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The Hype Machine Is Dying. Radio, Don’t Be the Last to Notice

Phil Becker
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The Hype Machine Is Dying. Radio, Don’t Be the Last to Notice

Joel Gouveia wrote a terrific piece this week in The Artist Economy called “Good News: The Hype Machine Is Dying.”

You should read it, subscribe to his Substack, and absorb what he laid out about the music industry hype machine — a place full of meetings where people say “content ecosystem” until someone loses the will to live.

Joel’s perspective is honest, informative, and accurate. I give it my full Phil of the Future co-sign.

He breaks down the retail and chart history of the music business. As somebody smart once said, if you don’t know history, you are destined to repeat it.

Challenging The Chart

Before SoundScan, music charts were not really charts. They were educated guesses wrapped in industry politics. Record companies bought back their own records to inflate numbers. Retailers had bias, and some stores reported whatever they wanted. Additionally, Tipper Gore didn’t want N.W.A. in the hands of a 13-year-old Phil Becker, so we couldn’t have them showing up as too popular.

Where Joel’s article really lands is in showing that we are now living through the digital version of that same manipulatable moment.

Like the candid executive photo from a label dinner, the music business has become addicted to numbers that look impressive in screenshots. Unfortunately, those numbers fall apart under the weight of one of my famous questions as a former corporate PD:

Did real people actually care?

Spotify inflates monthly listener counts. Labels engineer TikTok views. Anyone with a budget can purchase YouTube numbers — ask me how in a DM. Fake bots stuff comment sections, and just like my face in CapCut, someone is cosmetically enhancing those follower counts too.

Joel is asking the smart question: Did we build a new version of the old chart flub? Did the business just make it prettier, give it a dashboard, add some Spintel, and create a place to ruminate over Luminate?

For radio programmers, this should not be discouraging. In fact, I find it liberating.

Programmers can now stop asking, “Is this big online?” and start asking, “What kind of big is this?”

Because there is real big, fake big, paid big, bot big, “they are doing our awards show” big, and “we paid a mixer to do a Fleetwood Mac mashup and now everyone in Topeka thinks this is a hit” big.

Teach Versus Tell

For the 100-plus PDs I’ve had the honor of leading in my career, I’ve always preached that there is a massive difference between exposure and intent.

Exposure is a view. Intent, however, is a save, a search, a completed stream, a ticket purchase, a repeat listen, or a 13-year-old Phil Becker buying a Raiders Starter jacket because MC Ren had one.

That does not mean digital data is useless. Radio should not ignore TikTok, Spotify, YouTube, Instagram, retail charts, or streaming charts. But programmers should ask better discovery questions of their favorite record rep. I smell a new Barrett Media award in the works.

Who is engaging? Where are they engaging? Is it passive or active listening? Is it local, regional, national, or global? Or, is the song being completed or skipped? And why was it odd for a 13-year-old Phil Becker to wear an African medallion because he wanted to be like Chuck D?

James Blake Put It James Bluntly

James Blake publicly called out the music industry in a viral post, saying:

“[You] can’t trust a comment section ’cause it’s full of fake fan accounts saying ‘omg their voice’ to create bandwagon effect. Can’t trust YouTube numbers because labels buy them. Can’t trust streaming numbers because labels pay for bot farms to drive discovery… If you’re an artist, remember that in 2026, there’s not a single part of the system that isn’t faked. You’re probably doing better than you think.”

So, what data can radio trust moving forward?

If a song is supposedly exploding but nobody in your market is searching for it, Shazaming it, streaming it, using it, talking about it, or reacting to it in research, proceed with caution: Slippery When Wet. As in the Bon Jovi album my parents thought I bought, when it was really Ice-T’s Power hidden inside the cassette case.

What Radio Can Trust

Trust multiple signals, not one. A song with TikTok velocity, streaming completion, local traction, and audience familiarity is a very different animal than a song with one unclear metric and a hyped-up label blast using the word “undeniable” in red and all caps.

Trust passion more than reach. A smaller, intense fanbase is often more predictive than a giant, passive number. Ten thousand people who care are worth more than ten million people who were merely exposed to a song while scrolling with half a thumb and no emotional investment.

Trust your ears, but not only your ears. The old programmer arrogance was, “I know a hit when I hear one.” As a two-time A.I.R. competition winner, I do love saying that.

But the new programmer mistake is, “The internet told me it is a hit.”

The future belongs to the programmer who has taste, can hear, reads, questions, verifies, and still makes a brand-fit decision.

