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The Show Behind the Show: What It Takes to Produce Radio’s Biggest Events

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Within the last few weeks, artist announcements dropped for both the 2026 iHeartRadio Music Festival and HOT 97 Summer Jam.

The iHeartRadio Music Festival brings BTS, Cardi B, Kenny Chesney, Snoop Dogg, Weezer, Lainey Wilson, Muse and more to Las Vegas’ T-Mobile Arena for two nights in September. HOT 97 Summer Jam returns to Newark’s Prudential Center in July with Fetty Wap, French Montana, Max B, Ice Spice, Rick Ross and DaBaby.

For listeners, the announcement is simple: Here’s the lineup. Buy your tickets.

For radio station teams, the lineup is just one corner of the 1,000-piece jigsaw puzzle that is event production.

Been There, Done That

I spent much of my career producing large-scale music events — including six years leading HOT 97’s Summer Jam team, overseeing marketing, sponsorships, content, and more. I also worked on booking, marketing, and producing Audacy’s tentpole events. What I learned: pulling off events at this scale takes a village. And the listener experience depends on thousands of details the audience never sees.

Before the First Artist Hits the Stage

The largest radio events today operate more like major television productions than traditional concerts.

Consider what has to happen before showtime. Artist contracts. Hospitality requirements. Transportation plans. Security protocols. Credential systems. Sponsorship activations. Backstage operations. Ticketing integrations. Staffing plans. Every artist arrives with their own management team, technical specs, and expectations. Some need elaborate stage setups. Others need customized dressing rooms or special accommodations for their crews.

The Production Itself

At Summer Jam or the iHeartRadio Music Festival, changeovers between artists happen in moments — not minutes. Crews remove and rebuild entire stage configurations while thousands of fans watch from their seats. Audio, lighting, video, pyrotechnics, and broadcast teams must execute those transitions flawlessly. There is no second take.

The challenge grows when radio adds a broadcast component. Radio companies aren’t simply producing a live event — they’re creating content that extends beyond the arena. The iHeartRadio Music Festival airs across iHeartRadio stations nationwide and streams on Disney+ and Hulu. Every performance, camera angle, host segment, and sponsor integration must work for both the in-venue crowd and the remote audience. That level of coordination rivals many televised award shows.

Sponsors and Staffing

Most major radio events depend on strategic partnerships to make the economics work. Capital One’s involvement with the iHeartRadio Music Festival is a prime example. Beyond logo placement, sponsors need dedicated hospitality experiences, fan activations, exclusive performances, and custom content. Delivering those assets matters just as much as delivering a great concert.

Staffing is equally critical. On show day, hundreds of people work behind the scenes. Production managers, stage managers, runners, credential teams, security, marketing staff, social media teams, photographers, videographers, engineers, and venue employees all play a role. The audience interacts with only a handful of them. But every single person shapes the experience.

Some of my favorite memories from HOT 97’s Summer Jam at MetLife Stadium involve watching the staff move like ants across the vastness of that stadium — everyone locked into their own task, all of them pushing toward one collective goal.

Expect the Unexpected

The most important skill in producing a signature radio event? Adaptability.

No matter how much planning goes into a show, something unexpected will happen. A flight gets delayed. An artist arrives late. Equipment fails. Timelines shift. The teams that succeed aren’t the ones that avoid problems. They’re the ones who solve them fast — before the audience notices.

At HOT 97’s Summer Jam in 2018, Meek Mill decided he wanted to helicopter into MetLife Stadium and ride a dirt bike from the chopper pad to the stage. Our crew stayed late the night before and figured it out. The results were legendary.

At Audacy’s Beach Festival in 2022, we got reports of an active fire in the crowd. It turned out to be a menorah fans had brought — the event fell during Hanukkah. Fun to navigate.

I could rattle off a hundred more examples. Many involve NDAs I’ve long since lost track of.

The Unsung Heroes

The doers of this industry thrive in these moments — the market leaders willing to take risks, the promotions people, the event people, the programmers whose roles sometimes get overlooked. These are often unsung heroes. And right now, their roles are under attack. Downsizing happens monthly across our business. Producing signature events keeps getting harder.

But these events are core to station brand identity and radio’s long-term health. Having the doers on staff is what separates great radio events from good ones. It’s what creates core memories for listeners and longevity for your brand.

Fans remember seeing their favorite artist perform. They remember surprise collaborations and unforgettable moments. They won’t remember the planning meetings, production schedules, and contingency plans that made those moments possible.

That’s exactly how it should be.

