TV stations to adopt 3GPP 5G Broadcast instead of ATSC 1.0 and ATSC 3.0.
What We Know The petition comes from XGN, X1 Mobile, and Tyche Media, which operates WCRN-LD, Boston’s experimental 5G Broadcast station. Their core argument has shifted from technical superiority to public safety and emergency communications. The proposal enables broadcast spectrum to deliver alerts directly to mobile devices. This creates a resilient backup when cellular networks fail.
What’s at Stake The debate cuts deeper than transmission standards. Copsidas points to the July 2025 Central Texas floods as evidence that broadcasters need multiple pathways into the mobile ecosystem. ATSC 3.0 adoption creates economic barriers for smaller operators, while 5G Broadcast offers a direct route to phones everywhere. The industry remains divided—some view it as dead-end technology; others see it as the future for low-power stations.
What Remains Unclear Will the FCC prioritize public safety over industry standardization? Can two competing standards coexist in the broadcast ecosystem? Additionally, does the television industry embrace innovation or defend entrenched infrastructure? These questions will shape broadcasting’s next decade.
What It Means Streaming requires internet. Broadcast doesn’t. When your connection fails, streaming stops—but broadcast signals keep coming directly to your phone. This petition is about building a communication layer that survives when the internet collapses, cellular networks fail, and towers go dark. It’s redundancy built into the hardware itself. Emergency information reaches you because the system doesn’t depend on the infrastructure that just broke down. That’s not incremental. That’s a complete reframing of how we think about resilience and public safety.
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.
100.7 The Bay signs off tonight in Baltimore. The classic rock station transitions to K-Love format after years serving the community.
What We Know The Bay airs its final broadcast tonight at 11:59pm. The station served as a classic rock staple throughout Baltimore for years. Eventually, K-Love takes over the 100.7 frequency tomorrow morning. Meanwhile, popular on-air personalities—including Huber, Mini Horse, Matt, and Mike Brilhart—wrap their final shows.
What They Said The station expressed deep gratitude in its farewell message to listeners. Officials stated: “We truly appreciate all the amazing years of amazing music, live broadcasts, events, concerts, silly moments, and most importantly, the love and support of YOU, our listeners.” Additionally, they emphasized: “We are so proud to have been a staple in the Baltimore community.” The farewell underscored the lasting bond created over the station’s tenure.
What Remains Unclear Some air staff have transitioned to Bayrock, a new streaming platform dedicated to The Bay’s legacy. Meanwhile, Huber launched “Hanging with Huber,” bringing his morning show energy to podcast format as program director and on-air talent. Notably, Shamrock Communications retained none of the personalities or staff members. However, questions linger about Bayrock’s long-term viability and whether The Bay’s loyal audience will follow the shift from terrestrial to streaming.
What It Means Religious broadcasters continue gobbling up signals across the United States. The Bay exemplifies a heritage classic rock brand going by the wayside. Meanwhile, religious formats now penetrate major markets and medium-sized markets alike. This shift underscores the strategic priority religious broadcasters place on signal acquisition nationwide.
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.
Recently, I went looking for something I hadn’t shopped for in years: a cassette player. Somewhere in my house is a box filled with old cassette tapes from my years on the air. These include airchecks, interviews, and moments from radio stations — pieces of my career that somehow survived every move I’ve made. I imagine a lot of people reading this have a similar box lurking in a closet somewhere.
The funny part is that I could probably digitize most of it. I could put those recordings on a hard drive and access them with a click. But somehow that doesn’t feel like the same thing.
The Numbers Tell an Interesting Story
Apparently, I’m not alone. Vinyl continues a resurgence that has now gone on so long we probably need to stop calling it a comeback. According to the RIAA, vinyl sold 46.8 million units in the United States in 2025 compared with 29.5 million CDs. Total physical music revenue increased 5% to nearly $1.4 billion. Importantly, vinyl has now been growing for nearly two decades.