And please, for the love of all things still human — the irony that the guy who created AI Ashley wrote that is not lost on me — stop worshipping AI hype decks. A label presentation is not a burning bush. Yes, I grew up on Vacation Bible School and The 2 Live Crew. It is sales material.

Good Versus Great

Radio’s advantage has always been that it is free to listen to and built on an audience’s trust in the skills of a great programmer.

A great programmer doesn’t haunt every artist showcase, sneaking cocktails out of frame before the GM spots them next to the meat-and-cheese tray. A great music programmer understands the difference between a magical musical moment and a music industry data dump.

Joel Gouveia explains in his piece that the hype machine is dying because the audience is getting smarter, the fraud exposure is getting louder, and the tools are getting better. Moreover, the same industry that used data to manufacture heat is now being forced to answer to better data that can expose whether that heat was ever real — or just a fog machine paid for from the indie budget.

It is happening in podcast rankings and in streaming. It is also happening in ratings measurement. I encourage all of you in radio to welcome that.

Talented programmers can lead brands through these manufactured moments with accurate data. The real ones know how to read real audiences, not just music meeting metrics. And when they get it wrong, they should admit it.

See medallion reference above.

Subscribe to Joel Gouveia’s The Artist Economy for the full history lesson and more sharp thinking on where music is headed.

Then come back to your station, open your data, question why Jung Kook somehow has more streams in Fort Myers than San Francisco, and remember:

We are not here to chase smoke. We are here to find fire.

Or get fired. But that’s another article from Garrett Searight a few clicks away

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.

Sports Media Talent Must Stop Apologizing for Doing Their Job

John Mamola
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Sports Media Talent Must Stop Apologizing for Doing Their Job

The sports media industry is built on the art of shaping opinion. What columnists once dominated in print transformed into sports radio and later morphed into sports television. Podcasting has since become the latest evolution of the practice, while social media has broken down every barrier, allowing anyone to share an opinion with a worldwide audience.

The point of an opinion is to provide original thought. One that can be agreed with or disagreed with. Today, sports media continues to embrace hot-take culture, where opinion and fact often blur in ways never seen before. However, not all opinions end up being true. If you’re on X, you’re aware of the ‘Freezing Cold Takes’ account, which archives hot takes only to celebrate how wrong they were when the opposite happens.

What’s become more popular recently is the expectation of an apology if your opinion, or hot take, proves incorrect. Let’s agree there is a difference between hot-take culture and personal shots. Every sports media talent should have a line they simply do not cross.

However, opinions drive sports media. Nick Wright apologized to LeBron James for not believing the Los Angeles Lakers could go up 2-0 in a series. Dan Orlovsky apologized to Houston Texans quarterback C.J. Stroud after saying any other quarterback in the league would have performed better in an AFC playoff game.

Are Apologies Now Expected?

More recently, the New York Knicks won an NBA championship. Just this week, Stephen A. Smith apologized to Jalen Brunson and Josh Hart for his criticisms of the team. He didn’t just apologize. He did it publicly, face-to-face, and on ESPN television while wearing a Knicks championship cap.

It makes me wonder: Is WFAN’s Gregg Giannotti going to apologize for calling Karl-Anthony Towns a loser last year? Is Max Kellerman going to apologize for saying the Brooklyn Nets would win an NBA title before the Knicks back in 2019?

Sports media has plenty of faults. Myself included. However, the need to apologize for simply being proven wrong is odd. What do sports media personalities owe players and franchises that leads them to believe an added level of “I’m sorry” is warranted?

Then I saw Becky Hammon’s latest reply regarding her 2023 comments that Jalen Brunson wasn’t tall enough for the Knicks to win a title with him as their best player. Three years later, the New York Post reached out for a follow-up, and the current Las Vegas Aces coach taught the sports media industry a lesson.

“I mean, he was that 1A dude. But apologize? I’m never gonna apologize for having an opinion. That’s what ESPN pays me for,” said Hammon to the New York Post.

Hammon is exactly right. Why apologize for doing the job ESPN entrusted her to do? If the check is cut to share an opinion, why back down from the opinion you held at the time? When she was asked for her take, she delivered it. Years later, she stood her ground while acknowledging that Brunson and the Knicks proved her wrong.

Why can’t this be the case more often? Because after all, that’s the job.

The Opinion “Business”

Sports media personalities aren’t paid to predict the future with perfect accuracy. They’re paid to analyze, interpret, debate, and offer opinions based on the information available at the time. Sports media is a major part of the greatest show in entertainment: live sports and the debates that follow the box scores.