The best-produced events are the ones where nobody notices the production at all.

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

Approaching The Summit: Dave Tepper, KOA 850 and 94.1

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Approaching The Summit is a series of special interviews created in partnership with Point to Point Marketing featuring speakers at the upcoming 2026 Barrett Media Audio Summit in New York City. Follow along with this series as prominent names surrounding the event June 30-July 2 share their insights and expectations for what’s to come in the Big Apple. The Summit takes place at the SVA Theatre on West 23rd Street. For tickets and hotel room reservations, click here or visit the Summit section at the top of the website.   

Garrett Searight: How important is it for those in the radio industry — especially the news/talk genre — to gather to discuss ideas and issues?

Dave Tepper: If you can make it work to be there, be there. I’ve proudly attended sports every year and news when it fit my schedule. Never have I left one without learning new things and gaining takeaways to make our brands better, no matter the market. From a networking standpoint, there’s nothing better. I’m always surprised how few on-air talents attend with so many local and national programmers in attendance. It always reminds me of what we hear about the NCAA Basketball Final Four weekend, where up-and-coming coaches go to mingle and share resumes with high-level programs.

GS: What are the most important things you hope to learn and hear about at the Summit?

DT: I always absorb notes from programmers of all sorts. Sports talk and news/talk — it’s all talk radio, and strategies translate. I know this firsthand from my experience in both formats. I also enjoy the high-profile guests and hearing their stories. One of my favorites was Jim Rome talking about selling vacuum parts door-to-door while chasing his goals. That’s relatable stuff as we all pursue our individual visions. Also, I never miss ratings discussions. As long as I work for companies that play that game, anything I can take away is invaluable. I still reference notes from past presentations with my team.

GS: What are the things you hope to share during your panel and while speaking with other attendees?

DT: My aim is to do for others what I receive. If I can provide just one note that someone can take back to their team and apply in their own way, that’s a win. I also want to be relatable. While we are all competitors, we are collectively working to move our industry forward. The interactions during breaks and happy hours are productive, too. It’s not just the knowledge gained on stage. Having conversations, listening, and sharing perspectives is what it’s all about.

GS: Anything else you’d like to share about what it means to attend?

DT: Come with an open and engaged mind, and you’re guaranteed to leave a stronger professional for your team and yourself.

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.

Nielsen Audio Ratings Overhaul Could Reshape Radio Measurement

Last week, I reviewed some history and offered general thoughts about Nielsen’s plans for the radio diary. This week, I’ll comment on the specifics.

First, the cringe-worthy: The deck included the point, “retain unimpeachable truth set.” The word “truth” should never be used with survey research. Nielsen could be the best survey research company on the planet (and the company is good, no matter how much we attack them), but it will never know if it has truth. Period. Referring to the diary service in 2026 as “unimpeachable” should include a laugh track.

Next, Imran Hirani, who gave the presentation, referred to Scarborough and measuring newspaper readership. He noted that Scarborough adjusts its data to make the results match readership audit figures from the Alliance for Audited Media (AAM). Imran suggested that this approach might be usable for radio. Funny, but in all my years in the business, I’ve never heard of anything equivalent to AAM for radio or audio, and frankly, it’s impossible. That’s Nielsen’s role, so Imran’s point made no sense.

Questions About Current Methodology

With that out of the way, most of his points about how current diarykeepers perform their task were on the money. A large percentage do not write down their listening as it happens, and plenty fill in the entire diary at one sitting, whether the day after the survey week or even during the week. If the postmark on the diary is after the end of the survey week, the diary can be intabbed.

And Thursday is the big day for listening because it’s the first day of the diary week. Take me back to 1970 — nothing has changed.

He mentioned a non-response study from “several years ago.” I’m not aware of one, although I’ve been away from day-to-day dealings with Nielsen for six years. Perhaps he was referring to non-response studies from last century, which would be a new definition of the word “several.”

There were two such studies. One was publicly released because it showed that non-responders were similar to those who filled out the diary with respect to radio listening. There was also a “Soviet history” non-response study from 1984 that showed bias. “Soviet history” means that the study never existed, even if it did. If there is a more recent study, Nielsen should release it, for better or worse.

The presentation covered the use of modeling, and Imran was correct that modeling exists in the diary service today. I was directly involved when we implemented a small amount of modeling around 20 years ago. Diaries with two “missing days” of listening — meaning no listening was recorded and the diarykeeper did not check the “no listening” box — could be counted.

Previously, Arbitron accepted one missing day without the box checked and assumed no listening on that day.