And it’s not only happening here. IFPI reports global physical music revenue grew 8% in 2025 to $5.3 billion, largely driven by vinyl. Even the cassette — the format many of us couldn’t wait to replace — refuses to disappear. Music Business Worldwide reports that in the UK, revenue from physical formats grew 11.5% in 2025. Vinyl revenue jumped 18.5%, while the category containing predominantly cassettes nearly doubled, increasing 95%.
Nobody is suggesting Spotify needs to start worrying about the cassette deck. Something else is happening.
What People Are Really Craving
John Lenac, Chief Strategy Officer at Citizen Vinyl, gave me what I think may be the best explanation. “I think what people are really responding to isn’t the format itself, it’s the attention it demands. Vinyl doesn’t let you skip around or half-listen in the background — it asks you to sit with something for forty minutes.”
Think about how completely opposite that is from almost everything we’ve built over the past 20 years. Music became frictionless. Want a song? It’s there. Don’t like it? Skip it. Don’t know what you want? An algorithm will decide. Want something different? There are another hundred million songs waiting. We successfully removed almost every obstacle between the consumer and the music. And perhaps we removed something else along the way.
“In a culture built around infinite, frictionless content, that kind of deliberate attention has become rare enough to feel almost radical,” Lenac told me. “People aren’t just buying records, they’re buying back a piece of their own focus.” That sentence stuck with me.
Maybe the vinyl resurgence isn’t really about vinyl. Maybe the cassette resurgence isn’t about cassettes. And I highly doubt anyone suddenly decided reel-to-reel tape was the most practical way to listen to music. Instead, this is about ritual.
The Ritual We Lost and Need to Recover
“We didn’t lose interest in music, we lost the ritual around it,” Lenac said. “Vinyl brings the ritual back — the act of choosing a record, holding the sleeve, committing to a full side.” There was once a process attached to music.
You went to a record store. And you flipped through albums. Then you stared at the artwork. Maybe talked to somebody behind the counter who might tell you what record you needed to hear. Then took it home. You opened it. You put it on. Even a cassette required a commitment that streaming doesn’t. You owned something.
That doesn’t make streaming bad. Streaming has given music fans access previous generations couldn’t have imagined. Globally, recorded music revenue reached $31.7 billion in 2025, with paid streaming continuing to drive the business. However, perhaps convenience and connection aren’t always the same thing.
Where Radio Fits In
And that’s where I think radio should pay attention. Radio has spent years trying to eliminate friction too. We’ve tightened the breaks. And reduced interruptions. Made everything more seamless. We’ve automated more of the experience. We’ve given people fewer reasons to tune away. All of those things can make sense. But are we occasionally engineering the ritual out of radio?
Some of the things people remember most about great radio weren’t necessarily efficient. Waiting for a countdown to hear where your favorite song landed wasn’t efficient. Calling a DJ to request a song wasn’t efficient. Sitting through a personality telling a great story before finally playing the record wasn’t efficient. It was an experience. That’s an important distinction.
Lenac put it simply: “That deliberateness is what people are actually craving right now.” Maybe that’s the lesson buried inside all these records, cassettes, and dusty old tapes we’re suddenly digging out again. Technology has become extraordinarily good at giving us everything we want instantly. But sometimes what we really want is a reason to stop, listen, and care. Ultimately, maybe we’re not trying to go backward at all. Maybe we’re trying to recover something we accidentally engineered out of the 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.
When you talk to someone from Long Island, they don’t tell you they’re from New York. Instead, they tell you they’re from Long Island. It’s a badge of honor. For Chris Lloyd, Program Director overseeing two storied heritage brands, that distinction represents the bedrock of everything these stations do.
After 20 years on the island — with both daughters born here — Lloyd has earned that badge. Moreover, he’s committed to something larger than ratings: keeping WBAB and 106.1 BLI authentically, unmistakably Long Island.
“There’s nothing better than the pizza. There’s nothing better than the bagels. It’s just a special place,” Lloyd explains. “The authenticity of the people — you just can’t beat it. It’s hard to fake Long Island. You gotta be it.”
Ultimately, this is more than nostalgia. It’s the operative principle.