Without question, some opinions age well. Others don’t. That’s the risk that comes with having a take in the first place.

There’s a difference between owning a bad prediction and apologizing for it. Accountability matters. If a player, coach, or team proves you wrong, acknowledge it. Give them credit. Explain what you missed. That’s part of the process.

But saying “I was wrong” shouldn’t automatically require saying “I’m sorry.”

In fact, sports media would benefit from more people doing what Becky Hammon did.

Stand by the opinion you had, explain why you had it, and recognize when reality unfolds differently. There’s no shame in being proven wrong. The only shame is refusing to learn from it.

If anything, the industry needs fewer apologies and more conviction. Because for every take that misses, there’s another that hits. And those hits occur far more often than the swings and misses many people remember.

The voices willing to put their opinions on the line are the same ones audiences trust when they get it right. If this is the opinion business, there’s no need for apologies. Being wrong comes with the territory. What matters is having the conviction to make the call in the first place and the credibility to own the outcome afterward.

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.

John Kincade Opens Up About His Decision to Leave 97.5 The Fanatic

John Mamola
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John Kincade Opens Up About His Decision to Leave 97.5 The Fanatic

Every day you live is full of decisions. Small ones and big ones alike. The opportunity to have choice is a blessing that’s undervalued by many every day. Decisions can be made quickly, while others take added time before reaching an outcome. John Kincade made a choice that few have the opportunity to make in sports radio today. He decided it was time to walk away from his morning host duties at Philadelphia’s 97.5 The Fanatic.

“To have gone through three cancers in my lifetime. Just the fact that I’m walking and thriving, I’m celebrating life every day,” said Kincade. “I’m very fortunate to be alive and survived everything I’ve survived. What I want to do is enjoy my life every day. Part of that is doing things that I want to do on my terms.”

Kincade made the announcement on June 3 that he would be stepping away from the radio station. A station he’s called home since 2021. It was an emotional moment, but one that had been in the works for some time.

Following a doctor’s appointment and several conversations with his wife, Kincade determined it was no longer healthy to work the hours that morning drive demands. The consistency of waking up at 4 a.m. was proving to be more challenging for his long-term health.

With his contract with the station expiring at the end of the year, Kincade notified station management of his decision after initial conversations about an extension were underway.

“I told [station management] I couldn’t commit to extending past the end of the year. But, I also don’t feel in the crazed city of Philadelphia that we live in that it would be wise to walk out with games remaining in an Eagles season,” explained Kincade. “So, I suggested I could leave in the summer. I don’t think it would be fair for them to have me leave during the Eagles season. Thank God I work with amazing people, and they agreed with what I had brought to them.”

Timing Of The Decision

Kincade says he and station management reached an agreement that his contract would expire on July 31 instead of the end of the calendar year. As part of the arrangement, both sides also agreed that Kincade could begin looking for a new opportunity better suited to his situation beginning on June 1.

In an industry like sports radio, that arrangement is extremely rare. A station or company agreeing to part ways with one of its top talents while also allowing him to begin searching for a new opportunity before his departure.

However, several questions lingered. Despite coming to the decision over time, Kincade admitted he didn’t ask about shifting to another daypart to remain a part of The Fanatic, even while the station has seen a number of changes to the weekday lineup over the past 15 months.

“If I’m Scott Masteller [97.5 The Fanatic], I’m not messing with the lineup one more time to cater to me,” explained Kincade. “Could they have done it? If they would have offered it to me, we would have discussed it. But they did not offer it, and I did not ask for it. If they had, it would have been a consideration. But I understand why. They finally got middays and afternoon drive bringing good energy. There’s no reason to disrupt that.”

The Impact Of Change

Despite a daypart change never becoming part of the conversation, the amount of change Kincade witnessed during his time at The Fanatic did play a small role in aiding the decision.

“I would be lying to you if I didn’t say that I am someone who craves stability. All the instability that surrounded the company during my tenure with it has certainly been unnerving at times,” said Kincade. “I credit the management team however that they did everything in their power to try to make things as stable as possible.”

Kincade also noted changes to his own program, saying the team he arrived with in 2021 eventually fell victim to company cuts.

“It’s hard to gain momentum when you’re constantly losing people,” noted Kincade. “It’s the state of the business. I’m a big boy, and I’m not an excuse maker. There are things you try to do your best with to get through things. It’s the industry as a whole, so there are things you just have to do better. But I feel very blessed to have a leader like Scott Masteller to guide me and keep me grounded at times.”

