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How LeBron James Arrival Ignited Renewed Radio Tension Between 97.5 The Fanatic, 94WIP

John Mamola
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How LeBron James Arrival Ignited Renewed Radio Tension Between 97.5 The Fanatic, 94WIP

Many in the sports radio industry consider the days of a good old-fashioned radio war long gone. Rarely do talents from competing radio stations throw verbal shots across the bow. This past weekend may have ignited a new battle in the City of Brotherly Love. After LeBron James signed with the Philadelphia 76ers, an outpouring of emotion filled the airwaves of 97.5 The Fanatic.

Hosts celebrated the moment on air and across social media. The station, which also serves as the flagship radio home of the franchise, temporarily rebranded as 97.5 LeBron. In a moment that shifted the culture surrounding Philadelphia basketball, one talent from the station’s chief competitor took a different route. That’s when the first shots were fired.

“When LeBron James signs with the Sixers, Spike Eskin [94WIP afternoon drive host] comes on the air and says he’s counting down the days till LeBron James leaves Philadelphia. Maybe some of its schtick, but I couldn’t have been happier,” said Fanatic midday host Jon Marks.

The art of a radio war begins with moments. Despite weeks of saying that he would not want LeBron James in Philadelphia, Eskin’s comments in the moments following James signing hit a different tone. In today’s attention economy, anything and everything can be critiqued. Knowing when to pick your spots as a competitor is the first step.

“We [Philadelphia sports fans] have a reputation, and some of it’s deserved. But the way Spike handled his first comments about LeBron signing in Philadelphia, that’s not the reputation I want,” explained Marks. “Opening the show at two o’clock and saying it’s the worst day of your life, that’s going to give Philadelphia sports fans a running stereotype. WIP embraces that, and this is what you get.”

Welcome To The Battlefield

Marks rejoined 97.5 The Fanatic last year following a seven-year run at crosstown rival 94WIP. He was hired by Eskin, who at the time served as WIP’s brand manager. When Marks announced his departure from WIP in December 2023, he cited personal reasons for leaving.

However, as successful as WIP’s content philosophy has been in producing ratings success, Marks said he eventually grew tired of it. Since leaving the station, he believes its programming has leaned even further into what he calls “disingenuous” sports talk, amplified by a social media strategy focused on engagement.

“There couldn’t have been a singular move that moves the needle more than LeBron James signing with the 76ers,” notes Marks. “When it comes to criticizing things, I’ll do it, but I’m not going to force it. It feels that there’s a lot of forcing going on with WIP for clicks, rage bait, and engagement. We’re not going to do that at the Fanatic.”

After clips of Eskin’s comments spread across social media, content creators amplified the discussion. The first direct response came from Marks’ midday co-host, Sean Brace, who took aim at Eskin’s reaction to James joining the 76ers.

“We’re diehard Philadelphia sports fans. They are not,” said Brace via social media. “They [WIP] suck. Screw them, dude. That is a negative vibe that they are putting out. It will be amplified, and it bothers the hell out of me.”

After the reaction his comments generated online, Eskin responded to accusations that he was simply chasing engagement.

“It’s not for clicks. Don’t give a s**t about clicks. The only people who are doing things for clicks, I want to be clear, are the people who are talking about what I said to get likes and clicks,” said Eskin via X. “If you want to look at the people who are doing it for clicks. It’s the people talking about me, not me.”

A Different Approach

While sports media can debate the value of social media engagement, there’s little debate that it has changed the rules of competition between stations and personalities. Brace and Eskin exchanging responses only fueled the story for another day.

On Monday, following Eskin’s response to the criticism, Marks said he believes the exchange marked the beginning of the station’s resurgence. He hopes it signals the return of a brand that once consistently challenged WIP head-to-head. In recent years, WIP has enjoyed a commanding lead over The Fanatic. Marks believes that gap can be narrowed over time by embracing a different philosophy.

“We’re getting back to where we were before. We have a bunch of younger guys that feel united in what we can do as a station,” said Marks. “You can directly point to Spike taking over the station and saying ‘this is going to be our format.’ The problem [for WIP] is it’s nine years later… In this case with LeBron, there’s a lot of people that are growing tired of the WIP approach. That’s not going to be us.”

As The Fanatic continues promoting its “Make the Switch” campaign in response to WIP, Marks admits he doesn’t spend much time listening to the competition. He fully expects WIP’s strategy to be to ignore the commentary rather than respond by punching down.

“If I was WIP, I would, for the most part, ignore it. That might change depending on things. This wasn’t a concerted effort on any of us, but at this point why the hell not,” said Marks. “Why not be honest about it [our competition]. We can use them as a way to drive what we’re trying to do. Ultimately, we must be better than what they’re doing.”

While many personalities criticize their competitors through vague references and coded language on the air, Marks and The Fanatic have chosen a much more direct approach.

“A lot of program directors say to avoid using the call letters of your competition. Why not? We always talk in code like people don’t know what we’re talking about,” explained Marks. “Scott Masteller has never held me back from saying WIP or referencing my time working there. Even mentioning Spike’s name on the air. Really, so what? People appreciate the authenticity we’re showing on the Fanatic and just being normal.”

The Battle Is Entertainment

Sports radio has always been at its best when competition matters. Ratings books, personalities and programming philosophies become more compelling when there are real stakes involved.