WBAB: 50+ Years of Community Commitment
At over 50 years as a rock station, WBAB has thrived by understanding something fundamental: a radio station isn’t a jukebox. Rather, it’s a community institution. Roger and JP on mornings, together for 26 years, embody that commitment. They’ve been a team long enough that they run into listeners at 7-Eleven when going to get coffee. Consequently, they’re part of the fabric.
“Roger and JP got put on the air just right before 9-11,” Lloyd recalls. “When it happened, they dropped all their commercials and just started talking to people, trying to figure out how they could help. In no time at all, they had tractor trailers showing up at the radio station.”
That moment defined them. Additionally, from Superstorm Sandy to COVID to the blackout, WBAB has shown up when Long Island needed it most. It’s that kind of commitment — the willingness to use the platform for something larger than entertainment — that creates loyalty algorithms can’t replicate.
“When someone needs something on Long Island, the people here at WBAB are there,” Lloyd says.
Producer Brett completes the morning trio — a 26-year partnership that feels like family business. Dominique handles middays after working nights for years, demonstrating how the station develops talent instead of cycling through names. Joe Rock covers afternoons while helping other Cox Media Group stations. Rocky takes nights. Ultimately, each personality reflects the station’s core identity: rock radio by and for Long Island.
106.1 BLI: Pop Station, Long Island Soul
If WBAB is the rock institution, then 106.1 BLI is the pop station that’s been central to countless artists’ careers. Lloyd oversees it with the same philosophy: authenticity first, format second.
“106.1 BLI has been a pop station for many years. It’s had amazing talent come through and continues to do so. We’re very excited about new music, very active with new music, really committed to breaking artists and making noise about it,” Lloyd explains. “It’s a really special brand in the pop world.”
However, the secret sauce isn’t format excellence or technical proficiency. Instead, it’s that every personality on air understands what it means to be Long Island. Syke and Ali anchor mornings — both Long Islanders who’ve been together a couple of years and found their stride. They’re not performing for Long Island. Rather, they are Long Island.
Ali also handles middays, providing consistency across the station’s most important dayparts. Kat brings her own Long Island energy to afternoons. Ultimately, the principle is refreshingly simple: hire people who actually live in the community and understand it from the inside.
The Long Island Difference
What separates these stations from hundreds of others isn’t production value or imaging. Notably, Long Island has a vibe that’s “truly different than other places,” and it’s nearly impossible to fake.
“There’s just a lot of town names and things that are really special and specific to Long Island,” Lloyd explains. “It becomes really tough. It’s hard to fake Long Island. You gotta be it.”
That’s not a slogan. Rather, it’s a job requirement. Everything — imaging, social strategy, community involvement, on-air conversation — comes back to that single principle. The station’s brand doesn’t exist separate from Long Island’s identity. They’re inseparable.
“We want to be the best Long Island radio station,” Lloyd says. “That’s definitely what we’re striving to be. That’s the bar.”
The strategy is refreshingly straightforward: be from Long Island, hire people from Long Island, make content that matters to Long Island, and show up when Long Island needs you.
“We don’t forget that we’re not doing something real, real serious,” Lloyd reflects. “So let’s have some fun and bust each other’s chops. Work hard, play hard, right?”
That culture shows in the laughter in the hallways and camaraderie between talent and staff. Ultimately, people want to come to work. In the streaming age, the stations have their own apps and partner with major platforms — but the strategy remains the same: be where the audience is, on your terms.
The Bottom Line
You can’t manufacture what WBAB and 106.1 BLI have built. Moreover, you can’t algorithm your way into a community’s heart. You can’t fake 26-year morning show partnerships or crisis response that becomes legend. Instead, what you can do is hire people who belong to that community and get out of their way while they do what they were born knowing how to do.
“Both of my girls were born on Long Island, so it’s my adopted home,” Lloyd notes. After 20 years, “You can’t take that badge away. You’re part of it. I feel like I’ve earned it.”
That’s the credential that matters at WBAB and 106.1 BLI — not degrees or market size. Can you honestly say you belong here? Do you understand what it means to be Long Island?