The Future of Nielsen Audio

This model was different because listening from another day was used for the missing day. While I can’t remember the exact system, as an example, if the diarykeeper left out Monday, listening from Wednesday may have been inserted. However, if the two missing days were Saturday and Sunday, the diary was not counted. If only one of the missing days was a weekend day, that day was assigned no listening. Got it?

Why do it? Pressure for higher response rates. It was cheap and easy to implement.

Here are the key items in Nielsen’s plans for the service. First, give up on probability sampling. The cost of probability sampling in 2026 is outrageous, and response rates are awful. Nielsen goes through a multi-stage process just to get households into the sample. What the company appears to be proposing is the use of databases to recruit respondents, especially harder-to-reach groups such as young people and minorities.

This is a big change and, as I noted last week, opens the door for any other company interested in jumping into the radio ratings game. What was left unsaid — and perhaps Nielsen hasn’t decided yet — is whether that piece of the overall sample moves from “everyone 12+ in the household” to “single person per household,” as commercial databases are typically made up of individuals rather than households.

Further, the Nielsen deck noted that because respondents opt into these databases and can choose the surveys they want to complete, this will result in “high interest and high quality data.” On one hand, this may mean radio listeners will be more likely to participate, keeping listening levels stable.

Reshaping That Future

Most of you know the term “contest pigs.” People in these databases complete surveys for one major reason: the incentive. I’m in a few myself. In fact, my flight to the Barrett Media Summit later this month was paid for through surveys I completed in exchange for airline miles.

Next is the move to a one-time survey instead of seven days. This approach is not new, just new for Nielsen. I was director of research for Birch/Scarborough’s radio ratings service before the company was shut down at the end of 1991. The Birch system was a probability-based phone survey, which was feasible at the time, and the questionnaire was straightforward:

  • What stations did you listen to in the past week?
  • Using four dayparts covering 6 a.m. until midnight, what stations did you hear yesterday?
  • For each station you heard yesterday, did you hear that station the day before yesterday during that same daypart?

That was it. The duplication allowed Birch to model a seven-day cume, which was typically close to the Arbitron seven-day diary cume. Also, because Birch was sold to what is now Nielsen, the company owns that intellectual property, which probably languishes in a file drawer somewhere.

I expect Nielsen will take the data from the single questionnaire and model it using the remaining seven-day diaries it claims it will continue to field. It makes sense and would work methodologically.

While you won’t find odds on it at Kalshi or Polymarket, it’s a safe bet that this is the second step (mSurvey was the first) toward a completely online Nielsen Audio service using convenience samples. It’s a sensible move, but it differs from the method we’ve used for the last six decades, one that has withstood challenges from multiple competitors. The results will be different.

Here’s the question: Will another research company have an opportunity to overthrow King Nielsen? Will radio and audio measurement change? I expect we’ll see a new landscape by the end of the decade.

Let’s meet again next week.

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

Paramount Skydance Acquisition Of Warner Bros. Discovery Reportedly Approved By Justice Department

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The Justice Department’s Antitrust Division has reportedly approved Paramount Skydance’s $111 billion bid for Warner Bros. Discovery. The decision clears a major regulatory hurdle for one of the most closely watched media mergers.

What We Know: According to reporting by Politico, the DOJ approved the deal without requiring divestitures, behavioral remedies, or concessions. The merger would combine Paramount with the company behind CNN, HBO Max, and a major film and television studio. Paramount+ and HBO Max would merge into a new streaming platform with roughly 200 million combined subscribers. The deal also unites two historically rival Hollywood studios.

What Remains Unclear: Federal approval doesn’t end the legal scrutiny. California Attorney General Rob Bonta is still actively reviewing the deal and could sue to block it. A spokesperson confirmed to Politico the acquisition “remains an active investigation.” Additionally, state attorneys general from New York and several other states monitored Ellison’s meeting with DOJ officials.

What It Means: This merger would dramatically reshape Hollywood’s competitive landscape. Supporters argue it creates a stronger streaming rival to Netflix. Critics, however, fear mass layoffs and further industry consolidation. Paramount COO Andy Gordon previously projected over $6 billion in synergies within three years, with most savings coming from non-labor sources. The deal’s final fate still hinges, at least partly, on California’s next move.

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.

FOX Sports’ FIFA World Cup Opening Match Draws Record 6.3 Million Viewers

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Mexico’s win over South Africa to open the 2026 FIFA World Cup on FOX Sports shatters English-language broadcast records across FOX, FOX One, and Tubi.