“Radio wars have been part of Philadelphia sports radio’s culture. I think they’re fun. Sports radio has never been closer to the WWE than ever before,” said Marks. “I’m not looking to pick fights. However, when I hear or see something that puts me over the line, enough is enough. When I hit a boiling point with their nonsense is when I choose to chirp about it.”

The city may have gained LeBron James this weekend, but Philadelphia sports radio may have gained something almost as compelling: a rivalry worthy of its history.

If this weekend’s back-and-forth between 94WIP and 97.5 The Fanatic marks the beginning of a renewed fight for Philadelphia’s sports radio audience, everyone stands to benefit. Competition has always pushed stations to produce better programming, stronger personalities and more compelling content.

Philadelphia may once again remind the sports radio industry what a true rivalry looks like.

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.

Let Sid Rosenberg’s Fox News Comments Be a Reminder to News/Talk Radio Hosts

Garrett Searight
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Let Sid Rosenberg’s Fox News Comments Be a Reminder to News/Talk Radio Hosts

Sid Rosenberg’s Saturday appearance on Fox News turned into the kind of moment media watchers will reference for years. The WABC radio host called New York City Mayor Zohran Mamdani a “terrorist” and a “jihadist” during a segment on Fox & Friends Weekend, and the fallout arrived within the hour. Fox News host Griff Jenkins pushed back live on air, telling viewers that Rosenberg’s word choice “carries an extremely serious meaning” and shouldn’t get tossed around casually.

Jenkins got it right. He told viewers it’s important to draw a line between sharp political criticism and factual allegations, and that distinction matters more than ever in today’s media landscape. Words like “terrorist” and “jihadist” carry legal, moral, and historical weight. They describe people who plan and carry out violence for ideological ends, not politicians whose policies a host happens to despise.

Rosenberg later doubled down on 77 WABC, insisting he defines “terrorist” by ideology rather than by action. That’s a shaky standard, and it’s exactly the kind of definitional shortcut that lets serious words drift into everyday insults. Once a term stops meaning something specific, it stops meaning much at all.

Words Carry Consequences

Every host who works in news/talk radio faces the same temptation Rosenberg faced. Passion sells. Certainty sells. Strong words attract clicks, calls, and social shares in a way that careful, qualified language never will. Consequently, hosts often reach for the most extreme label available instead of the most accurate one.

But accuracy still matters, even in an opinion-driven format. Calling a mayor a jihadist because you disagree with his stance on Israel isn’t commentary anymore. That makes it a factual claim, and a false one carries real risk. It risks defamation exposure for the host and the network. It also cheapens the term for situations where it actually applies, like the Manhattan stabbing attack Rosenberg referenced during his rant.

The same erosion happens on the other side of the aisle. Pundits regularly call Donald Trump a Nazi, a rapist, or a pedophile without offering the evidence those charges would require. Repetition doesn’t make an accusation true, and it doesn’t make the person saying it credible. It just trains audiences to tune out extreme language altogether, which ultimately hurts everyone trying to make a legitimate point.

Restraint Still Wins

Hosts don’t need slurs or hyperbole to make an argument land. Skilled broadcasters have always found ways to be memorable without being reckless, and that skill hasn’t gone out of style. A pointed question, a well-placed pause, or a sharp turn of phrase can generate more attention than a shock-value label, and it won’t invite a lawsuit or a network apology afterward.

Restraint doesn’t mean silence, either. Rosenberg could have criticized Mamdani’s record, his rhetoric, or his handling of antisemitism concerns without ever using “terrorist.” Meanwhile, that approach would have kept the segment focused on substance instead of on the ensuing controversy over one word.

Fox News clearly recognized the risk. According to Rosenberg, the network pushed Jenkins to clarify the comments, not once but twice, because Fox News understood how damaging an unchallenged accusation like that could look. That reaction alone tells hosts everything they need to know about where the line sits.

Talent across news/talk radio should treat this moment as a lesson in discipline, not censorship. Say the provocative thing if it’s true and provable. Skip it if it isn’t. That one habit protects credibility, protects the host’s employer, and keeps the most serious words in the language reserved for when they’re actually deserved.

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.

Music Labels Demand AI Disclosure Accountability Standards

David Hill
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Music Labels Demand AI Disclosure Accountability Standards

We label almost everything. We label food as organic, artificially flavored, genetically modified or sugar-free. And we label advertisements so consumers know when someone has been paid to promote a product. Movies come with ratings. Additionally, social media platforms increasingly identify altered photographs and synthetic videos.

Those labels do not necessarily tell us whether something is good or bad. They simply tell us what it is. Music deserves the same basic transparency. If a song was principally written, performed and produced by artificial intelligence, the listener should know that. A radio programmer, playlist curator or music fan should not have to conduct a forensic investigation to determine whether the singer they are hearing is an actual person.

Establishing Clear Categories

That part seems easy. However, the more difficult question is where the label begins and where it ends. The music industry recently proposed two track-level designations: “AI-Generated” for recordings in which artificial intelligence created all or most of the important creative elements, and “AI-Assisted” for music that remains substantially human-created but includes meaningful generative-AI contributions. The proposal has support from organizations representing major labels, independent labels, artists and performers.