In an era where radio is pressured to be more corporate, more algorithmic, more geographically fungible, these stations double down on what radio actually can be: authentically local.
Long Island has cult status for a reason. Ask anyone who grew up there. They’ll tell you they’re not from New York. They’re from Long Island. They’ll mention the pizza. They might complain about the taxes. But they’ll make sure you understand: that’s home.
And the best radio stations on that island have built their entire business model on understanding that distinction. It’s the real formula. Ultimately, it’s what keeps people showing up, caring deeply, and maintaining these as working community institutions rather than just another format spun out by corporate radio.
As Lloyd puts it: “It’s hard to fake Long Island. You gotta be it.”
At WBAB and 106.1 BLI, they are.
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.
Whenever I have a desire to make a significant purchase, my southern wife refers to it as “getting a bee in my bonnet.” She uses this phrase when I talk about an item long enough and knows the purchase is very likely coming soon. But why? What takes it to that level for me?
We like to believe that we make purchasing choices independently of outside influence. Most of us admit that media certainly introduces us to products. But we’re too smart to be guided by anything but our own intelligence. We think that because we price shop, read reviews, ask friends and weigh our options, those factors drive our choices.
Decades of psychology and marketing studies, including many from Nielsen and Edison Research, suggest that our habits are heavily influenced by the media we consume every day. In his New York Times bestseller, social scientist Robert Cialdini’s Influence: The Psychology of Persuasion identifies his universal principles of persuasion, including:
• Authority • Social proof • Liking • Reciprocity • Commitment and consistency • Scarcity
This helps explain why we’re likely to buy products and services recommended by trusted personalities, hosts, celebrities and influencers.
Your sellers should most certainly read Cialdini’s book.
Looking Inward
Despite our resistance to admitting our own susceptibility to outside influence, there is little doubt that we really are what we eat. The shows we binge, the personalities we trust and the podcasts we follow all shape what we buy, often without us even realizing it.
Television has always been one of the most powerful product influencers. While traditional commercials are effective, the impact goes far beyond commercial breaks. We all subliminally notice the vehicles driven by our favorite characters, the coffee shops where storylines unfold, the smartphones everyone seems to use and even the clothing and shoes worn by those characters.
As a fan of Yellowstone and Dutton Ranch, I quickly noticed that RAM pickup trucks are the only ones you’ll see the main characters driving. When they crash them, it’s hard for me to swallow destroying another $75,000 truck. Likewise, note the number of shows and movies in which MacBooks are prominently displayed or characters are clearly using iPhones.
Product placement has evolved into an art form because it works. Obviously, when consumers see products used in noncommercial, everyday life, those products become more familiar, trustworthy and desirable. You may remember an article I penned earlier this year on product placement for radio. It’s certainly more difficult, but it can work in ways missed by traditional 30- or 60-second commercials.
Personality radio influences purchasing decisions a bit differently. We tend to gravitate toward people who align with our personal values and worldview. That type of trust often extends across multiple formats. Your clients should know that their target consumers develop strong relationships with your personalities. That makes endorsements and sponsorships especially persuasive. If a trusted news anchor or on-air personality discusses financial planning, health care, travel or home improvement, listeners remember that brand when the time comes to make a purchase. Trust has become a form of social currency and is transferable.
Podcasts have taken this influence to an entirely new level. Unlike TV or radio, podcasts create a much more intimate, one-on-one relationship between host and listener. People often spend hours each week listening through headphones while commuting, working, exercising or relaxing. Over time, podcast hosts begin to feel less like celebrities and more like friends.
This relationship helps explain why podcast advertising consistently delivers impressive results. When a podcast host says, “I’ve been using this product for months,” listeners often perceive the recommendation as genuine rather than scripted. These spots routinely outperform traditional commercials because they feel authentic and personal. Radio and TV win on potential reach, but podcasts score big on a more personal and meaningful connection. That personal impact makes it a worthwhile investment.
