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How the NFL Schedule Release Can Be Sports Radio’s Multiplatform Success Story

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The NFL schedule release is one of the most important evenings for social media engagement. It’s also the last evening of off season opportunity till kickoff of the NFL regular season. The leaks, reports, rumors, and speculation drive listening, engagement, and reach unlike any other event on the NFL calendar. Who knew that the release of a schedule for 32 franchises could generate such attention that sports networks even craft special programming around it?

It’s a money-making, attention-grabbing, creativity-driven spectacle where teams and networks look to stand out among their peers plus earn digital clout.

While sports networks have found ways to cash in on the event and get creative themselves, far too many sports radio brands sit on the bench. That’s a huge missed opportunity—and not a small one.

The annual schedule drop has quietly evolved into a pseudo-holiday for the NFL content ecosystem. The moment the league office flips the switch, fans flood timelines, dissect matchups, circle revenge games, and begin mapping out their fall weekends.

For sports radio, this is not just a news event. It’s a live, multi-platform content engine waiting to be maximized, but only by those who plan and are willing to put forth the effort.

Understand the Gains

The first step is treating the evening like a tentpole broadcast, not a throwaway segment.

Stations in NFL markets should build out a full night of programming with a clear run-of-show, much like they would for the NFL Draft or trade deadline. That means pre-release buildup, live reaction during the rollout, and immediate post-release analysis.

Too often, stations wait until the next morning to react, ceding the most active engagement window to television and digital outlets. By the time morning drive hits, the conversation has already matured.

There’s also no excuse for not going live when the engagement is there. If you have play-by-play on your air, it has never been easier to go live on social platforms through free and paid streaming services. Can’t navigate a couple of hours behind the computer? Short-form video is a massive opportunity for radio to own the moment.

Forty-five seconds on the schedule layout can be a massive home run for engagement and reach.

Own the Hype

Leaning into anticipation is also key. The hours leading up to the official release often fill with credible leaks from insiders, which gives stations a runway to engage audiences before anything is confirmed. Hosts can react in real time, debate the validity of reports, and invite listeners to weigh in on rumored matchups.

This creates a sense of urgency and participation that mirrors the experience fans are having on social media. It also provides a strong cross-promotional opportunity for your audience and gives you the insider edge you want for credibility.

Equally important is embracing the second-screen experience. With attention spans shifting rapidly between forms of entertainment, this is where sports radio can excel.

Listeners are not consuming content in a vacuum during the schedule release—they’re scrolling, posting, and reacting simultaneously. Smart stations will integrate social media into their broadcasts by reading fan reactions on-air, running polls, and encouraging user-generated content.

The goal is to make the audience feel like they’re part of a live conversation rather than passive listeners.

Creativity Earns Revenue

Creativity should also extend beyond traditional talk segments. One of the biggest advantages sports radio has is personality. Lean into it.

Create themed segments around the schedule: Win-Loss projections, toughest stretches, trap games, and must-watch primetime matchups. If network television can execute this in real time, sports radio talent should be able to carry that responsibility.

Localize the content for your audience. Which games matter most to your market? Where are the travel challenges? What stretches will define the season?

Digital alignment is another critical piece. The best executions won’t live solely on-air. Stations should clip real-time reactions, post short-form videos, and publish quick-hit articles as the schedule unfolds.

If a host has a strong take, that clip should be on social within minutes.

While NFL teams have plenty of staff to create their schedule release sizzle reels, that doesn’t mean sports radio needs to sit on the sidelines. It has never been easier to create content for your digital audience using cloud-based platforms like Canva, Pixlr, BeFunky, and Adobe Express.

If your building doesn’t have a station account, get one. Don’t be left behind.

Revenue opportunities are also hiding in plain sight. The schedule release lends itself naturally to sponsorship integration. “Schedule Release Night presented by…” is an easy sell, especially for advertisers looking to align with football content and peak listening.

Stations can create sponsored segments, branded social posts, and even contests tied to the schedule—predict the record, pick the biggest game, or enter to win tickets. With proper planning, this night can generate incremental revenue without feeling forced.

Embrace the Chaos

Finally, stations need to commit to urgency and flexibility. The schedule release is not a linear event—it’s chaotic by nature. Embrace it.