It is an important first step because “made with AI” has become an overly broad description. Specifically, using artificial intelligence to remove background noise is not the same as using it to invent a singer. Automated mastering differs significantly from entering a prompt and having a machine write, perform and produce an entire song. Using technology to clean up a human vocal should not put a recording in the same category as generating the voice, personality and performance from scratch.

The clearest test may be this: Did AI help a human make the recording, or did AI make the recording for the human?

Navigating the Gray Areas

There will still be gray areas. A human might write the lyrics while AI creates the melody. A producer might record a real vocalist but generate the backing musicians. Furthermore, someone might create an AI track and then use human engineers to edit, mix and master it.

Recent research argues that a simple “AI or human” classification no longer reflects how music is being produced. Notably, AI can now participate at different stages, including composition, lyrics, vocals, arrangement and mastering. That means the eventual labeling system will probably need to disclose where AI entered the process, not merely whether it appeared somewhere.

However, the existence of gray areas should not become an excuse to ignore the obvious cases. Fully AI-generated music needs to be labeled. There is no legitimate reason to conceal it.

Addressing Scale and Transparency

The scale of the issue makes transparency even more important. Deezer reported that AI-generated tracks exceeded 50% of its new uploads at peak levels in June, totaling approximately 90,000 tracks per day. The concern is not simply whether an individual AI song is good enough to attract an audience. Rather, it is whether automated production can overwhelm the music ecosystem through sheer volume.

Imagine opening your station’s new-music folder and discovering that half the submissions were created by machines. Some might be entertaining. Some might even be hits. But programmers should know whether they are supporting an actual artist who can perform, interview, tour and build a relationship with the audience.

Another recent study found that 92.7% of AI-generated tracks received fewer than 1,000 Spotify plays during the first five months of 2026. In comparison, 67.5% of human-created tracks achieved the same threshold. Researchers described a “spray and pray” strategy in which AI operators release enormous quantities of music across multiple genres in the hope that something gains traction.

This presents another problem: responsible artists and labels may willingly disclose their use of AI. Meanwhile, operators uploading thousands of anonymous tracks may be the least likely to tell the truth. Eventually, disclosure will need to be supported by standardized metadata, credible detection systems and consequences for deliberately mislabeling a recording.

Finding Balance

Still, the label should not become a scarlet letter. AI will be part of legitimate music production. Artists will experiment with it, producers will use it and the technology will continue to improve. “AI-Assisted” should not automatically mean fake any more than “recorded digitally” means nobody played an instrument.

A label provides information. It should not pass artistic judgment. Importantly, radio also has a legitimate stake in this discussion. Programmers should know whether an artist and performance are real, whether a voice was digitally replicated and whether the named artist consented to the recording. A station would not necessarily need to announce the label every time the song plays. But that information should be available before radio decides to add the record, interview the supposed artist or invest its credibility in building the act.

The Listener’s Right to Know

Perhaps listeners will embrace fully synthetic performers. Perhaps they will reject them. Ultimately, many people may care more about whether they enjoy the song than how it was produced. That decision belongs to the listener. However, listeners cannot make an informed choice when the process is intentionally hidden from them.

The music industry does not have to fear artificial intelligence. It does, however, have to label it honestly.

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 Shawn Farash Went From Trump Impersonator to Podcaster on Dan Bongino’s Network

Garrett Searight
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How Shawn Farash Went From Trump Impersonator to Podcaster on Dan Bongino’s Network

Shawn Farash is bringing his brand of conservative commentary to a bigger stage, and this time, he’s doing it alongside the man who inspired him to pick up a microphone in the first place. Dan Bongino’s Silverloch Media has tapped Farash to headline a new program, and the podcast host will debut Shawn Farash Live on Monday, August 17th at 1 PM ET.

Farash’s path to Silverloch started years before the deal came together, tracing back to a holiday drive that changed the course of his career. He described that moment in detail when asked about joining Bongino’s lineup.

“Um, well, it was extremely exciting,” Farash said. “I looked up to Dan Bongino for years. He’s the reason why I got inspired to engage in local activism when I lived in New York. I was sitting in traffic on the Tappan Zee Bridge, going upstate, a Memorial Day weekend in 2018. I heard one of Dan’s episodes about the Russia hoax and a lot of the inner workings behind the deep state and all that. At first I thought he was crazy. I said, ‘What is this guy talking about?’ But then he brought receipts. And I said, ‘This guy seems to be backing up what he’s saying. I like this.'”

That single episode set off an obsession that hasn’t let up since, and Farash explained how quickly it consumed him.

“So after that Memorial Day weekend, I got home, and I started going back and listening to every episode from then. I have not missed an episode since,” Farash said. “And I believe that he approaches the content creation and commentary space the right way. He is grounded by the North Star of Truth. He’s not about sensationalism or any click-driven garbage that the rest of the internet is filled with.”

From Listener to Colleague

Farash’s own grassroots work eventually grew into a media career of its own, and he traced that evolution back to the same blueprint Bongino had given him.

“From when I launched our grassroots organization on Long Island, and we ourselves launched the podcast, we kind of took the same approach, kind of copied and pasted his formula,” Farash said. “You know what we’re going to say? We’re going to back it up. And that podcast grew into something that landed me a show on a network known as LFA TV on Rumble. And then Dan and Silverloch came and asked me to join their lineup, to which I was very excited to accept. I’m extremely excited for August 17th to launch Shawn Farash Live with them. It’s gonna be fun.”