Different Genres, Different Categories
Multiple genres influence consumer behavior. Renovation shows inspire kitchen and bathroom remodels. Cooking competitions drive sales of kitchen gadgets and specialty ingredients. Crime shows boost our interest in security systems. Travel programs inspire vacation bookings. Even some of the silliest reality shows create fashion trends almost overnight. Entertainment doesn’t simply entertain us; it creates aspirations.
Social media amplifies these effects. Clips from TV, podcast highlights and news commentary are shared across multiple platforms, reinforcing messages repeatedly. A recommendation heard on a podcast may appear later on Instagram, YouTube, TikTok or Facebook, creating multiple touchpoints that increase the likelihood of a purchase. This transfers traditional methods and expands them within the digital world.
Content may be king, but context is an extremely powerful tool. That message for marketers is clear. Consumers are more likely to respond to advertising when it comes from sources they trust and enjoy. However, awareness is equally important.
Understanding how our industry influences consumers’ decision-making doesn’t eliminate that influence, but it does encourage more thoughtful, impactful and compelling buying habits.
The next time you get that bee in your bonnet to buy a particular vehicle or order the latest gadget, pause for a moment. Ask yourself one simple question.
Did I make the choice on my own, or did an outside influence in the media help choose it for me?
One thing is certain. The only way I ever see something enough for it to become the bee is through the media. The decision to actually buy it is probably a combination of both.
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 game of baseball has been played for well over a century. It’s the only American sport to survive two world wars, the Great Depression and numerous controversies and scandals within its own ranks. That’s what has made the game America’s pastime to this day. Whenever the game gets knocked down or interrupted, it always finds a way to return and rise again. Few have told baseball’s stories over the last four decades like Tom Verducci.
The five-time Emmy Award-winning writer, analyst and reporter is heading into another fall where his skills shine brightest. A member of the National Sports Media Hall of Fame, Verducci continues to balance his duties for Sports Illustrated, MLB Network and FOX Sports while also hosting a podcast with former MLB manager Joe Maddon. At the heart of everything Verducci accomplishes each season are the lessons he learned in his early days covering the game.
“The writing feeds everything else. It starts with the backbone of writing, which is preparation. Reporting, researching, and being prepared. I always tell students to use a fraction of what you discover in your story. The same approach applies to everything else,” said Verducci. “I just wanted to be in this business because I love to write. Longform writing is closest to my heart, but I love doing everything else too.”
Verducci believes every great connection to baseball begins and ends with narrative. From an early age, he viewed the sport through the eyes of a coach. His father coached high school baseball during Verducci’s youth, giving him a unique perspective that shaped his understanding of the game.
To this day, Verducci admits he’s still learning about the sport he grew to love. From those early lessons to becoming one of baseball’s most respected storytellers, he believes the best insights often come directly from the players themselves.
“I love to learn about baseball, but a lot of what I’ve learned about the game comes from around the batting cages and dugouts when my notebook is closed,” said Verducci. “To have the opportunity to still do that is really important. Always getting to know the players personally is always better for the fans.”
Remaining Rooted In Coverage
As a lifelong storyteller of the game, access remains essential to building meaningful narratives. While writing has always served as the foundation of Verducci’s career, his move into television came naturally, allowing him to present baseball’s stories through another medium for fans to enjoy.
After a breakout first half, @Yankees All-Star Ben Rice joins Tom Verducci to discuss his journey from a 12th-round pick to the All-Star game. pic.twitter.com/G4UgQwSsoK
Verducci began his television journey with TBS in 2008. Then shifted into the booth as a game analyst with MLB Network in 2009. Verducci expanded his television resume by joining FOX Sports in 2012 and has been part of the network’s lead broadcast team since 2016. His approach is simple: tell compelling stories and leave viewers wanting to share what they just experienced.
“As a broadcaster, the best thing that I can do may involve numbers. But have a nugget or a story or an anecdote that people can pass on to someone else,” notes Verducci. “People rarely do that with a stat or figure, but it’s that narrative and story that draws people in and wanting to share with others.”