NFL games are revealed in batches, leaks can contradict official announcements, and storylines emerge on the fly. Successful stations adapt in real time, shifting segments, extending discussions, and prioritizing what matters most in the moment.

In many ways, the NFL schedule release is a test of a station’s ability to think like a modern content brand. It rewards preparation, creativity, and responsiveness. Those that treat it as just another news item will continue to fall behind.

However, those willing to invest in the moment can turn a single evening into a powerful driver of audience growth, engagement, and revenue. In today’s sports media landscape, it’s not just about covering the story. It’s about owning the moment.

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 SiriusXM’s Julie Mason Gets Politicians to Stop Using Talking Points

For nearly four decades, Julie Mason has made a career out of asking the questions others won’t — and getting the answers politicians would rather keep to themselves. The host of SiriusXM‘s The Julie Mason Show has become one of Washington’s most trusted voices.

Not by taking sides, but by refusing to.

Mason’s path to radio wasn’t a straight line — it was a calculated leap. After 25 years in print, she walked away from the page and into a studio, trading bylines for a microphone and building something she never had in newspapers: a direct, intimate relationship with her audience.

What she found on the other side surprised even her. The listeners who might have once scrolled past her stories without a second thought now treat her like a friend. For Mason, that’s not just a perk of the job — it’s the whole point.

“Sometimes in life, you’re presented with a challenge that is terrifying, but also really stimulating and exciting, and that’s what this opportunity was for me,” SiriusXM host Julie Mason told Barrett Media about her transition from print to radio in 2011.

“I was so delighted for a chance to take what I learned in print and apply it to radio. It was a really exciting mid-career change for me. I recommend it to anyone,” she advised.

For 15 years, she’s been in your ear, but Mason credits her incredible career path to one particular voice: “My whole life, my mom kind of had it in my ear, ‘Journalism would be kind of a great career, you’d probably be good at it,'” Mason recalled. “I’m certainly not one of those people who was pushed into medicine because their parents wanted them to. [My mom] just had a great idea for a career, and it turned out to be a great one for me [and] I’m really grateful for that.”

Breaking Into Washington

In 2001, she took Washington by storm — first with the Houston Chronicle, followed by the Washington Examiner and Politico. After 25 years in print, Mason had two options: “either go into management or become a columnist,” Mason laughed. “Neither of those paths were very appealing to me.”

Determined to keep her beat, Mason forged her own path. “I’d done some help for SiriusXM when I was on the board of the White House Correspondents Association, and Joe Matthew, who had had the job before me, urged me to apply [as] he was leaving.”

“[Matthew] was like, ‘they’ll teach you radio, they just want what’s in your head, just go talk to them.’ So I thought about it for a while and I thought, oh my God, this is so scary.”

It didn’t take long for Mason to decide. “I really want to do it. I thought it would be a wonderful challenge and a great new chapter in my career, and I would learn a new skill.”

You can teach almost anyone to operate a radio board, but it takes someone special to develop new sources every four to eight years when Washington turns over. “Every new president picks up and develops the bad habits of their predecessor. So it tends to get progressively worse in some ways.”

Getting Politicians to Ditch the Script

That dynamic is precisely why Mason’s non-partisan, pure journalistic tone has gotten her questions answered from both sides of the political aisle. “[Often] politicians are so fearful of making a mistake that they go into robot mode really quickly and easily, and they just want to sit on their talking points,” Mason said. “The constant challenge for my show is to get them comfortable and chatting in a friendly way, not to draw them into a gasp or a mistake, but to make them comfortable so they’ll talk like a normal person. That’s what I think is a real strength of my show.”

No gotchas, no sandbags — just real, honest journalistic questioning. “I’ll notice the first time a politician comes on my show, they’ll be very guarded,” she said. “They’ll be very careful, and they’ll be almost very stern. Then by the third, the fourth time, they’re making jokes, so it works. It’s a formula that works over time.”

Mason believes “robot mode” has become the default for so many politicians because “social media kind of ruined it. Things that were kept private were kept private before social media. Now everything is out in the open. Everything is fair game. Everything is content.”