Asked whether he could have pictured this outcome back when he first tuned in, Farash didn’t hesitate with his answer.

“I always wanted to meet him. I met him at a book signing. But I never thought in a million years that I’d have the opportunity to have a national podcast for a network and a lineup that was founded by Dan Bongino. I never thought it would happen. But it’s been a long time coming.”

Getting to this point took years of trial and error across radio and podcasting, and Farash pointed to one station in particular as the turning point.

“There’s definitely been trials and error and crazy schedules and things,” Farash said. “I had my first fill-in opportunity from the great 1210 WPHT out of Philadelphia. I’ve done a ton of work with them. Without that station taking a chance on me as a fill-in guy, I don’t know if I would be in the position that I’m in right now. And obviously LFA TV has given me the opportunity to get a podcast going with them over the last almost four years at this point.”

That stretch at LFA TV became a proving ground, and Farash described the mindset that carried him through it.

“It gave me the opportunity over the course of that amount of time to get better at what I was trying to do,” the podcast host shared. “And that’s the way I looked at it over the course of those four years. It was just do a better show than the day before. And sometimes I didn’t do that,” he said with a laugh. “But sometimes we did! And overall, we moved in the right direction. Sometimes you take two steps forward and then a step back, and you reassess.”

The Trump Impersonation That Started It All

Long before the national platform, Farash built his following on a Trump impersonation bit, and he explained where the idea first came from.

“That helped a lot. And that was obviously one of the reasons why I really leaned into it,” Farash said. “When I was knocking on doors doing political activism in New York, a friend of mine said, ‘You got to do that Trump thing on TikTok.’ And I said, I don’t want to go on TikTok. It’s owned by China. But he said, ‘No, if you do it, it’ll go viral. You can get a bunch of eyeballs to what we’re doing in New York.’ And I said, ‘You know what? That’s a reason to do it.'”

Farash was careful to note that virality was never really the point for him, even as the bit took off.

“It’s always been about converting those views into meaningful metrics on the campaign trail,” Farash said. “Can we get candidates across the finish line? Can we bring more people to my show? And can we bring more people to the network that I’m streaming for? So I leaned into it because it’s a fun thing. People like it. Then they follow me and go ‘Hey, he’s got a podcast. He’s got a lot of interesting things to say.’ We don’t always agree on everything, but that was my thing.”

Asked what he hopes his audience ultimately takes away from his work, Farash returned to the same principle that first drew him to Bongino’s show.

“I want people to actually look for the truth, verifiable facts, and let the facts guide you to make your opinions,” Farash said. “I want people to take away the idea of doing proper diligence before formulating an opinion on something. Or if you have a problem, don’t just talk about the problem, but also talk about the solution. How we’re going to fix these problems, and keep building momentum to make the change that we want in the country.”

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 Adrian Vandenberg Changed Whitesnake’s Biggest Hit

Terrie Carr
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How Adrian Vandenberg Changed Whitesnake’s Biggest Hit

There are songs that transcend time, format and trend. Whitesnake’s “Here I Go Again” is one of those songs. Played for close to four decades on Active Rock, Classic Rock, Classic Hits and Hit Radio stations, “Here I Go Again” is Whitesnake’s highest charting song. It reached number one on Billboard in 1987. The track helped the Whitesnake 87 album become one of the best-selling rock albums of the 1980s.

Many don’t know that “Here I Go Again” was not a new song written for the 87 album. In fact, it actually appeared on a 1982 Whitesnake album called Saints and Sinners. Guitarist Adrian Vandenberg’s solo helped make the song a smash hit. Additionally, Adrian added what was needed and completely reworked the guitar parts. He was brought in to “Vandenberg Up” the Whitesnake 87 album, most notably “Here I Go Again,” by Geffen A&R legend John Kalodner. In this week’s episode of the Carr Stereo Podcast, Adrian discusses crafting the solo, his 13 years in the band, and why he’s taking his “Adrian Vandenberg — My Whitesnake Years” Tour out on the road this summer.

*Editor’s Note: Answers have been edited for clarity and length.*

The Impact of a Classic Debut

Terrie Carr: I am so honored to welcome the incredible crafter of sound — the one and only Adrian Vandenberg. I was telling you before we started how much the Vandenberg debut record meant to me growing up. I wore my battle vest and my denim Iron Maiden jackets. “Burning Heart” was my first power ballad in junior high. It made me cry. It had such an impact, and it still holds up today. Does it surprise you when you still hear that from people?

Adrian Vandenberg: Yeah, I hear it and it still surprises me. First of all, it’s an honor. I’m fully aware that I’m a lucky bastard and fortunate. I vividly remember writing the song behind my dad’s piano. I used an acoustic guitar on my right leg then switched between the piano and the guitar. Then I thought, “Oh, this is cool. This is going to be great.” Then parts of the lyrics popped into my head while I was working on the music. It often happens that way.

Whenever somebody brings it up, I think, “Man, how interesting is that?” You write a song, you stick out your antenna and you catch ideas. They come from wherever they come from. You end up recording it. Moreover, it becomes important to other people, as well as yourself. Basically, I write the music for myself. I love music and I love writing it. I think when it makes me happy, the chances are big that it’s going to make a lot of other people happy too.