What We Know: Mexico’s 2-0 victory over South Africa drew 6,309,000 viewers on Thursday. That total makes it the most-watched Men’s Opening Match and non-USMNT FIFA World Cup Group Stage telecast in English-language U.S. history. Viewership peaked at 8,014,000 between 4:15–4:30 PM ET. Numbers come from preliminary Nielsen Fast Nationals, Adobe Analytics, and Tubi Analytics across all three platforms.

What The Numbers Show: (via FOX Sports PR)

What Remains Unclear: Final verified Nielsen figures have not yet replaced the preliminary fast nationals. Additionally, a breakdown of each platform’s individual contribution to the 6.3 million total remains unavailable.

What It Means: This end result is a massive early win for FOX’s World Cup investment. Viewership jumped 97% compared to the average non-USMNT group stage match from 2022, which drew just 3,210,000. Furthermore, FOX’s decision to distribute across traditional broadcast, authenticated streaming, and free ad-supported streaming clearly paid off. If non-USMNT matches are already breaking records, the tournament’s trajectory looks very promising.

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.

Big Country 104.9 Launches Yacht Big Country Weekend Format Shake-Up

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Big Country 104.9 and 97.9 Albany are charting a different course this weekend. The stations launch a special “Yacht Big Country” format blending country favorites with smooth, sun-soaked sounds.

What We Know: Big Country 104.9 and 97.9 will swap their regular weekend programming for a Yacht Big Country experience. The format weaves in artists like Poco, Kenny Rogers, the Eagles, and Jimmy Buffett. Additionally, the weekend wraps with a special spotlight on Keith Urban’s new Flow State album — a collection of Yacht Rock covers also featuring a new single with Michael McDonald.

What They Said: The stations framed the move as part of a broader industry push. “This is part of our dare to be different initiative that we hope all of radio will re-embrace,” said the Kevin Callahan Executive Director of Operations and Programming. The quote signals an intentional challenge to conventional weekend programming — and an invitation for other stations to follow.

What Remains Unclear: This is a one-time weekend stunt — not a permanent format shift. The Keith Urban Flow State special airs later in the weekend, though an exact timeslot hasn’t been confirmed.

What It Means: Big Country deserves credit for trying something different and shaking things up. That kind of creative courage was once a radio staple — but too many programmers have walked away from it. Urban’s Flow State gives the stunt a timely, culturally relevant hook. Hopefully, other stations are paying attention and willing to follow suit.

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.

2026 Political Advertising to Reach Record $11.6 Billion, AdImpact Forecast Shows

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Political advertising during the 2024 presidential election reached “unprecedented” levels. 2026 is on pace to be the largest election cycle in history.

What We Know: Political advertising is on pace to reach unprecedented levels during the 2026 election cycle. AdImpact has raised its spending forecast to $11.6 billion by Election Day, up from the $10.8 billion projection it issued last fall. The revised estimate would make the cycle the most expensive on record and represents a 4% increase compared to the 2024 presidential election. Analysts point to strong early spending, several record-setting races, and robust pre-booking activity as drivers behind the increase.

What The Numbers Show: Broadcast television remains the largest beneficiary of campaign dollars. AdImpact forecasts $5.6 billion in spending on broadcast TV, while cable TV is expected to receive $1.4 billion and satellite TV $88 million. Meanwhile, Connected TV continues its rapid rise and could attract $2.6 billion. Digital spending has been revised upward to $1.6 billion. Radio is projected to generate $273 million in political ad revenue. Senate races are expected to account for $3.4 billion. That is followed by $2.4 billion for gubernatorial contests and $2 billion for House campaigns.

What Remains Unclear: The political map continues to shift. Competitive races in states like Ohio, Texas, and Maine have boosted spending expectations. However, forecasts have softened in Florida, North Carolina, and New York. It’s also uncertain how additional redistricting developments could alter spending patterns before November.

What It Means: Broadcasters, digital platforms, and radio operators stand to benefit from another historic election cycle. While traditional television remains a core strategy, advertisers increasingly value Connected TV and digital platforms for their targeting capabilities. As a result, media companies across multiple platforms could see significant revenue gains through Election Day.

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.

Former MLB Broadcaster John Sanders Dies At 83

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John Sanders, a longtime sports broadcaster with deep ties to Pittsburgh and Cleveland, has died. He passed away Wednesday, one week after celebrating his 83rd birthday.