With his work on MLB Network and FOX Sports focused on a national audience, Verducci understands that approach isn’t always embraced by local fan bases. For generations, baseball coverage has been driven regionally. With more platforms than ever delivering information, Verducci has watched fans’ expectations evolve. Local voices still seem to resonate the most, something he believes benefits both the game and its continued growth.
Being a trusted source of information in sports looks much different in 2026 than it did when Verducci began covering baseball in 1981. Information travels faster, and fans demand greater access and engagement. While there is value in breaking news, Verducci believes there is even greater value in explaining what that news actually means.
“If it’s not first, then explain it best. News travels so fast now,” said Verducci. “Once the news is out, it then becomes what that news means. There’s a lot of value in explaining the news. You always want to get news, but there’s more of a premium in explaining it to people.”
Connection Through Baseball’s Evolution
Verducci is a rare breed of reporter and analyst. In an era of instant information, when nearly everyone has a platform to offer their interpretation of the news, Verducci chooses not to participate.
“Staying off social media gives me a little bit of freedom because I’m not sure what the reverberations would be of what I might say or write,” says Verducci. “I’ve had so many people tell me they wish they could do what I’m doing with social media… I always wanted what I do to be more about my work than me. I don’t need any personal feedback, I’m as tough as anyone on myself.”
He understands that staying off social media likely limits his reach, but it’s never been something that concerns him.
“Listen, I know people don’t write letters anymore. But I do answer everything that I get in terms of ‘snail mail,'” said Verducci. “If people take the time to write something with a name and return address on it, I really admire that because of the effort it takes to do that.”
"We're looking at the greatest rookie class, this year, in the last 20 years."
Without question, baseball is enjoying one of its strongest periods in 2026. Viewership continues to rise, while games are becoming more widely distributed across streaming platforms, generating additional revenue. Players’ salaries continue to climb, and increased interest has fueled higher attendance.
The game has never moved faster, making it more digestible for modern audiences with shorter attention spans. Large-market teams are also enjoying sustained success, creating additional interest across some of the country’s biggest media markets.
“It’s been a perfect storm for baseball,” said Verducci. “The image of baseball was it’s too slow. Who says that today? Baseball in one swoop took 25 minutes of dead time out of the game. We have generations that have grown up on fast moving images now. Baseball has caught up with the direction of entertainment. Plus, super teams are great for baseball. Cinderellas are great, but major markets and stars drive the popularity of the game.”
Looming Doubts Surrounding The Game
Despite baseball’s current momentum, uncertainty looms this winter with the possibility of a work stoppage. The current collective bargaining agreement between MLB and the players association expires in December, creating questions about the sport’s immediate future.
This isn’t the first time Verducci has covered potential labor strife surrounding baseball. However, he understands the damage that could occur, especially after all of the adaptations the game has made in recent years to capture more attention.
“Momentum can be a fleeting thing. Especially in the world we live in now. If you go back to 1994, we know how long it took baseball to regain momentum following that strike,” explained Verducci. “There’s so many more options out there. We live in a world where everyone is competing for attention, and we only have so much attention to give… The game is in a better place than in 1994, so there’s more to risk with that momentum.”
Verducci remains hopeful that cooler heads will prevail and the sport’s momentum will continue with a new CBA in place and no games lost next season.
But in a sport built on rhythm, patience and the long view, baseball will likely rebound like it has always done. Much like the game, Tom Verducci has carved out a career that mirrors it—steady, resilient and always searching for meaning beneath the surface. While technology, television and social media have transformed how fans consume baseball, the fundamentals of great storytelling haven’t changed.
More than 40 years after he first fell in love with telling baseball stories, Verducci still approaches every season with the curiosity of a young reporter carrying a notebook into a clubhouse for the first time.
As long as that passion remains, so too will one of the game’s most respected storytellers. And like baseball itself, his story is still being written.
“I still really enjoy what I’m doing. I literally haven’t thought about how much more I want to continue covering the game, because it’s just so much fun,” says Verducci. “It’s a lot of work, and there are days where I think about what I’m doing. But the upside is still just as exciting. I’ve learned a lot about baseball, but I want to keep learning more because there is so much to learn.”
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.