Taking the Whitesnake Years on Tour

Terrie Carr: You are hitting the road with your friends Marco Mendoza and Vinnie Moore. It’s called the “My Whitesnake Years Tour.” I think this is incredible. There’s such love and passion and appreciation for classic hard rock music these days. The love is stronger than ever. Was that the impetus for you to put this together with Marco and Vinny? Furthermore, why did you think that this tour would work? There are quite a few August dates on this thing!

Adrian Vandenberg: Well, Marco and Vinny are going to do a separate set. They will play songs from their previous bands like Journey, UFO and Thin Lizzy. I’m bringing my own band over. I got this amazing singer. He really does justice to David Coverdale vocals on the Whitesnake stuff. There aren’t many people who can get away with that, you know?

The Story Behind “Here I Go Again”

Terrie Carr: So let’s harken back to Whitesnake. David Coverdale calls you and does he say, “Listen, I need a visual for the band and I have this song”? Now, of course, “Here I Go Again” was not a new song. It wasn’t written for the big Whitesnake 87 record. It was on a Whitesnake record that came out in 1982 called Saints and Sinners.

Did you know the song? Because here’s my take on the song. Here’s what you brought to it. Here’s how I view it. The song to me is very much the same as the 82 version. But different. The structure is the same. The vocal structure is the same. The difference is the song’s longing. That longing needed your solo. It needed this solo of emotion. And some sexiness. It needed what you brought to bring that song to life. Your solo made it a song played every day on the radio. Whether it’s an active rock station here in the states, a hard rock station, a classic rock station, or — dare I say it — an oldies station or pop station, that solo gave that song not a new life. It gave it life, even though the song was still the same. Tell me, how did you do that?”

Adrian Vandenberg: (laughs) Well, first of all, the first time David asked me to join Whitesnake was in 1982. I was recording the first Vandenberg album in Jimmy Page’s studio. I heard “Here I Go Again” on the radio all the time. It was the old version. It wasn’t a big hit in England. I hadn’t talked to David yet. I hadn’t met him yet. But I knew the song. It happened shortly after the Vandenberg album came out. I thought, “Man, what a great song, great vocals.” I was a fan of David since he was in Deep Purple anyway.

So at the end of 1986, I got an offer from John Kalodner, legendary A&R manager for Geffen. He came over to the States because he wanted to offer me a new contract for Vandenberg. I said, “Yes, I’m in.” The next day, I ended up in his office. He said, “I haven’t been completely honest with you, Adrian. I actually have two offers. One is to form an entirely new lineup for Vandenberg with top class American musicians. The other one is I would really love you to join Whitesnake.” That sounded familiar because David had already asked me two or three times to join.

Terrie Carr: So John wanted you to choose which one you thought would be best for you?

Adrian Vandenberg: Yes, Kalodner said, “Whatever you’d like most.” I said, “Well, you need to give me a day to think about it.” John said, “Okay,” and then he asked, “While you’re here, would you like to add a guitar solo to Here I Go Again? And also change some of the guitar parts?” Apparently, John Sykes — the Whitesnake guitarist who played on most of the 1987 record — didn’t like the song very much. When John Sykes recorded it, Kalodner described it as a country Western band playing a metal song.

Therefore, Kalodner didn’t like that. He asked me to change that and give it another color. You play guitar and then lead it back into the vocal at the end. I think the difference between me and a lot of guitar players might be that many guitar players see the solo as a platform. They show what they can do, which is great. There are so many fantastic guitar players. But I approach it differently. I approach it like I do the vocals. I like to play solos that you can relate to. Additionally, it needs to be a part of the emotion of the song. That’s what I try to achieve. I’m still trying to achieve that to this day.

How does Adrian stay in shape to tour as much as he does? Where does he see the classic hard rock scene in 2026? What can people expect on the “Adrian Vandenberg My Whitesnake Years” tour? Check out the full interview for the answers.

Stream On Carr Stereo

Watch On Carr Stereo

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.

Streaming Growth Accelerates Globally: Music Genre Landscape Transforms Dramatically

David Hill
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Streaming Growth Accelerates Globally: Music Genre Landscape Transforms Dramatically

A new study released by Luminate Data. Global audio streams jumped 9.8% in H1 2026. Meanwhile, K-pop and older catalog catalyzed unexpected CD momentum.

What We Know: The music industry’s streaming growth accelerated substantially. Specifically, on-demand audio streams climbed to 2.8 trillion globally, with international markets outpacing domestic growth at 11.8 percent. Here’s the real story: R&B/Hip-Hop continues dominating with roughly one in four streams. However, Dance/Electronic genres intensify competition rapidly. Additionally, the genre’s chart share fell from 41% in H1 2023 to just 30% now. Meanwhile, Latin and Country genres captured that displaced momentum.

What’s at Stake: Streaming revenue distribution will shift significantly. Therefore, labels investing heavily in legacy genres face portfolio risks. Simultaneously, Gen Z listeners increasingly crave 1990s-era music—jumping from 18% in 2021 to 60% today. Notably, this nostalgia drove an unprecedented CD sales surge of 16%, with vinyl growing only 2.4% by comparison. Furthermore, K-pop’s BTS album ARIRANG fueled South Korea’s rise to third place in export rankings.