What We Know: Sanders built a distinguished broadcasting career spanning multiple decades and markets. He began in television in Topeka and Kansas City before arriving at KDKA-TV in 1978 as weekend sports anchor and eventually sports director. Sanders joined the Pittsburgh Pirates’ broadcast booth in 1981, working alongside Lanny Frattare for nine seasons. He later spent 16 seasons calling Cleveland Indians games on SportsChannel Ohio, which eventually rebranded as Fox Sports Net Ohio.

What They Said: Legendary Steelers voice and Pitt Panthers play-by-play man, Bill Hillgrove on Sanders passing (via KDKA): “Total respect for John, pro’s pro, good guy. Enjoyed being around him, I’d seen him most recently at Pitt games but I haven’t seen him for a couple of years. It’s just said, it’s all too soon, what a guy!”

What Remains Unclear: The cause of death has not been publicly disclosed. It is also unclear whether Sanders had any immediate survivors or funeral arrangements.

What It Means: Sanders leaves behind a legacy built across multiple cities and generations of fans. His career arc — from Kansas markets to Pittsburgh to Cleveland — reflects a commitment to craft that few broadcasters sustain. The Indians chose not to renew his contract after 2006, yet his impact on two major markets endured. For fans who grew up listening to his voice, his death marks the loss of a familiar and trusted presence.

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 Acquires WZBA Baltimore, Ending 26-Year Classic Rock Bay Brand

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K-Love Inc. is set to acquire WZBA Westminster/Baltimore, a major market milestone for the Christian AC brand. The deal with Shamrock Communications has not yet been filed with the FCC.

What We Know: Staff at Classic Rock “100.7 The Bay” learned of the sale on Thursday. Rumors had circulated for months, particularly after Shamrock’s Milwaukee Radio Alliance sold most of its cluster to K-Love last summer. Following this deal, Shamrock retains only its Scranton/Wilkes-Barre cluster and a potential Las Vegas move-in signal.

What’s At Stake: Baltimore loses its only dedicated Classic Rock outlet after 26 years of The Bay brand. Hearst’s “98 Rock” WIYY and iHeartMedia’s “102.7 Jack-FM” WQSR stand to gain listeners directly. Meanwhile, K-Love enters a market where Christian AC “95.1 Bright-FM” WRBS-FM currently holds a 5.4 share — more than double WZBA’s April 2026 rating of 2.1.

What Remains Unclear: The FCC filing timeline has not been announced. Additionally, the fate of two WZBA translators — 100.1 W261CD Baltimore and 107.5 W298CG Bel Air — is still undetermined. No format launch date for K-Love in Baltimore has been confirmed.

What It Means: This deal fills a significant gap in K-Love’s national footprint. With Baltimore secured, St. Louis and Orlando remain the only top-30 markets without a K-Love signal. The WZBA signal struggles in Baltimore’s northeast suburbs, creating some redundancy with K-Love’s existing 107.3 WLVW Washington D.C. station to the south. However, the inherited Bel Air translator — 107.5 W298CG — should help bridge that northern coverage gap more efficiently.

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.

French Open Finals Draw Lower Viewership Than Last Year’s Debut On TNT Sports

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TNT Sports drew 1.3 million viewers for the men’s French Open final. That’s a 25% decline from last year and the lowest men’s final audience in at least 20 years.

What We Know: Alexander Zverev defeated Flavio Cobolli to claim his first Grand Slam title. Meanwhile, top stars Carlos Alcaraz and Jannik Sinner were both absent from the final. The women’s final drew 826,000 viewers, down 44% from last year’s Coco Gauff-Aryna Sabalenka match. TNT holds a 10-year, $650 million deal with Roland-Garros signed in 2025, making it the network’s longest rights agreement.

What The Numbers Show:

YearNetworkFinalAverage Viewership
2023NBCMen’s Final1.56 Million
2024NBCMen’s Final1.62 Million
2025TNT SportsMen’s Final1.8 Million
2026TNT SportsMen’s Final1.3 Million
2023NBCWomen’s Final1.04 Million
2024NBCWomen’s Final756,000
2025TNT SportsWomen’s Final1.5 Million
2026TNT SportsWomen’s Final826,000

What Remains Unclear: How TNT Sports could adjust next year. Especially if the approach doesn’t include an American in either final in back-to-back years.

What It Means: Finals ratings without marquee names consistently underperform, so context matters here. Stars matter to viewership. TNT’s first-week coverage — when top players were still competing — was actually up 25% year-over-year. The network averaged 387,000 viewers across all windows, down just 1% from its debut French Open. For a property in just its second year, the overall picture still does remain more encouraging than 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.