Historically, she said, “There used to be a bit more of a gentleman’s agreement between the press and staff and politicians — like what we’re going to cover and what we’re going to talk about.” Today, influencers and social media are monetizing information, meaning “everything’s fair game. So there’s a lot less trust — and maybe that’s not a terrible thing.” Mason noted there is a trade-off, though: “There’s much more garbage content.”

She enjoys talking to the left and right sides of the political aisle because, quite simply, “You can find something of value in almost everyone you speak to. And I think that really helps make people comfortable and sort of gets the partisanship out of the way.”

The Journalists-as-Advocates Problem

It’s a feeling Mason believes is being lost on many Americans. “Everyone is so hunkered down in their partisan corners. [The] other side must be defeated, killed, decimated — and they expect [journalists] to do that work.”

Mason, an American University graduate, sees this across all generations. “When I talk to younger groups like college students [and] intern classes, one of the questions I get a lot is: ‘How do you use your journalism to further your values? Or to further feminism? Or to push your political agenda?’ And I just say, I don’t. That’s not what journalism is for.”

She noted, “I see them behind their eyes shut down because they don’t want to hear that. Because they got into it to push their agenda. And I think, ‘Man, you’re in for a really rude awakening.'”

It’s not just a Generation Alpha problem. “It goes all the way up to boomers who just expect you to crush their enemies as a journalist.”

Mason has no enemies to crush — just facts to find. It’s a sentiment evident through her nearly 40 years of work. Since making the change from print to radio, she’s noticed a difference in the way she connects with her audience.

“[Radio is] a lot kinder,” she acknowledged. “When I was in print, we would always say, ‘Never read the comments on your story, never answer your phone if you don’t know who’s calling — just keep the audience at arm’s length.’ They hate us.”

She added, “Radio is much more interactive with the audience. It’s much more supportive and friendlier, and the relationship has a lot more intimacy. You’re literally in people’s ears for as much time as they want during the day. And they feel like they have a friend. So the attacks are not as much.”

Mason’s advice for success in print or radio is simple: “Have a really diverse skillset. Be able to take pictures, shoot video, write clearly and legibly, be good on television, and be good on the radio. Every chance you have to add a new skill to your set is something you should seize upon.”

She added, “Even if it’s scary, even if it’s intimidating, or even if you blow at it and you aren’t any good, do it. Just have as many skills as possible in your toolkit. And that’s going to help you get a job and stay employed.”

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.

AI Music Is Here, Should Platforms Be Required to Label It?

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AI music is no longer an experiment happening on the fringes of the industry. It is sitting at the center of a major commercial push. The audiences radio serves every day are about to feel its effects whether the industry is ready or not.

ElevenLabs has officially launched ElevenMusic. The platform designed to transform passive listeners into active music creators, and Billboard recently covered the story in detail. The implications stretch well beyond tech circles. This touches artists, audiences, and anyone in the business of connecting people to music. It forces a question the industry has been slow to confront. When AI music helps fill a playlist, a chart, or a streaming feed, should the listener know?

AI Music Is Changing the Fan Relationship

Streaming reshaped how people consumed music, but ElevenMusic wants to go further and change how people actually experience it. The platform lets users create original songs from simple prompts, remix existing tracks, and adjust tempo, genre, and overall feel. A fan can start with a lyric, a mood, or a melody, and the system builds a full track from there.

ElevenLabs describes this as moving fans from “passive listeners into active participants,” and radio programmers should recognize that language immediately. Call-ins, requests, and listener contests have always chased the same goal. ElevenMusic simply updates that strategy with tools that would have seemed impossible a decade ago. The more AI music enters the ecosystem, though, the harder it becomes to distinguish human artistry from machine output. At a certain point transparency stops being a preference and starts being a responsibility.

The Platform at Launch

ElevenMusic launched with approximately 4,000 human artists on board. Almost all of them emerging acts looking for exposure and a new path to audience connection. That detail reframes the narrative away from pure disruption and toward something more nuanced. A new discovery platform where independent artists gain access to new audiences while fans gain access to a creative process they never had before. But a fan generating AI music from a prompt and a professional songwriter crafting a track from lived experience are not the same thing. Even when the output sounds similar. The origin matters, and audiences deserve to understand it.