What Remains Unclear: AI-generated music’s long-term trajectory remains uncertain. Specifically, Breaking Rust’s “Livin’ on Borrowed Time” shows promise—yet its 58.7% U.S. concentration suggests regional rather than universal appeal. Additionally, fandom behavior varies dramatically: K-pop fans drive purchase-heavy engagement, while Country and Pop audiences prefer lean-back consumption. Ultimately, whether these trends sustain through year’s end represents the key question.

What It Means: The convergence between music and visual content accelerates dramatically. Ultimately, artists now succeed through multimedia narratives rather than singles alone. Consequently, The Red Hot Chili Peppers’ Netflix documentary drove 11% U.S. stream increases and 8% global growth during its release week. Therefore, industry professionals must embrace this integrated strategy moving forward.

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.

K-LOVE Appoints Andrew Lambeth Chief Marketing Officer

David Hill
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K-LOVE Appoints Andrew Lambeth Chief Marketing Officer

K-LOVE names Andrew Lambeth as Chief Marketing and Communications Officer. He starts September 1 after leading Centricity Music.

What We Know: Lambeth spent a decade in Christian music and media. He previously served as co-GM and SVP of Marketing at Centricity Music. There, he oversaw marketing, digital, radio promotion, and product operations. His experience directly positions him for this role.

What They Said: Lambeth shared his vision for the Christian music industry. “I’ve spent my entire career inside Christian music because I believe these songs and artists do something special,” he explained. “They encounter people with the truth of the Gospel in the way and at the time that people need it most.” Importantly, he noted that K-LOVE reaches the most people. CEO Tom Stultz added that Lambeth brings “brilliant strategic focus” and extensive industry contacts.

What Remains Unclear: K-LOVE hasn’t unveiled specific marketing initiatives yet. Additionally, exact campaign timelines lack clarity. Moreover, department restructuring plans remain undisclosed. Furthermore, expansion strategy details require additional announcements.

What It Means: This appointment signals K-LOVE’s nationwide growth commitment and will accelerate expansion efforts. Meanwhile, K-LOVE has launched several new signals across the United States. Consequently, Lambeth’s expertise strengthens the network’s competitive position and will capture emerging market opportunities. His industry knowledge positions K-LOVE for sustained growth moving forward.

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.

60 Minutes Set to Add Ross Douthat, Sebastian Junger, Gianna Toboni, and Trevor Phillips

Garrett Searight
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60 Minutes Set to Add Ross Douthat, Sebastian Junger, Gianna Toboni, and Trevor Phillips

60 Minutes has added four new correspondents to its roster. CBS News is rebuilding the iconic newsmagazine after months of high-profile departures.

What We Know: 60 Minutes has named Ross Douthat, Sebastian Junger, Gianna Toboni, and Trevor Phillips as its newest correspondents. Additionally, Norah O’Donnell will contribute to the news magazine. The additions follow significant turnover that created an immediate need for new on-air talent. Scott Pelley, Cecilia Vega, and Sharyn Alfonsi were fired from the program, while Anderson Cooper declined to renew his contract. Meanwhile, Executive Producer Tanya Simon and Executive Editor Draggan Mihalovich also exited. The new correspondents join Jon Wertheim, Lesley Stahl, and Bill Whitaker, giving 60 Minutes a seven-person reporting team as CBS News moves into its next chapter.

What They Said: “Today, I am pleased to share some great news, and the first of many exciting announcements to come. An exceptional lineup of journalists will be joining 60 Minutes, carrying on its tradition of fearless, independent and impartial reporting. I can’t wait for them to get started.” -60 Minutes Executive Producer Nick Bilton

What Remains Unclear: CBS News hasn’t detailed when each correspondent will make a debut appearance on 60 Minutes. Additionally, the network hasn’t explained how reporting assignments will be divided or whether the editorial direction of the broadcast will change under its revamped leadership structure.

What It Means: 60 Minutes has experienced one of the most dramatic transitions in its history. However, CBS News clearly intends to preserve the program’s prominence by pairing established veterans with accomplished new voices. If the quartet connects with audiences, the network could quickly restore stability while positioning 60 Minutes for its next generation.

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Eddie Olczyk Stepping Down From Seattle Kraken Television Broadcasts

John Mamola
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Eddie Olczyk Stepping Down From Seattle Kraken Television Broadcasts

Eddie Olczyk is stepping away from Kraken broadcasts. He’ll now focus solely on national TNT coverage.

What We Know: Olczyk is leaving his role as Kraken color analyst after four seasons alongside play-by-play voice John Forslund. He spent two decades calling local NHL games, first for the Blackhawks and then the Kraken, before adding national TNT work. With his 60th birthday approaching next month, Olczyk wants more time at his Chicago-area home with family. In addition, JT Brown will now become the lone primary analyst next to Forslund, restoring the pairing that opened the franchise’s first season.

What They Said: Eddie Olczyk: “It just comes to a point where you have to make a decision. It’s been in the making, and I just thought this was the time that I wanted to be home more.”

Eddie Olczyk: “Everything has revolved around my hockey career since 1988 when I got married to my wife. Everything has been centered around my schedule. Well, that’s changing. And now’s the time.”