It’s no secret that the sports radio industry can be challenging at times. Kincade remarked that the industry is no longer the one he grew to love when he entered it in the early 2000s. His first role was an internship alongside Angelo Cataldi at crosstown station Sports Radio 94WIP.

Kincade recalled the content approach and execution of Cataldi’s program at that time. Much of the content, he believes, wouldn’t see the air in today’s modern sports radio industry because of how society has changed over time.

“The industry that I grew up in is not the industry today,” said Kincade. “It’s ridiculous that we live in a society today that has become so hypersensitive to things that we can’t have some fun like we used to. There was a lot of high comedy back then. I don’t find a lot of comedy on sports radio today. There’s not a lot of laughing, lighthearted moments, and not as loose an atmosphere where someone could have as good a time.”

Preparing The Next Generation

For Kincade, that evolution of the industry is not just the biggest missing characteristic of the format, but he sees its absence as a detriment to sports radio. It’s an industry with an uncertain future.

However, the experience he gained through that evolution contains tremendous value for the next generation. That’s why Kincade has spent time over the past several years teaching a talk radio course as an adjunct professor at Temple University, his alma mater. The opportunity to pass along that knowledge and prepare his students for what’s to come was something he couldn’t pass up.

“I tell them every day that if any of them want my job, that job won’t be there in ten years,” said Kincade about his blunt approach to his teachings. “I’m going to prepare them for the job that will be there in ten years… I try to prepare them for the dogfight they’re getting into. This industry is nasty, and you better be ready for it. I don’t sugar coat anything, but there’s more opportunities to be your own boss in today’s media than there’s ever been.”

Admittedly, Kincade’s honest approach has earned him mixed reviews from his students. However, he cherishes the opportunity to pass along information and pay it forward every chance he gets. As he approaches the next step in his career, Kincade also hopes teaching remains part of whatever opportunity comes next.

Not Done Yet

As for those next steps, Kincade has hit the ground running. While the job market for the industry remains challenging, he’s been happy by the early interest from potential opportunities. When it comes to deciding what comes next, Kincade is not interested in going independent like many of his peers.

“I definitely do not want to go on the independent route. Doing my own content and selling my own ads. I want to step into something that is already established that I’m used to doing in sports radio,” says Kincade. “I think my wife would kill me if I went independent. She’d say to me that is too much of an endeavor and filled with stress… I admire the hell out of people in our industry that can do it. It’s not for me.”

With just over a month left at The Fanatic, Kincade expects every show to remain a normal show. He says Philadelphia sports has too much going on for his eventual departure to take center stage. Although he plans to spend some time on the final program sharing memories with staff and listeners.

In an industry where careers often end with a layoff, a format change, or a contract not being renewed. John Kincade gets to leave on his own terms. That opportunity is rare. Even rarer is having the perspective to recognize when it’s time.

Kincade has survived three battles with cancer. Enduring the uncertainty that has become commonplace in modern media, and spending more than two decades in the business he loves, Kincade’s decision wasn’t driven by ratings, money, or ego.

It was driven by something far more important: quality of life.

The next chapter remains unwritten. Whether it includes another microphone, a classroom, or a different role entirely. Kincade has already achieved something many spend their entire careers chasing. He built a successful run in one of America’s toughest sports radio markets and earned the freedom to choose what comes next.

For now, with over a month remaining at 97.5 The Fanatic, Kincade’s focus remains where it has always been. On the audience, the city, and the conversation. The ending may be approaching, but unlike so many departures in today’s media landscape, this one isn’t defined by uncertainty.

It’s defined by gratitude, perspective, and the confidence that comes from knowing exactly why it’s time to turn the page.

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.

Bang Your Head: John Bush and the Timeless Power of Armored Saint

Terrie Carr
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Bang Your Head: John Bush and the Timeless Power of Armored Saint

Bang your head — it’s one of rock’s most recognizable phrases. Metal is community, culture, and connection. It’s one of the few genres of rock music that is never on trend. It’s always powerful, potent, and unapologetic — and always gaining fans.

I’ve been a metalhead since the ’80s, loud and proud. Watching what I call the “Sing Kings” still bring it, 40-plus years after starting their journeys, is nothing short of inspiring. Halford, Dickinson, Hetfield, Tate — and Bush. Yes, Bush. Jon Bush from the legendary California metal band Armored Saint.

Since the early 1980s, Armored Saint has been making music, doing shows, and banging heads.