The Licensing Question AI Music Cannot Avoid

AI music and the broader music industry have a complicated history, and the tension almost always comes back to the same question of who gets paid and how. ElevenLabs addressed this directly at launch by securing licensing deals with Kobalt and Merlin, while also working with SourceAudio for synchronization rights. Building that infrastructure before controversy forced the issue is a meaningful distinction in a space littered with platforms that moved fast and cleaned up the mess later.

Artists receive a pro-rata share of a royalty pool based on how much their work contributes to the system, with popularity metrics across digital platforms factoring into the calculation. The model is imperfect, but the structure exists and that matters. Labeling requirements could strengthen it further. If listeners understand that a track is AI music with significant machine involvement, the compensation conversation becomes more honest and the royalty math becomes easier to defend to skeptical artists and their representatives.

Should AI Music Have Its Own Chart?

If AI music continues growing at its current pace. The question of whether it should compete directly against fully human-created work on mainstream charts becomes harder to avoid. A dedicated AI music chart would create both a fair competitive space and genuine transparency. Giving listeners, programmers, and industry professionals a clear understanding of what they are actually evaluating.

The counterargument draws on the history of rap. Which some believed needed separate commercial tracking when it emerged, only to integrate into mainstream charts and transform them entirely. But that comparison only goes so far. Rap was made by human beings finding their audience within a system built for other genres. AI music is produced by a machine that can crank out thousands of songs before a human artist finishes their morning coffee. Putting both on the same chart without distinction is not really a level playing field. it is more like slowly pushing human artists out of the room without anyone officially announcing it. The industry should ask itself honestly whether that is the outcome it actually wants.

Photo Credit: ChatGPT

The Artist-First Case for Labeling AI Music

Skepticism toward AI music runs deep and for understandable reasons. Artists have watched their work scraped, replicated, and monetized without consent, and that history creates distrust that press releases alone cannot overcome. ElevenLabs is trying to get ahead of it by positioning the platform as “artist-first by design,” a message reinforced directly by Derek Cournoyer, the company’s music strategy lead. “We’re building with the artist and songwriter communities, not around them,” he said.

That is the right framing, and mandatory disclosure requirements would actually help platforms like ElevenMusic make that case more convincingly over time. When the AI music label is built into the system by default, the conversation shifts from suspicion to structure. Artists see accountability embedded in the platform rather than promised in a quote, and that builds trust at a pace no marketing campaign can replicate.

Where Does AI Music End and Human Music Begin?

The labeling argument is straightforward in concept and genuinely difficult in execution, because the threshold question has no obvious answer. A song that uses AI for mastering is a fundamentally different thing from a fully generated AI music track where the machine wrote the lyrics, composed the melody, and produced the vocals entirely. Drawing a clear line between those two endpoints requires more precision than the industry has managed so far.

The streaming platforms are beginning to move on AI music labeling, but every one of them is moving differently, and that inconsistency is itself the problem. Spotify adopted the DDEX disclosure standard in September 2025. Apple Music launched Transparency Tags in March 2026. TikTok issues immediate strikes for unlabeled AI content. Deezer tags it and pulls it from algorithmic recommendations. Bandcamp banned it outright. Five platforms, five different standards, which means listeners cannot rely on any of them consistently and artists cannot plan around them intelligently. Deezer’s own research found that 80% of people believe fully AI-generated music should be clearly labeled, and 52% believe it does not belong in main charts alongside human-made music. The audience has already reached a conclusion.

Radio’s Advantage in the AI Music Era

Radio still owns something AI music platforms cannot manufacture quickly, and that is trust. Listeners believe their favorite stations, return to their favorite personalities, and rely on curated experiences that took years to build. That relationship becomes more valuable, not less, in an environment where the origin of content grows increasingly difficult to determine.

If radio does not address the AI music transparency question proactively, platforms will define the standard by default. Stations that get ahead of this — that tell listeners clearly when and how AI music touches their content — reinforce the trust they already hold and turn a potential vulnerability into a real competitive advantage.

The Road Ahead for AI Music

A full, usable AI music track now takes seconds to produce. And that single fact changes more about this industry than most people have fully processed. It changes workflows, expectations, and what the word production means inside a radio facility or recording studio. It also means the supply of music entering the market is becoming effectively unlimited, which is exactly why labeling matters so much. Without transparency, that abundance creates noise. With clear labeling, listeners and programmers have the signal they need to make meaningful choices.