Eddie Olczyk: “It just got to a point where with my family, everything has been based around my cycle and my life. And the most respectful way of going about it from here is, I’m not going to be selfish anymore. I know what needs to happen.”

What Remains Unclear: Olczyk’s upcoming schedule with TNT Sports is unknown. Moreover, questions may linger about his work with NBC Sports’ coverage of the triple crown.

What It Means: Ultimately, this shift underscores the physical toll of dual-market broadcasting careers, even for beloved veterans. Consequently, the Kraken return to a leaner two-man booth, leaning on Brown and Forslund’s established chemistry. Meanwhile, Olczyk stays visible nationally through TNT, preserving his broader NHL media presence. Overall, family, not fatigue with hockey itself, appears to be driving this transition. Olcyzk’s work elevating the game both on a local and national level for many years is a credit to his dedication to the sport.

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2026 Marconi Radio Awards Finalists Announced by NAB

Garrett Searight
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2026 Marconi Radio Awards Finalists Announced by NAB

The Marconi Radio Awards finalists are officially set for 2026. NAB will honor this year’s winners during its annual fall celebration in New York.

What We Know: The National Association of Broadcasters announced the 2026 Marconi Radio Awards finalists during a livestream hosted by Toby Knapp and Chilli Amar of 97.1 WASH-FM in Washington, D.C. The winners will be revealed on Tuesday, October 20th, during a dinner program at the Edison Ballroom in New York City. The ceremony takes place the night before NAB Show New York begins and remains one of radio’s signature annual events. Established in 1989, the Marconi Radio Awards recognize excellence across the industry, honoring stations, on-air personalities, podcasts and broadcasting leaders. Named for inventor and Nobel Prize winner Guglielmo Marconi, the awards have long served as one of radio’s highest professional distinctions.

What’s at Stake: For broadcasters, earning a Marconi Award carries significant prestige. Winners often use the recognition to strengthen their brands, celebrate staff accomplishments and highlight their commitment to serving listeners. Additionally, the annual ceremony brings together executives, programmers, talent and owners from across the country, making it one of radio’s premier networking events. The awards also spotlight excellence across a wide range of market sizes and programming formats.

What Remains Unclear: It remains unknown whether the ceremony will feature additional special recognitions beyond the competitive award categories.

What It Means: The Marconi Radio Awards continue to represent a benchmark for success in broadcast radio despite the industry’s evolving audio landscape. As broadcasters compete across terrestrial radio, streaming and podcasting, the annual awards reinforce the value of exceptional programming, strong local connections and consistent audience service. With NAB Show New York immediately following the ceremony, the event also provides momentum for broader conversations about radio’s future.

The 2026 Nominees Include:

LEGENDARY STATION OF THE YEAR  

  • KFI-AM, Los Angeles, CA 
  • WCBS-FM, New York, NY 
  • WIVK-FM, Knoxville, TN 
  • WJR-AM, Detroit, MI 
  • WLW-AM, Cincinnati, OH 

LEGENDARY RADIO MANAGER OF THE YEAR  

  • Joey Cummings, South Seas Broadcasting Inc., Pago Pago, AS 
  • Tery Garras, KXLY-FM, Spokane, WA 
  • Julie Koehn, WLEN-FM, Adrian, MI 
  • Mitch Rosen, WSCR-AM, Chicago, IL 
  • David Yadgaroff, Audacy, Philadelphia, PA 

NETWORK/SYNDICATED PERSONALITY OF THE YEAR  

  • Anna & Raven, WEZN-FM, Cumulus, Metro Fairfield, CT 
  • El Free Guey Show, TelevisaUnivision, Houston, TX 
  • Ryan Fox, Westwood One, Dallas, TX 
  • Ryan Seacrest, Premiere Radio Networks, Inc., Los Angeles, CA 
  • The Bob & Sheri Show, WKQC-FM, Beasley, Charlotte, NC 

MAJOR MARKET PERSONALITY OF THE YEAR  

  • The Andie Summers Show, WXTU-FM, Philadelphia, PA 
  • Ellen K, KOST-FM, Los Angeles, CA 
  • Patty Jackson, WDAS-FM, Philadelphia, PA 
  • Karson and Kennedy, WBMX-FM, Boston, MA 
  • Riggs, Katelyn & Erica, KKBQ-FM, Houston, TX 

LARGE MARKET PERSONALITY OF THE YEAR  

  • Paul Castronovo, WBGG-FM, Miami, FL 
  • Rebecca Cressman, KSFI-FM, Salt Lake City, UT 
  • Karen Dalessandro, KSLX-FM, Phoenix, AZ 
  • Heather & Matty, WWLI-FM, Providence, RI 
  • Justin, Scott and Spiegel, WIYY-FM, Baltimore, MD 

MEDIUM MARKET PERSONALITY OF THE YEAR  

  • The Blake Show with Kelly and Todd, WMGX-FM, Portland, ME 
  • Buzz Jackson, KIIM-FM, Tucson, AZ 
  • Joe & Tina Mornings, WZSR-FM, Crystal Lake, IL 
  • Ron Olson and Karen Perrin, WRVR-FM, Memphis, TN 
  • Ben Davis & Kelly K, WDJX-FM, Louisville, KY 