A Band That’s Been Through It All

As with every band, there were a few bumps in the road — most tragically, the death of guitarist Dave Prichard in 1990 from leukemia — as well as a band breakup, during which John joined the legendary Anthrax, and the inevitable ups and downs of the music business. John was also part of the killer metal supergroup Category 7.

Now, the legendary Armored Saint is back with a dynamic new album. “Emotion Factory Reset” — their ninth — is out on Metal Blade Records, and I sat down with vocalist John Bush to discuss the new music, the highs and lows of the business, and how his R&B influences and soulful approach to metal vocalizing have set him apart from the traditional style we associate with the genre. John joined me on the Carr Stereo Podcast for a “Metal Catch Up.”

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

“We Set the Barometer Pretty High”

Terrie Carr: I marvel at artists who are able to still put out material so true to who they are, yet with this familiar-but-fresh feel. When I first heard “Emotion Factory Reset,” I was like, wow. It comes out fighting with “Close to the Bone,” and I was just like, oh man, Armored Saint are back. Did you feel like, when you closed out the recording, the mixing, everything for this record — did you kind of feel like, “S—t, this is a real keeper for us?”

John Bush: We did. And we usually do, especially on the last couple of records we made. We really do. We set the barometer pretty high. We push ourselves. We don’t want to be just one of these bands from the ’80s who put out new music so they can go out and do some touring. And, you know, it’s always a beer or bathroom break for people when they come see you live, when you say, “We’re going to play a new song.” We want people to really love our new material — and they usually do.

And this is no exception. I don’t think we would do it otherwise, quite honestly. I mean, I don’t think I would make new music if I didn’t feel like it rivaled our past, or even in my opinion, surpassed it. I think it’s really important to do that. And it’s important for me; it’s important for us. Joey Vera is the leader of the band, and he’s just a spectacular talent — really underrated, quite frankly, in the world of rock and roll. And like I said, we set the bar pretty high and we push ourselves. So if we feel anything is coming under that, we’ll just keep going. And that’s probably why Armored Saint records take so long to come out. But in the end, they’re pretty top notch.

Terrie Carr: Because you guys are like a sporting event. It’s like a sporting event when we get an Armored Saint record!

John Bush: (Laughs) That’s what Gonzo — Gonzalo Sandoval, drummer and founding member — always says when we play! He’s like, “IT’S SPORT!” We’re really like that!

The Jay Ruston Connection

Terrie Carr: Well, you mentioned Joey. Joey produced this record. You also worked with Jay Ruston. I love Jay.

John Bush: Jay is awesome.

Terrie Carr: I just love what he does, especially with metal records. He just produced another record that I love from an artist — a guitar player named Jared James Nichols.

John Bush: Jay’s been working with us now since “Win Hands Down” in 2015, which was two records ago, and then he did “Punching the Sky” in 2020, which was our last one. He mixed them both and he mixed this one as well. He’s just a great guy. He knows what he’s doing — let’s face it. I mean, he produces a lot of records. As a matter of fact, he’s produced the last couple of Anthrax records, including the new one. But he’s just a really talented guy. I mean, he did The Donnas, which is really, really cool. I love that band.

Rhythm and Bang: The Soul Behind the Metal

Terrie Carr: Your vocals have always been very unique because you still, to me, have this very soulful kind of vibe. I spoke with Lajon from Sevendust — he has it too. I call it “Rhythm and Bang,” because you’re still bringing the f—ing metal, but there’s a soulfulness that not every metal singer has. I have always heard it in anything John Bush was singing. Is it something from your past? Are you an R&B fan? Do you take it to church? What am I hearing here?

John Bush: (Laughs) That’s funny. Well, Lajon has that advantage because he’s Black. I’m a white guy who wants to be Black in terms of being an R&B singer. (Laughs) That’s my aspiration. Now, again, I always say we go back to the early days of listening to music. As much as we would come home from junior high school and put on Kiss Alive, the following record was Earth, Wind & Fire’s Gratitude. So even back then, we were really into R&B. We were into the Commodores and Stevie Wonder, Al Green — you name it. And the Four Tops — you know, Armored Saint covered “One Chain,” which is a killer song. Levi Stubbs is an amazing vocalist. So as much as I loved Halford and Bon Scott and Ozzy, I loved those guys too — Maurice White, Al Green, and Stevie.

John discusses being one of the first bands on Chrysalis Records, losing his bandmate, and how Armored Saint is primed for the future in he full Carr Stereo interview— watch or listen.

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.