ElevenMusic’s success will ultimately depend on whether ElevenLabs delivers on its promises around licensing, royalty fairness, and user experience. But the broader challenge for AI music extends well beyond any single platform. Without clear labeling standards and a serious conversation about chart classification. The lines between human and machine creativity will blur beyond the point where the distinction feels meaningful to most listeners.

The audience has already moved toward participation and co-creation. The industry now needs to move with equal urgency toward accountability. Labeling the AI music, defining the threshold, and deciding whether a dedicated chart serves the ecosystem better than the current ambiguity does. The core obligation has not changed. Be straight with the audience about what they are hearing and where it came from. That has always been the job, regardless of who — or what — made the music.

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.

Q102’s Buster Has Always Known the Game. Now He’s Mastering It.

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Philadelphia’s afternoon drive CHR belongs to Buster. It has for the better part the last 14 years. From 2012-2016, he was on Wired 96.5 (WRDW). Now, Buster has been on-air at Q102 since 2019.

But the Brandon “Buster” Scott story is about much more than an on-air radio time slot. He saw the future of diversifying content early and built toward it deliberately, platform by platform, relationship by relationship, one cheesesteak at a time.

Buster turns 40 this month. He’s reflective, but not nostalgic. He’s proud but not finished and he’s one of the more holistic media personalities in local radio today.

Being Ahead of the Curve

Long before “content strategy” became a buzzword, Buster was posting on YouTube from overnight shifts at New York’s 92.3 Now. He was working 11 p.m. to 3 a.m. and still finding time to build something beyond the broadcast. That content caught the eye of Dan Hunt at Wired 96.5, who brought Buster to Philly in 2012.

“There’s a lot more people that realize it’s a bigger part of the job,” he said, reflecting on how social media has evolved in radio. “It’s now baseline. It’s inherent to the position to have a social media footprint. But also, nowadays, you’re leaving money on the table if you’re not taking advantage of it.”

That’s not a lecture. That’s experience talking. Buster watched peers dig their heels in. He chose a different path. He leaned in and the results speak clearly.

Today, Instagram is his primary platform. He’s also reigniting his Facebook presence, because Meta’s ecosystem rewards that cross-posting behavior financially. He posts on TikTok too, even though he finds the interface clunky. Why? Because his Q102 audience is there.

“It wouldn’t make sense for me to not be swimming in that pond,” he said, “just because I don’t like the interface.”

That clarity of thinking is central to who Buster is. And as he’s aged, he doesn’t let personal preference get in the way of smart strategy.

The Power of Community

Buster’s digital footprint doesn’t exist solely in radio land. It connects to a web of local relationships he has spent years building carefully and intentionally.

He put himself on every PR list he could find. He shows up. Buster goes where the audience goes. He networks with local food influencers, sports fans, nightlife promoters, and TV stations. He gives local influencers a platform on his show and gets them paid on events. Buster treats collaboration as infrastructure.

“High tides raises all ships,” he said. “If it’s good for me, it’s good for you.”

That philosophy has tangible results. He built a Friday segment around a local publication called Wooder Ice — a collective of local influencers covering Philly events. They bring the community in. He amplifies them. Everyone wins.

Buster says to focus on creating content you feel passionate about. “I enjoy being in the mix with Philly sports fans. I see a value of me going to these events and catching [the fans] when they’re coming out of the venue. Whether they’re happy, mad, sad or glad, I capture that into a bottle, because I like doing it, because it’s fun. And then I’m able to turn it into dollars.”

Buster understands something many air personalities still miss. Being on the radio doesn’t make you a local celebrity automatically. You earn that by showing up, not by broadcasting from a distance.

None of that happens by accident.

The Beach Tour Blueprint

Perhaps most telling is how Buster tackled a challenge that has stumped countless programmers: how do you get your station out in the community when local marketing budgets have dried up? And even worse, when there’s a literal plague happening.

His answer? The Q102 Beach Tour. Now in its sixth year and responsible for generating significant dollars in new direct local revenue.

It started during the pandemic. Buster was tired of saying words like “quarantine” and “social distancing” on-air. He wanted to chase the audience heading down the Jersey Shore. If that’s where his audience was going, and presumptively their meters with them, Buster was determined to find a way to be there.