SMALL MARKET PERSONALITY OF THE YEAR  

  • The Cosmo & Kat Show, KTXY-FM, Columbia, MO 
  • Chris Lawrence, WCHS-AM, Charleston, WV 
  • Ian Rambo, KQRQ-FM, Rapid City, SD 
  • The Ryan Smetzer Show, WIKZ-FM, Hagerstown, MD 
  • Stafford and Frigo, KDXY-FM, Jonesboro, AR 

MAJOR MARKET STATION OF THE YEAR  

  • WBEB-FM, Philadelphia, PA 
  • WBMX-FM, Boston, MA 
  • WCBS-FM, New York, NY 
  • WSCR-AM, Chicago, IL 
  • WTMX-FM, Chicago, IL 

LARGE MARKET STATION OF THE YEAR  

  • KTMY-FM, Saint Paul, MN 
  • WALK-FM, Long Island, NY 
  • WHQG-FM, Milwaukee, WI 
  • WWRM-FM, Tampa, FL 
  • WYXB-FM, Indianapolis, IN 

MEDIUM MARKET STATION OF THE YEAR  

  • WBTJ-FM, Richmond, VA 
  • WHBC-AM, Canton, OH 
  • WMFS-FM, Memphis, TN 
  • WPOR-FM, Portland, ME 
  • WYCT-FM, Pensacola, FL 

SMALL MARKET STATION OF THE YEAR  

  • KBHP-FM, Bemidji, MN 
  • KMMX-FM, Lubbock, TX 
  • KNDE-FM, College Station, TX 
  • WIOG-FM, Saginaw, MI 
  • WYOT-FM, Rochelle, IL 

ADULT CONTEMPORARY (AC) STATION OF THE YEAR  

  • KBIG-FM, Los Angeles, CA 
  • KRWM-FM, Seattle, WA 
  • KSTP-FM, Minneapolis-Saint Paul, MN 
  • KUIC-FM, San Francisco, CA 
  • WKJY-FM, Long Island, NY 

BEST RADIO PODCAST OF THE YEAR  

  • “Flying Through Fog: A Podcast for PANS/PANDAS Caregivers,” WTRC-FM, South Bend, IN 
  • “Purple Daily,” KSTP-AM, Saint Paul, MN 
  • “Supporting Sobriety,” WIBC-FM, Indianapolis, IN 
  • “The Install with Greg Cosell,” WGFX-FM, Nashville, TN 
  • “Uinta Triangle,” KSL-FM, Salt Lake City, UT 

CHR STATION OF THE YEAR  

  • KNDE-FM, College Station, TX 
  • KQMV-FM, Seattle, WA 
  • KRBE-FM, Houston, TX 
  • KTXY-FM, Columbia, MO 
  • WBLI-FM, Long Island, NY 

CLASSIC HITS STATION OF THE YEAR  

  • KONO-FM, San Antonio, TX 
  • KOOL-FM, Phoenix, AZ 
  • WCBS-FM, New York, NY 
  • WGTZ-FM, Dayton, OH 
  • WSRV-FM, Atlanta, GA 

COLLEGE STATION OF THE YEAR  

  • WHPC-FM, Nassau Community College, Garden City, NY 
  • WMSC-FM, Montclair State University, Montclair, NJ 
  • WOLF Radio, University of West Georgia, Carrollton, GA 
  • WRRC-FM, Rider University, Lawrenceville, NJ 
  • WSOU-FM, Seton Hall University, South Orange, NJ 

COUNTRY STATION OF THE YEAR 

  • KCLR-FM, Columbia, MO 
  • KFGE-FM, Lincoln, NE 
  • KIKV-FM, Alexandria, MN 
  • KKBQ-FM, Houston, TX 
  • WUSY-FM, Chattanooga, TN 

NEWS/TALK STATION OF THE YEAR  

  • KFI-AM, Los Angeles, CA 
  • KXL-FM, Portland, OR 
  • WHPT-FM, Tampa, FL 
  • WLW-AM, Cincinnati, OH 
  • WSB-AM, Atlanta, GA 

RELIGIOUS STATION OF THE YEAR  

  • WFMV-AM, Columbia, SC 
  • WGTS-FM, Washington, DC 
  • WJOU-FM, Huntsville, AL 
  • WLVU-FM, Nashville, TN 
  • WMCA-AM, New York, NY 

ROCK STATION OF THE YEAR  

  • WIIL-FM, Chicago, IL 
  • WIYY-FM, Baltimore, MD 
  • WNCX-FM, Cleveland, OH 
  • WPLR-FM, New Haven, CT 
  • WXTB-FM, Tampa, FL 

SPANISH LANGUAGE STATION OF THE YEAR  

  • KOVE-FM, Houston, TX 
  • WAMR-FM, Miami, FL 
  • WLZL-FM, Washington, DC 
  • WZTU-FM, Miami, FL 

SPORTS STATION OF THE YEAR  

  • KTCK-FM, Dallas, TX 
  • WEEI-FM, Boston, MA 
  • WGFX-FM, Nashville, TN 
  • WIP-FM, Philadelphia, PA 
  • WJOX-FM, Birmingham, AL 

URBAN STATION OF THE YEAR  

  • WCFB-FM, Orlando, FL 
  • WDAS-FM, Philadelphia, PA 
  • WDZZ-FM, Flint, MI 
  • WEDR-FM, Miami, FL 
  • WHQT-FM, Miami, FL 

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.

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