Spotify Playlists, TikTok, and the Rise of Independent Music Curators

David Hill
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Spotify Playlists, TikTok, and the Rise of Independent Music Curators

For decades, the music business knew where its tastemakers were. They were sitting in radio programming offices. They were working label promotion. They were writing reviews, booking clubs, running record stores, hosting specialty shows, or deciding which songs made it into rotation. You may not have always liked the system, but at least you could see it.

Today, however, some of the most influential tastemakers in music are harder to spot. They may not work at Spotify, Apple Music, Amazon, or YouTube. They may not have a title at a label. They may not be on the air. They may not even think of themselves as part of the music industry.

They are independent playlisters.

Quiet Influence in the Streaming Era

And quietly, they have become one of the most interesting layers of influence in the streaming era. The music industry has spent years chasing Spotify editorial playlists. It has obsessed over the algorithm. It has watched TikTok turn unknown songs into global hits overnight. But underneath all of that, a different class of curator has been building real influence one playlist at a time.

Some independent playlisters are former radio people. Some are DJs. Others are bloggers, music fans, marketers, producers, scene builders, or just people with sharp ears and a consistent point of view. They build playlists around genres, moods, moments, lifestyles, subcultures, and scenes.

The Playlist as the New Format

That matters because the playlist has become the new format. Radio had Top 40, Alternative, Country, Hot AC, Urban, Rock, and Classic Hits. Streaming, by contrast, has sad country, late-night drive, indie pop for rainy days, gym rock, Americana road trip, new Nashville, alt breakup songs, modern metalcore, chill electronic, and a thousand other lanes that would never fit inside a traditional format meeting.

That is not a small change. That is a complete reorganization of how people discover music. The best independent playlisters understand their lane. They know what belongs and what does not. They know when a song feels right, even before the data proves it. In that way, they are not that different from the best radio programmers. The tools have changed. The instinct has not.

Why Playlisters Are Hard to Ignore

For artists, managers, labels, and promotion teams, that makes independent playlisters hard to ignore. A single playlist add may not break a song, and most do not. But the right add can create early signals. It can generate saves, follows, repeat listening, shares, and small pockets of momentum. It can put a song in front of listeners who were not looking for that artist but were open to that sound. In today’s music business, those signals matter.

The challenge, though, is that independent playlisting also has a trust problem. There are legitimate curators who care deeply about music. There are playlist brands that have built real audiences over time. There are people who take pride in discovery and treat their playlists almost like radio stations.

Separating Real Curators from Bad Actors

There are also shady operators selling fake growth, paid placement, bot-driven streams, and vague “promo” campaigns that promise more than they can deliver. That side of the business creates confusion for artists and suspicion across the industry. That is why this space needs more transparency, not less attention.

The answer is not to dismiss independent playlisters as irrelevant. Instead, it is to separate the real curators from the bad actors. The good ones are not selling fake momentum. They are building trust. They are building communities. They are giving songs a chance to live somewhere before the larger industry catches up.

That should sound familiar to anyone who has worked in radio.

The Same Instinct, Different Tools

A great programmer was never just filling time between commercials. A great programmer understood the audience, protected the brand, took calculated chances, and knew when a song had something. The best independent playlisters are doing a version of that work now — just without towers, call letters, consultants, music meetings, or a front desk.

They are not replacing radio. They are not replacing official DSP editors. They are not replacing the algorithm. But they are filling the space between all three, and that space is becoming more important.

The music business loves to talk about data, artificial intelligence, streaming numbers, and recommendation engines. All of that matters. But ultimately, music discovery still comes back to something older and simpler.

People want someone they trust to tell them what is worth hearing next. Sometimes that person is a radio programmer. Sometimes it is a DJ. Sometimes it is a critic, a creator, or a fan with a great ear. And sometimes it is an independent playlister with no office, no title, no transmitter — and more influence than the industry wants to admit.

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 Dumbest Rule in News/Talk Radio — and Why Hosts Should Break It

Garrett Searight
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The Dumbest Rule in News/Talk Radio — and Why Hosts Should Break It

There’s a rule in news/talk radio that never made much sense to me. There are several, honestly. But this particular one stings — because I lived it firsthand, and I’m convinced hosts across the country are living it right now.

Let me take you to Lima, Ohio. Pronounced like the bean, not the Peruvian capital — that distinction matters deeply to the locals. If you know anything about Lima, it’s probably one of two things: the pronunciation trap, and Kewpee Hamburgers.