Knowing the shore venues couldn’t carry traditional remote broadcast costs, he restructured the model entirely. By bringing in outside sponsors to cover the cost, the venues got live activation for free. The sponsors got exposure at cool, high-traffic locations. Q102 got to be present where the audience already was and be a part of Philly’s “collective effervescence” I referenced in my last column.

“Think a little bit more outside the box,” he said as advice to other jocks. “Find sponsors that want to be involved in these locations.”

This year, that tour includes a Nelly concert in Wildwood, New Jersey. A booking that happened specifically because of the radio station relationship, not traditional artist routing. Sponsors followed immediately.

Meanwhile, Buster’s promotional creativity extends further. In 2020, he and then VP of Marketing & Promotions Emily Tinney coordinated a drone show over the Philadelphia skyline. 130 drones forming an iHeart Radio logo, synced to a pre-recorded on-air mix he voiced. At the time, drone shows weren’t yet a cultural fixture. Buster did it anyway.

Getting Older and Smarter

Fatherhood changed his calculus. A son at home means the battles he picks now are more deliberate. The hills he’ll die on are fewer.

“When it was just me and a Ford Focus and a cell phone to pay for, I’d pop off,” he admitted. “Now I’ve learned to handle things a little bit slower.”

Still, he’s clear: the fire didn’t disappear. He “keeps a silencer on it”. That’s different from losing it.

The Media Mindset

Finally, ask Buster whether radio has a future, and he reframes the question entirely. Buster doesn’t see radio as only what happens on FM. He sees podcasts as radio. He sees every platform as a potential delivery mechanism for what he already does.

Buster Scott turns 40 knowing exactly who he is, exactly what he brings, and exactly where he’s going. In an industry full of uncertainty, that kind of clarity is worth something.

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 Case for Regional Syndication: Why News/Talk Radio Should Consider An Alternative

News/talk radio has long leaned on national syndication as a crutch — and sometimes, it’s a crutch that fits just fine.

Rush Limbaugh built an empire. Sean Hannity fills hours across hundreds of stations. The model works.

But lately, I keep asking myself a question that I can’t quite shake: are some dayparts — particularly middays — leaving audience engagement on the table by defaulting to national programming when a regional syndication model might serve listeners better?

This isn’t a knock on nationally syndicated shows. Many of them are excellent at doing exactly what they’re designed to do — discussing national topics with authority. But excellent national programming and relevant programming aren’t always the same thing.

A Model That Already Works in Sports Radio

The sports radio world has quietly been proving this point for years. Cumulus’ 107.5 The Game in Columbia, South Carolina is a big deal — not just locally, but as a proof of concept. Cumulus recognized what they had and began syndicating the station’s local shows to other sports stations it owned around the state. I’ll forever think that idea is great, because it respects both the audience and the programming.

iHeartMedia does something similar with KFAN in Minnesota. The Twin Cities sports station is massive. Having been to the Twin Cities several times over the past three years or so, I can remember exactly one time that I got in an Uber and the driver wasn’t listening to KFAN.

Other stations in the state — not just other iHeart stations — run KFAN’s programming because it’s still deeply relevant to listeners across Minnesota. That’s the core of the argument right there. Relevant programming travels. Generic programming just fills time.

Similarly, Audacy’s 97.1 The Ticket has branched out and is offering its programming to other stations in the state of Michigan. It continues — apparently — to work in the sports format. So, why not news/talk?

Can News/Talk Replicate the Sports Model?

Maybe regional syndication is a sports-only idea. Maybe what matters to someone in Cincinnati doesn’t land the same way for listeners in Cleveland, Columbus, Toledo, or Dayton — to use my home state as an example. Perhaps it works better — as seen by the previous sports examples — where there’s one hugely populated city in a state or region, and smaller areas that are still focused on the same subjects.

But I have to imagine there’s still crossover. State politics, regional economic stories, local culture — these threads connect communities even when those communities don’t share a market.

Moon Griffon has built something special in Louisiana by doing exactly this. His show focuses talk topics around one location while still discussing national events when they warrant it. That balance — local host, national awareness — is the sweet spot. It works for the host, the stations, both the local and syndicated advertisers, and for the audience.

And I wonder if that product can work in more locales than it doesn’t. I’d love to see someone put that theory to the test, because I’ll continue to think it works until I see it fail.

Everyone on a national show has the ability to talk about politics on a given day. But when listeners want to feel informed, entertained, and engaged by talk that actually reflects their lives, their state, or their region, they’re not exactly super served by someone broadcasting from a studio 2,000 miles away. That gap is real. And it’s an opportunity that regional syndication is uniquely positioned to fill.

The infrastructure for this model already exists. The audience appetite is there. What’s missing is the willingness to bet on it.

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

ESPN’s 2026 Stanley Cup Playoffs Ratings Surge 69% in Historic First Round

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ESPN delivered its most-watched first round of the Stanley Cup Playoffs during the current NHL rights agreement. Across ESPN networks, first-round games averaged 1.2 million viewers, marking a 69% increase from last year.

What We Know: Rivalry matchups helped fuel ESPN’s historic first-round performance. Game 1 of the Philadelphia Flyers-Pittsburgh Penguins series led all telecasts with 2.1 million viewers. Meanwhile, Flyers-Penguins Game 5 attracted another two million viewers. It was the most-viewed Game 5 ever on cable television. The first game of the Minnesota Wild-Dallas Stars series also delivered strong results with 1.9 million viewers. In addition, Game 4 between the Tampa Bay Lightning and Montreal Canadiens became the second most-watched cable Game 4 ever with 1.9 million viewers.

What the Numbers Show:

Program2026 Avg. Viewers2025 Avg. ViewersYOY Ratings
Stanley Cup Playoffs Round 1 (All ESPN Networks)1.2 Million710,000+69% ↑
Stanley Cup Playoffs Round 1 (ESPN Only)1.4 Million733,000+91% ↑

What Remains Unclear: ESPN has not detailed streaming consumption across ESPN+ and authenticated digital platforms. Therefore, the complete audience footprint remains unknown. It’s also unclear whether later playoff rounds will be able to sustain this momentum. Matchup quality and market sizes could significantly affect future audiences.

What It Means: The NHL continues to gain traction on ESPN after several uneven national television years. Strong rivalries and consistent promotion are clearly connecting with viewers. Furthermore, ESPN has benefited from a record-breaking regular season entering the postseason. For Barrett Media readers, these numbers reinforce the value of premium postseason events.

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.

Mark “Razz” Retires from WXTU After 26-Year Philadelphia Radio Career

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Mark “Razz” is retiring after 26 years in Philadelphia radio. His final day at WXTU is May 22.

What We Know: Mark “Razz” joined Beasley Media Group’s WXTU-FM on March 6, 2006. He spent 20 years in total with the radio station. Prior to WXTU, he hosted afternoons at WMMR-FM from 2000 to 2006.

Razz has been Program Director since 2019. He helped guide WXTU to a NAB Marconi Country Station of the Year award in 2024. WXTU also had an ACM Major Market Station of the Year win that same year.

What They Said: “It has been an incredible journey,” said Razz. “I am so very grateful to the listeners who welcomed me into their lives each day, and to the amazing team I’ve had the privilege to work with over the years. I want to thank the Beasley family for their support, belief, and friendship throughout my time here. Philadelphia will always hold a special place in my heart.”

Justin Chase, Chief Content Officer, added: “He leaves behind a strong legacy and a team that has benefited greatly from his leadership.”

What Remains Unclear: No successor has been named for the midday show or the Program Director role. Additionally, a timeline for filling either position has yet to be announced.

What It Means: Philadelphia radio loses one of its most decorated figures. I had the pleasure of working with Razz at WXTU in the early 2010s and can attest to his commitment to the city of Philadelphia and Country Radio. Razz shaped WXTU’s sound, culture, and industry standing for more than two decades.

The countless awards, strong ratings, and community trust earned under his watch reflect a foundation that won’t disappear overnight.

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2026 Midterm Political Advertising Outpacing 2022, New AdImpact Data Shows

AdImpact has released new political advertising data six months before Election Day. Media organizations should be thrilled by what they see.

What We Know: Political advertising is always a boost to radio, television, digital, and cable companies. But after billions were spent during the 2022 midterms, the 2026 midterms are already outpacing the spending seen four years ago.