Three locations in town. Famous square burgers. Thick chocolate malts that’ll stop you in your tracks. Dave Thomas — the founder of Wendy’s — worked at Kewpee as a teenager, which explains quite a bit when you look at both menus. When someone visits Lima for the first time, you take them to Kewpee. If you’re ever passing through on I-75, stop. You won’t regret it. They’re very good. Anyone who says otherwise shouldn’t be trusted. But I digress.

Kewpee wasn’t an advertiser at the station where I worked. A previous sales manager had burned that bridge so thoroughly that the owner wouldn’t even take a meeting. So management issued the edict — don’t talk about Kewpee. Don’t mention Febucherry, their cherry pie promotion in February. No Marchocolate references allowed, either. Don’t say you ate there. Under no circumstances acknowledge their existence on the air.

The Rule That Made No Sense

That rule was dumb then, and it’s dumb now. People in Lima talked about Kewpee constantly. They discussed how long the line stretched at 2 PM on a regular Tuesday. The downtown location’s early closure became its own ongoing topic — management couldn’t find enough good help for the late shift.

Yet the medium built on being live, local, and relevant stayed completely silent on the biggest local topic in town. The sales logic sounds reasonable on the surface: if you’re talking about them for free, why would they ever pay?

But that thinking only covers one side of the equation. The other side is harder to ignore. How do you sound local when you’re actively avoiding what locals are actually talking about? You don’t.

That’s a far more serious problem than any missing sales contract.

Amazon Prime Days Are Your Kewpee

Amazon Prime Days started this week. Walmart launched its Deals Days at the same time. Target rolled out Circle Deal Days alongside them. Millions of people in your market are already comparing prices. They’re wondering whether the discounts are real or just repackaged, and dropping links into group chats nonstop.

Odds are good that management has told you not to talk about this. Amazon, Walmart, and Target aren’t buying ads on your station to promote their sales. So why give them free airtime? Here’s why: because your audience is already talking about it, with or without you. Silence isn’t some restraint based on principle. It’s malpractice.

Talk about Prime Days. Debate the deals. Ask your listeners what they’re buying and whether it’s actually worth the hype. Build that conversation. That’s what news/talk radio does better than any streaming algorithm ever will. And once you go silent on what your audience cares about most, that edge disappears.

If that earns you a stern email from management, treat it as an “ask forgiveness, not permission” situation. The hosts who build real, lasting connections with their audiences aren’t the ones who follow every internal directive without question. They’re the ones who trust their instincts, talk about what actually matters, and let the chips fall where they may. There’s something powerful about a host who refuses to pretend certain topics don’t exist. Your listeners will notice. Eventually, your bosses will, too.

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.

Staci & Hutch Afternoon Show Ending at Minneapolis CHR KS95

David Hill
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Staci & Hutch Afternoon Show Ending at Minneapolis CHR KS95

Hubbard Broadcasting is ending the Staci & Hutch show on Minneapolis CHR KS95. The duo’s contracts will not be renewed following a seven-year run in afternoon drive.

What We Know: The afternoon show hosted by Staci Matthews and Greg Hutchinson ran weekdays from 2–7 p.m. and launched in 2019. Matthews joined KS95 back in 2003 and spent 16 years alongside Larry “Moon” Thompson before Hutchinson came aboard. An internal memo confirmed the decision, though no public announcement followed. The station’s online schedule no longer lists the show, and its page has been removed from the site.

What They Said: Minnesota VP and Market Manager Dan Seeman addressed staff directly in the memo. “As you can imagine, this was an incredibly difficult decision,” Seeman wrote. “Chris and I will now be focused on finding the next great afternoon drive show for KS95. KS95 has always been a personality forward radio station and that will continue.”

What Remains Unclear: Hubbard Broadcasting has not publicly confirmed the timeline for the transition. Furthermore, the company has not revealed whether the change has already taken effect. No interim host or replacement format has been announced. A short-term plan for afternoon drive is apparently in the works.

What It Means: Afternoon drive on KS95 now enters a period of uncertainty. Losing two experienced personalities — especially one with over two decades at the station — is a significant shift. The Twin Cities market will be watching closely to see who steps into that seat.

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.

101 KXL Promotes Heather Roberts to News Director

Garrett Searight
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101 KXL Promotes Heather Roberts to News Director

101 KXL has promoted Heather Roberts to News Director at Portland’s heritage news station. Roberts will also continue as co-anchor of Portland’s Morning News, adding leadership responsibilities to her on-air role.