What The Number Show: On April 30th, the 2026 cycle had seen $3.24 billion spent on political advertising, according to AdImpact. That dwarfs the $2.14 billion spent during the 2022 cycle by the same date. Of that 2026 figure, $112.4 million alone was spent in California for that state’s gubernatorial race. $49.2 million has been spent in the Los Angeles market. California is primed to exceed the previous record of the most expensive governor’s race on record. That record is currently held by the 2022 race in Illinois, which saw $215.2 million spent. Meanwhile, federal races continue to pile on the dollars, including in key Senate races.

Top Republican Senate Spending By State

State Spending
Ohio $52.3 million
North Carolina $37.5 million
Maine $30.6 million
Iowa $28.1 million
Georgia $25.6 million
Michigan $25.3 million
New Hampshire $12.9 million
Alaska $10.6 million
Total $222.7 million

Top Democratic Senate Spending By State

State Spending
Maine $18.1 million
New Hampshire $7.6 million
Alaska $360,000
Total $26.1 million

What It Means: Political advertising is still an important category for virtually every medium. The sheer dollar amounts being spent on races from local to the state and national levels continue to increase. While the 2022 cycle reached just shy of $9 billion, the total spent in 2026 is just under $4.5 billion, including future reservations. That number is only going to continue to rise as we inch closer and closer to Election Day.

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FOX Sports Gets Creative With ‘World Cup Watcher’ Paid Job Posting

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FOX Sports, FOX One, and Indeed have launched a nationwide search for a “Chief World Cup Watcher.” One lucky hire will earn $50,000 to watch all 104 FIFA World Cup 2026 matches live.

What We Know: FOX Sports needs a die-hard, socially engaged sports fanatic — someone who lives for group chats, last-minute goals, and the chaos of tournament play. The winner works from a custom-built viewing space in Times Square, streaming every match in 4K on FOX One. They’ll also create and share authentic social content throughout the 39-day tournament. The role officially kicks off June 6, one week before the tournament opens.

What They Said: Robert Gottlieb, President, Marketing, FOX Sports “This FIFA World Cup will be a historic tournament that calls for an equally historic hire. One engaged applicant will get the job of a lifetime to experience and celebrate every story, every nation and every exhilarating moment that defines the beautiful game.”

What Remains Unclear: The application process has no traditional job posting. Instead, candidates must update their Indeed profile to be sourced directly by FOX Sports’ recruiting team. It’s unclear how many applicants will receive an invitation or how potential candidates are selected. The official hire is revealed live on June 6 during FOX’s Red Sox-Yankees broadcast.

What It Means: This is a fascinating way to attach revenue to the global tournament. This activation will likely lead to a spike in traffic for all parties involved. Simply because of the unique nature of the tournament. More networks should pay attention to signature branded content plays like this for big events such as the Super Bowl, NBA Finals, Olympics and more. Together, FOX Sports and Indeed they’re redefining what “superfan” looks like professionally.

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iHeartMedia Names Kevin Rich as Region President

iHeartMedia has found a new Region President in the Northeast. Former Beasley Media Group and Townsquare Media leader Kevin Rich is taking over.

What We Know: Rich has been tabbed as Region President. The markets he’ll oversee include Boston, Hartford, and New Haven. Rich most recently worked as the Vice President of Operations for Beasley Media Group. He exited that role last September. He also spent a decade at Townsquare Media, where he rose to the role of Market President and Chief Revenue Officer. Other previous stops include Citadel, Cumulus, and CBS Radio.

What They Said: “(I’m) grateful to Aarony Hyland, Bernie Weiss, and Ann Marie Licata for their trust and partnership. Strong foundation in these markets and a clear opportunity to accelerate growth and deepen client partnerships. Excited for what’s ahead!” -Kevin Rich

What It Means: Rich’s appointment comes after several iHeartMedia managers exited the company amid a round of layoffs last month, including an Area President. Obviously, iHeartMedia puts a heavy emphasis on the New England region. It has major brands — like Kiss 108, 100.7 WZLX, WBZ NewsRadio, WRKO, and 101.7 The Bull in Boston — among others. Kevin Rich has a long history of radio leadership. His work at other companies can provide a new way of thinking in Boston, Hartford, and New Haven.

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