What We Know: Connoisseur Media’s 101 KXL elevated Roberts into the News Director position, expanding her duties at the station. She’ll now oversee editorial direction, guide coverage decisions, and shape content strategy — all while maintaining her daily on-air responsibilities. Roberts joined the morning drive show in November 2024. Since then, she’s earned a strong reputation for local journalism and timely reporting.

What They Said: “Heather is a news force. She is relentless in her search for the news and will serve KXL well in this role. I’m excited to see where she takes the KXL News Department.” -101 KXL Program Director Grant McHill

What Remains Unclear: The station hasn’t announced whether anyone will fill the vacancy Roberts’ promotion creates within the news team. It’s also unclear if her expanded role will affect her morning show schedule.

What It Means: Roberts’ promotion signals 101 KXL’s commitment to strengthening its news operation. Her dual role — managing the department while staying on-air — reflects the station’s confidence in her ability to lead. For Portland listeners, her appointment suggests continued investment in strong local journalism. 101 KXL is one of Portland’s longest-serving news brands.

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.

Larry O’Connor to Host Free Fisher House Radio Special for Independence Day

Garrett Searight
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Larry O’Connor to Host Free Fisher House Radio Special for Independence Day

Fisher House Foundation is once again bringing its mission to radio audiences through a new series of long-form specials hosted by veteran broadcaster Larry O’Connor. The programming package includes multiple formats designed for News/Talk stations and other radio outlets nationwide.

What We Know: The special, titled “The Fisher House Story,” highlights the experiences of wounded veterans, military families, and service members who have benefited from Fisher House programs. Fisher House Foundation is offering the radio special in 3-hour, 1-hour, 30-minute, and 25-minute formats. In addition, stations can air a separate 30-minute public affairs program. Larry O’Connor hosts each version and guides listeners through stories from veterans of conflicts including Operation Enduring Freedom and the Vietnam War. The program also features the story of a living World War II veteran. Fisher House provides free temporary lodging for military and veteran families while loved ones receive treatment at military and VA medical centers. The organization often describes its mission with the phrase, “A Family’s LOVE is Good Medicine.”

What’s At Stake: The special arrives ahead of Independence Day and aims to connect audiences with stories of military sacrifice and resilience. Radio stations often seek patriotic and community-focused programming during holiday periods, making the offering a timely addition to station schedules.

What Remains Unclear: It was not disclosed how many stations have committed to airing the special. It is also unclear if stations can air only one special or all of the special broadcasts throughout the holiday.

What It Means: The project gives stations access to free long-form content centered on military families and veterans. Meanwhile, it offers Fisher House another opportunity to expand awareness of its services through radio. The effort also reinforces radio’s continued role in sharing personal stories that resonate with local communities across the country. Those interested in carrying the specials can contact O’Connor by clicking here.

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.

ESPN Analyst Vincent Goodwill Claims He Received Death Threats Following Participation Trophy Commentary

John Mamola
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ESPN Analyst Vincent Goodwill Claims He Received Death Threats Following Participation Trophy Commentary

ESPN NBA analyst Vincent Goodwill says he received death threats. The cause: his viral “participation trophy” jab during the New York Knicks NBA Championship run.

What We Know: On June 16, Goodwill argued on ESPN’s Get Up that dynasties beat parity. Then, after pushback, he called the Larry O’Brien Trophy a “participation trophy” in retort. The remark landed the day after the Knicks won their first title since 1973. Immediately, fans flooded social media, demanding his firing and ripping the take. Goodwill discussed the fallout from his comments Tuesday on The Dan Patrick Show where he confirmed he received death threats from Knicks fans.

What They Said: (all comments via The Dan Patrick Show)

Vincent Goodwill on the reaction to his “participation trophy” comment on ESPN: “I thought it was just something funny. I didn’t think people would take it so damn literally, but sarcasm goes over people’s heads, literacy is at an all-time low.”

Vincent Goodwill confirms he received death threats over his “participation trophy” comment from Knicks fans: “I got death threats. Do you think I wanted death threats from Knicks fans? I wasn’t even talking about them. I said this was the most dominant run you’ve ever had. And you think I’m talking about y’all? Maybe that’s a you problem. When you ain’t never been nowhere, you think anybody talking about you. Do better.”

What Remains Unclear: Goodwill didn’t detailed the nature or source of the threats. Likewise, it remains unknown whether ESPN or law enforcement could be potentially involved.

What It Means: Goodwill’s commentary is the top reason why many in media try to avoid social media engagement. Moreover, a throwaway TV line spiraled into real-world danger. We will see if Goodwill will take any further action against the threats or not.

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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